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A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC
V o l . X V 1944 P a r t s I-IV
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“ I dwell not in Vaikuntha, nor in the hearts of Yogis, nor in the sun; (but), where my Bhaktas sing, there be I, Narada! ”
. EDITED BY
T. V. SUBBA RAO, b.a ., b.l .
AND
V. RAGHAVAN, m .a., p h .d.
PUBLISHED BY THE MUSIC ACADEMY, MADRAS ‘ KESARI KUTEEBAM BUILDINGS ’ ROYAPETTAH, MADRAS Annual Subscription:-lnland Rs. 4 ;Foreign 8 shs.Post Paid.
} L y P i u M C m / L THE TEACHERS’ COLLEGE OF MUSIC
MUSIC ACADEMY > MADRAS
In response to numerous requests from the public in generPp upon the insistent representations from authorities in charge of the various Educational Institutions in the country and in realisation of a long cherished ideal, the Music Academy, Madras, opened a Training College of Music for Teachers. The College is called The Teachers’ College of Music, Madras. Instruction is imparted to pupils not only in theory and practice of Indian Music, but also in the correct and approved methods of teaching music. The trained pupils will be competent to teach at least the School Final Class. The training class is of the duration of one year of three terms and, for the present, is eonfim r to Vocal Music only. The working hours of the College are between 11 a.m. and 4 p.m. The fee for the whole course is Rs. 50— if paid in advance— or Rs. 6 for each of the nine months comprising the whole course. At the end of the course an examination will be held and diplomas awarded to successful candidates. The first in rank will also get the Rajah Annamalai Gold Medal. Persons of both sexes are eligible for admission. Only those candidates whose proficiency in music is up to the Intermediate Standard of the Madras University are ordinarily admitted. Preference is however given to those who are already employed as music teachers. Applications for admission shall be in the prescribed form. The final selection of candidates for admission will be made by a committee before whom the candidates shall present themselves on such days as may be notified. A copy of the prospectus and syllabus will be sent on receipt of postage stamp for the value of four annas. For forms of Admission and other particulars apply with postage to—
The Correspondent, The Teachers’ College of Music, The Music Academy, Madras. tfa journal
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A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC
V o l . X V 1944 P a r t s I-IV
EDITED BY
T. V. SUBBA RAO, B.A., b.l .
AND
V. RAGHAVAN, m .a ., ph .d.
PUBLISHED BY THE MUSIC AJCADEMY, MADRAS ‘ KESARI KUTEERAM BUILDINGS ’ ROYAPETTAH, MADRAS Annual Subscriptiom-InlandRs. 4 ;Foreign 8 shs.Post Paid. CONTENTS PAGE 17th Conference Proceedings 1943 ...... 1— 18 Tlie Mathematical Values of the Notes of the Ragavibodha: Dr. V. G. Paranjpe ...... 19—21 Two New Sabdas on Sri Maharajah Svati Tirunal: Dr. V. Raghavan .. 22 Sri Syama Sastri: S. Parthasarathy ...... 23—26 The Uniqueness of Indian Music: T. V. Subba Rao .. . 27—28 Saint Tyagaraja—A Spiritual Guide: Dr. T. Srinivasaraghavan .. 29—34 Raja Serfojee of Tanjore and Music: C. S. Ayyar .. . . 35—36 Three Kritis of Pallavi Gopala Ayyar: G. N. Balasubrahmanyam .. 37—39 Notation: V. Appa Rao ...... 40 Book Reviews ...... 41 Obituary ...... 42 Notes and Extracts: Havana hasta Vina ...... 26 Sir C. V. Raman on the Mridanga—Amir Khusrau on Indian Music— C. E. M. Joad on Theme-less Music . . . . 28 The effect of good music according to the Chinese—Indian Origin of Greek music ...... 34 Danielou on Inaccurate music and its effect ...... 36 Music in the proposed Maharashtra University—Locana Pandita’s Ragatarangini ...... 42
NOTICE All correspondence should be addressed to Dr. V. Raghavan, Joint Editor, Journal of the Music Academy. Articles on musical subjects are accepted for publication on the under standing that they are contributed solely to the Journal of the Music Academy. All manuscripts should be legibly written or preferably typewritten (double-spaced—on one side of the paper only) and should be signed by the writer (giving his address in full). All articles and communications intended for publication should reach the office at least one month before the date of publication (ordinarily the 15th o f the 1st month in each quarter). The Editor of the Journal is not responsible for the views expressed by individual contributors. All advertisements intended for publication should reach the office not later than the 1st of the first month of each quarter. All books, moneys and cheques due to and intended for the Journal should be sent to Dr. V. Raghavan, Joint Editor. ADVERTISEMENT CHARGES COVER PAGES: Full page. H alf page. Back (outside) Rs. 25 Front (inside) „ 20 Rs. 11 Back (D o.) „ 20 „ 11 INSIDE PAGES: 1st page (after cover; „ 18 „ 10 Other pages (each) ,< 16 » 9 Preference will be given to advertisers of musical instruments and books and other artistic wares. Special position and special rates on application. 5% discount for cash with order. THE XYII MADRAS MUSIC CONFERENCE, 1943 OFFICIAL REPORT.
THE OPENING DAY In the deep stir of the renascent spirit, 22-12-1943 it is not altogether uncommon that the heat and ferment of the moment should The Seventeenth Session of the Annual produce a little ugliness in a perverted Music Conference conducted by the Madras sense of values. We have no doubt that Music Academy was held at the Sri before long the misguided enthusiasts will Sundaresvarar Hall and the National Girls' realize the most obvious truth that wha:; Sehool Hall, Mylapore, Madras. Dr. Sir S. matters in music is not the letter but tlie Radhakrishnan opened the Conference and tone. We have no politics. Our sphere is Venugana Siromani Vidvan Palladam Only aesthetics wherein we stand for all Sanjiva Rao puealided over the delibera that is noblest and best.” tions of the Experts’ Committee. The proceedings commenced with prayer Sangita Kalanidhi Sri T. V. Subba Rao by the students of the Academy’s Teachers’ then requested Dr. Sir S. Radhakrishnan College of Musie. to open the Conference.
WELCOME ADDRESS OPENING ADDRESS j Welcoming Dr. Sir S. Radhakrishnan, Declaring the Conference of the Music on behalf of the Members of the Music Academy open, Dr. Sir S. Radhakrishnan Academy, Sangita Kalanidhi Sri T. V. said:— Subba Rao said: I thank you for your kind words of “ Sir, we esteem it a great privilege to welcome. Your President Rao Bahadur K. V. Krishnasvami Aiyar is a very diffi welcome you into our midst. Proud as we are of your magnificent contribution to cult man, very difficult to resiBt, You may philosophic thought, we venture to claim plead ignorance, illhealth, inconvenience for accepting the engagement. But he is not kinship with you as philosophy and music daunted. He will wait. He will never be in seek to achieve the same transcendental aim. Nothing, therefore, can be more a hurry and he catches you some day or appropriate than that you, a modern repre other to fulfill his purpose. If you find an unsuitable person in this position to-day sentative of the ancient risbis illustrious alike for illuminating both the branches of you know where the responsibility lies. 5 • knowledge, should open our conference and There has been a very useful convention give us the benefit of your sage counsel. in this Music Academy to have laymen to open the Conference and specialists to It gives us no small pleasure to find that preside over the proceedings. Society con our sustained and devoted endeavours dur sists of producers and consumers, of ing the last sixteen years and more have creators and appreciators. We, teachers, borne fruit in the refinement of public know' to what extent our reputations are taste and the increasingly enlightened built on the appreciation of common interest in Sangita which is fast coming crowds. I may say that even laymen have into its rightful place. The music sabhas something to derive from works of art. which have been lately ushered into " A work of art, if it is genuine, if it has existence are but the manifestation of the any aesthetic value, is able to reach the same awakened interest. We regard every consciousness of the spectators and one of them as a sincere tribute to our listeners, even though they may not have, activities. ’ the technical training or Information, M— 1 2 THE JOURNAL OF THE MUSIC ACADEMY [VOL. XV
Your address points out that there is secret of things, goee out and fulfills itself kinship between philosophy and music. In entering into the very soul and rhythm of making that statement you have more or the object and grappling the fundamental less played into my hands and you are truth. So then in philosophy the aim is a supplying me with a theme for a discourse spiritual condition and the result is bliss; this evening. In saying that philosophy the method is discipline and disinterested and music have the same transcendental ness. You find again calm when you go to aim, you are upholding a tradition in music. You have got the very same philosophy which .has been centuries old principles illustrated through another not only in this country but in countries medium. In great music there is the beyond India. We say that salvation is subtle spiritual appeal. It gives you a derived from ‘ jnana’ or wisdom. Buddha sense of the heyond; it takes you to the says that Nirvana is attained b y , treading far away; it lifts you from out of the rut the path of enlightenment and renuncia of mundane existence and it gives you a tion. Jesus Christ tells us that truth shall glimpse into the eternal. It is a means make you free. Wisdom, enlightenment devised by man for conversing with the and truth do not indicate a mere addition Eternity. That is what music is. There to the '‘intellectual furniture. They point fore it is a kind of aesthetic bliss you out that unless individuals are able to derive and that is what is called Brahmti- transcend the mere logical laws, they will nnnda Hahodura. It is, as it were, brother never be able to reach salvation. They and kindred to spiritual bliss that you point out that truth is not merely an have. How axe we to attain it? It was objective state. It is a spiritual condition. again the voice of solitary spirit, the voice It is a level of your being and if you are of true genius. You have to retreat into not able to reach it, however much you the cell, get away from all sordid consider may be skilled in intellectual jugglery and ations of name, reputation and career. scientific ingenuity, you do not attain You have to concentrate in a wholehearted - truth. How can you attain it? What is endeavour on knowing the truth of things the method prescribed? The Greek Philo and giving expression to the vision you sopher, Pythogoras, says that life is like apprehend in the still moments of medita an Olympian festival. It is a motley tion. They are moments of the magic of crowd that gathers there. Different people j the soul when you get the vision and assemble. Some wish to do business and i struggle to give expression to it. The. >. some to win laurels. There are others who life broods into the being of your whole, are mere spectators. They look on and Nature rushes and blends itself and in one they have no practical interest and no quivering instant is able to catch th? intellectual curiosity. They merely watch nature of the ultimate reality. If your and try to penetrate beneath the show of musical talents fail, it is but impaired things to know the roots of realities. concentration. You know in Malavikugni- Those spectators are philosophers, specta mitra the question is raised ‘ Why has tors of all times and of all existence who the painting failed to be true to the are free from the instinct of possessive original ? ’ The answer is ‘ It is due to ness, who have no hatred, no greed, no Sithila Samddhi or the concentration fear, no passion and vindictiveness about | which has become ‘ Sithila ’ or impaired.’ them. But they merely wish to know the i Unless the musical genius is ecstatic, truth of things. They are the people who roaming into the place of mind and heart, are true spectators, who reassemble their he may give you pleasing sound-patterns of energies and pool together their resources, traditional metres; but the magic of music their minds’ instincts and their hearts’ will not be present there. Unless it is emotions. Their very being, in a whole possible for you to raise yourself up into hearted endeavour to grapple with the that highest status, there cannot be true
%, f * PARTS I—IV] CONFERENCE PROCEEDINGS
musical composition. Those people who think of the metaphysics and music of have gone beyond the externalities, who Germany, the sculpture and painting of have delved deep into the mysteries of life, Italy and the frescoes of Japan. We hold it is such people that can give you true up our hands and salute them. From a music. The budding poet asked Dostoevsky I thousand different orchestras and records, ■ I wish to become a poetThe reply was Beethoven and Mozart are pouring out ‘ Go and suiter ’. You know the story of their songs, pleading for reconciliation, the birth of Ramayana. The Sloka came appealing for forgiveness and atoning in from Soka, that is, sorrow, and sorrow is some degree for the grave misfortunes which the German Warlords have indicted the birthplace of song. Intellectual training on a suffering humanity. It is essential will enable you to compose songs, which that so far as music is concerned, it should are the finest type and dignified and very know no politics. It should be above all comforting, but it will never have the things. It stands for certain permanent subtle appeal which true music is expected values of life. When it is prostituted for to have. ephemeral and irrelevent ends, it is not music. It is propaganda, narrow, arid and While therefore it is argued that philo hypocritical (Cheers). sophy and music have a subtle kinship, I think it is not a statement which is You have said that you are happy about altogether unwarranted. In our own the work which your Academy has done. country music has always occupied a very Well, complacency is not a very comfort high place, barasvati is playing on the able feeling. You have said, you have national instrument ot Veena. You also encouraged talents, you have educated lay find that Lord Krishna is playing on the men like myself, you have recognised Flute summoning us all to get into the genius, you have set up standards and depths of life. Nataraja with his Damaru you have popularised the theory and prac and Tandava points out the undulations tice of music. But much more remains to and sway of mortal life on the basis of be done. The world is in the hands of transcendental equable majesty and you sheer intellectual celibates who are devoid find the very tranquility behind. At the of Pity, loveliness and any kind of passion same time you also nnu the chances and and Cnchuntment. Many of us, it is said, changes of life, iou have given to music may be barbarous and illiterate, but we the highest conceivable place possible. have a spark of poetry in our life and hope in our hearts. We may be ignorant, but ' I 4. '-1 . Vour address says: ‘ We have no we are not entirely forsaken. It is neces politics ’. Politics and economics are things sary, therefore, to reintroduce into our which divide us and make us concentrate modem consciousness, feelings of pity and on the goods of the world, goods which are (loveliness and there is no higher instru diminished by sharing. But philosophy ment than music which can serve these great ends. I know you have done great and religion, art and literature are unify .■work. I congratulate you on the work ing agencies. You know we are fighting you have done. I wish you more years of to-day against the Axis powers. Why? Not usefulness and success. And I hope that because of their art and literature, you would be in a position to say that all not because of their religion and philo vulgarity has been wiped out and that sophy but because, of their politics and loveliness has become a part of the daily economics. We protest against their expan life of South India and in that way you sionist ambitions. We protest against their will be able to secure a memorable position mechanical inhumanity. We are indignant for your Academy. . Music is a great when we look at their ambitions. But reconciler not merely in the world but also 4 THE JOURNAL OF THE MUSIC ACADEMY [VOL. XV in this country. There are Hindus and Academy on its publication side; and by Muslims, people of (the North and the collecting all musical instruments now in South who have been at work on it in this use in India. country. Now we have had the shock and stimulus of alien discipline and western Mr. Sanjiva Rao, continuing, referred harmony. New experiments have to be to the great musical heritage of our land tried and new modes, of expression have to and instanced Purandara Dasa, Jayadeva, be organized. But they should remember Tyagaraja, Muthuswami Dikshitar, and that tbe essential function of Music is to Syama Sastri among the galaxy of bhaktas give expression to the mind of the people, who had sought and realised the Infinite and the poetry which lived in the heart of through the path of devotional music. He us all. May this Academy live long and continue to serve in the years to come the explained in detail the traditional belief great cause of the reconciling mission regarding the evolution of the seven musical which is associated with all great art. notes, five talas and the various Instru (Cheers and applause). ments from the five faces of Isvara. Point ing out the importance of the voice to a t»r. Sir S. Radhakrishnan then declared singer he stressed the need for training. He the Conference open. compared the unmusical man to a cow with Lady Venkatasubba Rao proposed a vote out its tail and horn. The instrumental of thanks to Dr. Sir S. Radhakrishnan. player should also train himself to get a nice and delicate touch so that he may produce ELECTION OF THE PRESIDENT pleasing music. Bhava was an equally Sangita Kalanidhi Tiger Varadachariar important aspect of music. Mr. Sanjiva proposed Venugana Siromani Vidvan Pal- Rao here pointed out how even animals ladam Sanjiva Rao to the Presidentship of appreciated rasas in music. Speaking of the Conference. Sangita Kalanidhi Musiri the effect of music, the speaker mentioned Subrahmanya Ayyar seconded and-Sri T. L. how Ravana was able to win Siva’s bless Venkatarama Ayyar supported. ing by singing and how Sundaramurti Taking the chair amidst cheers, Venu Nayanar, by chanting Tevaram, brought a gana Siromani Vidvan Falladam Sanjiva child back to life. Tanjore Veera- Rao delivered his presidential address: raghavayya is said to have produced the breeze of the spring by singing Vasania PRESIDENTIAL ADDRESS raga in summer. Venkatamakhi eradi By Venugana SiYomani cated famine by singing Ritigaula and Muthuswami Dikshitar brought rain by Vidvan Palladam Sanjiva Rao. singing Amrutavarshini. After expressing his appreciation of the varied activities of the Academy during Mr. Sanjiva Rao pointed out that, among past years, Mr. Sanjiva Rao said that the important qualities of a gayaka (singer), the institution could widen its scope by were good voice, modesty, ability to sing offering instruction in its Training College, in three sthayis, knowledge of languages, in Vina, Flute and Violin also: by taking rasa and bhava, self-confidence and eager steps to popularise Bhmata Natya,- by ness to widen his knowledge. A singer btuilding up a library of treatises in music, should also try to avoid physical contor old and recent, which would help the tions, while singing. . $ CONFERENCE PROCEEDINGS
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Qu>m usenn evymL-uj 06mn6miEis%siru untf QjDgpio Q.eir6ir ^LSe&^pJsmd-iLiu) Qsirifl j § ) ® 0 sufti$0s(xu) e& penned spfySQui M g^dgppp J THE SECOND DAY Pantuvarali definitely took Antara Gan dhara and sang appropriate parts of songs 24-12-1945 with sancharas clustering around Pan- The deliberations of the Experts' Com chama, descending down to Antara Gan mittee of the Academy began with Vidvan dhara. Venugana Siromani Palladam Sanjiva Rao The President decided that only Antara in the Chair. Gandhara should be used in Pantuvarali. The Lakshana of Raga PANTUVARALI Gri C. S. Iyer agreed with this view. The lakshana of Raga Pantuvarali wan Then there was a discussion as to whether the raga is a mela or a janya taken up for re-consideration, at the suggestion of Sangita Kalanidhi Sri Tiger raga. The majority was of opinion that Varadacharlar. it was a janya of the 51st mela. Tiger Varadachariar was for using THIRD DAY Sadharana Gandhara in Pantuvarali, and 25-12-1943 sang " Vadera ” with Sadharana Gandhara. The President Sri Palladam Sanjiva Rao Vidvans Semmangudi Srinivasa Iyer, took the chair. Valady Krishna Iyer and others were of opinion that " Vadera ” should be rendered eONDOLENCE only with Antara Gandhara, according to practice, and demonstrated it by singing The following resolution was moved appropriate parts of the song. Sangita from the chair and passed, all the Kalanidhi T. V. Subba Rao was of opinion members standing :—“ This Conference that > a number of pieces sung in Pantu expresses its deep sense of sorrow at the varali took only Antara Gandhara, though demise' *, .of Sulamangalam Vaidyanatha it was a slightly flatter variety. Prof. Bhagavatar.” P. Sambamoorthy said that Pantuvarali PANTUVARALI was an old raga, and took only Antara Gan dhara, and should be taken as belonging Then further consideration of Pantu to the 51st mela. Dr. Srinivasaraghavan varali raga was taken up. Sangita Vidvan said that he had heard “ Vadera ” and Parupalli Ramakrishniah Pantulu stated ‘‘ Appa Ramabhakti ” with Sadharana that the songs which are said to be in Gandhara; but he had. heard “ Siva Siva ” Pantuvarali are rendered with Antara and “ Sambho Mahadeva ” with Antara Gandhara though according to the sastra, Gandhara. He also sang some Kshetrajna Sadharana gandhara should be used. In Padas with a Gandhara which was some view of the practice, he would call the what above Sadharana Gandhara. Both present-day Pantuvarali the same as Kama- Sri T . V. Subba Rao and the President vardhani. Vidvan Valady Krishna Iyer were of the view that padas ought not to sang “ Apparama ” and said that the be relied on totally for Raga lakshana. Sri prayoga of “ p m r ” would suggest that T. L. Venkatarama Iyer stated that it is a janya. Sri C. S. Iyer stated that Kirtanas of Dikshitar with Antara Gan Pallavi Doraiswami Iyer had composed dhara were stated to be in Ramakriya Kirtanas in Pantuvarali with Antara Gan Raga, and those with Sadharana Gandhara dhara, and that we should class Pantu were said to be in Pantuvarali. The varali under the 51st mela. Tiger Varada majority was of opinion that the songs chariar said that if we retain the name rendered in Pantuvarali took only Antara Pantuvarali we must have Sadharana Gandhara. Sangita Vidvan Bharatam Gandhara; if we use Antara Gandhara, it Nallur Narayanasvamy Iyer stated that must be called Kamavardhani. Bharatam THE JOURNAL OF THE MUSIC ACADEMY [VOL. XV “ Intaluka” the Ata tala Varna in should be used as an alpa prayoga in Natakuranji by Kuvanasvamayya. Sangita appropriate places and should not occur Kalanidhi Musiri Subrahmanya Aiyer sang frequently as a long note; and that “ d p Ninnuminchina of Srinivasayya wherein m g r s ” is not admissible. Sri T. .:y. all prayogas except “ m p d 11 s ” were Subba Rao was for adopting s r g m d n s heard. Vidvan T. K. Jayarama Iyer sang and s n d m g s as arohana and avarohana the charana o£ the Varna “ Tsalamqla ” and iHcikiJQg special mention of all the wherein “ n d n p d n s ’' was mostly other sancharas above referred to ^ heard in the arohanakrama. Sri C. S. Iyer characteristic of the raga. Sri Tiger said that “ m d n s ” was only a visegha Varadachariar agreed with Sri T. V. Subba sanchara and that it should not be Rao, and the P re se n t accepted this view. incorporated in the arohana, for which he The Conference accordingly decided that cited the authority of the book of the late Natakuranji is a janya of the 28th mein; Palamaneri Svaminatha Aiyer op Raga that its arohana and avarohana are “ s r g Lakshana, and stated that the arohana and m d n s add s n d m g s 7. “ m n d n p avarohana of the raga should be only d n s ” is a very characteristic prayoga. “ s rgmndnp dn s—s n d m g s ” . The following prayogas are also to be The President proposed “ s r g m n d found in practice? “ g m r s; g m p g r s; n s—s ndmgrgs” for acceptance as m g r s (as a rare prayoga); n d p d n: the arohana and avarohaha of the raga s d p m g m p g r s ”. This is an ancient and said that other prayogas were only chaya raga and should be rendered visesha sancharas. according to tradition,. Further consideration of the lakshana of Dr. L. Muthiah Bhagavatar, speaking the raga was adjourned. on this decision, stated that in the Brhaddesi of Matanga, alpa panchama is DEMONSTRATION stated to be admissible. He also stated Vidvan Tiger Varadachariar then gave that he had in his possession a complete an exposition of raga alapana and tanam manuscript of the Sangita Sudha of King singing, beginning With an elaborate ala Raghunatha Naik of Tanjore, containing pana of Durbar and tanam in the same chapters not yet published, and that it also raga and following it with an exposition of stated the same fact. The raga could be Nayaki. He then Sang Hamsadhvani and rendered only with traditional knowledge. Mayamalavagaula and the charana of Panchama was at a time totally absent. It “ Vidhulaku ” with niraval and svaras, and came only later, and should - be sparingly concluded his exposition with Madhya- used. In the Da^avatara ragamalika of mavati. ^ Maharaja Svati Tirunal, that part which SIXTH DAY is set in Natakuranji almost omits pan NATAKURANJI chama. The appropriate* part of the raga 28-12-1943 malika was rendered and demonstrated by The Conference opened with Brahmasri a disciple of his. Sri Tiger Varadachariar Palladam Sanjiva Rao in the chair. agreed with this view and reference was Further consideration of the lakshana of made to (he Natakuranji gita in the Natakuranji raga was taken up. Sangraha Chudamani. With the decision Bharatam Nallu.r Narayanasyami Iyer already mentioned, the discussion of the expressed his opinion that “ s r g m n d lakshana of raga Natakuranji was con n p d n s ” should be taken ae the arohana cluded. and s n d m g s as the avarohana. All DEMONSTRATION other sancharas, already discussed, are Then Sri Palladam Sanjiva Rao gave a admissible except “ m p d n s ”. Sri C. S. demonstration of various ragas on the Iyer agreed with this view. Vidvan Valadi flute to the accompaniment of violin. He Krishna Iyer was of opinion that panchama stated that the tradition^ mode wag to PARTS I—IV] CONFERENCE PROCEEDINGS indicate at first tbe arohana and avaro- NOTATION - i-i hi hana of the raga and follow it up with Then the consideration of the sub a short outline. Then the raga should be committee’s report on notation was taken developed upwards from below. He first up. Sri C. S. Iyer explained the necessity played -Bhairavi* and after an elaboration for notation. To preserve the form of the of the raga, rendered the pallavi “ Nata- songs, it is essential that the gamakas raja Dayaaidhe ” . He explained how the shouid be indicated. The Ettaiapuram padagarbham ought to be strictly observed. publication of Sri Subbarama Dikshitar The practice of introducing alapana bits has edited the kirtanas of Sri Dikshitar without svaras, amidst pallavi singing, is and a few pieces of Tyagaraja, Syama an innovation and was not adopted by the Sastri and others with such gamaka, signs. older musicians. He stated that in singing ' It is necessary that the kirtanas of niraval, the setting of the words of the Tyagaraja aud Syama Sastri should be sahitya in the appropriate places of the published with those gamaka signs, so that tala avartas, should not be disturbed; their form could be preserved for all times. manodharma should play oply in the free It is desirable that before the centenary elbow-room afforded in the inter-spaces of Tyagaraja his kirtanas should be between the sahitya syllables; and at the edited with the symbols. The Ettaiapuram same time the rhythmical pattern of the edition has given eleven symbols. The tune should be strictly adhered to. And article by Srimali Vidya published in while singing kalpana svaras, one should Vol. XIV of the Journal of the Academy, not do short bits of alapana. He also adopts these eleven symbols and three pointed out that in olden days the prac more, so as to bring out all the gamakas. tice of singing raga in bits, each bit being He also proposed that those symbols be reproduced by the violinist, was not in thereafter adopted in writing the kritis and vogue, and condemned the habit of dissect that the kirtanas of Tyagaraja be published ing the alapana into so many bits. On with the fourteen symbols. ;. n is the other hand the violinist should closely Sri T. V. Subba Rao wanted that there follow the vocalist while the latter is should be a demonstration of the symbols doing alapana. The violinist should' take before they could be adopted. Dr. Muthiah up the raga only after the entire alapana Bhagavatar also desired that at least a is finished by the vocalist. Then he played piece should be rendered with notation and Natakuranji, showing the several sancliaras the symbols written out on a black-board so as decided. He played with “ s v g m d that all might understand these signs. n s and s n d m g s ” , with alpa pancliama. On the resolution of Sri C. S. Iyer being With that the proceedings came to an end seconded by Si i T. L. Venkatarama Iyer, for the day. Dr. Muthiah Bhagavatar supported it. - - v’ SEVENTH d a y LANGUAGE TN AltJStC NATAKURANJI At this stage the President drew' the 29-12-1943 attention of the Vidvans to‘ the resolution The Conference opened with Brahmasri passed by the Tamil Tsai Conference that Palladam Sanjiva Rao in the chair. With in the Radio programmes of Trichy, there reference to the discussion on Nata should be 80% songs in Tamil, and that kuranji; Sangita Vidvan R. Ramamurti in the Madras Radio, there should be 40% Iyer, a disciple of the late Palamaneri Tamil scihgs, 40% Telugu songs and 20% Svaminatha Iyer, sang the Dasavatara other songs. The President, disagreed with ragamfilika, “ Kafnala ” of Svati Tirunal this resolution and wanted the Vidvans to in ragas Mohana, Bilahari, Dhanyasi, express their opinions. Saranga, Madhyamavati, Afhana, Nata The following resolution was moved by kuranji, Darbar, Anandabhairavi and the chair : “ This Conference is of opinion Saurashtra. that in the interest of classical music it THE JOURNAL OF THE MUSIC ACADEMY [VOL. XV is not desirable to prescribe any percentage any particular language for the songs to of songs in any language in tbe recitais be sung by musicians is to create quarrels in public concerts, Radio programmes or which may lead to utter chaos. True music in University Syllabuses and that the knows no language, but the beauty of kritis of the classical composers should sounds is appreciated by every person im occupy a predominent place therein.” bued with a high degree of aesthetic sense, Sangita Kalanidhi Dr. Muthiah Bhaga- and so long as songs like “ Endaromahanu- vatar said that there could be no two bhavulu ” are sung, the standard of our opinions on the desirability of passing this classical music will not go down, resolution. They should oppose the resolu Vidvan Sesha Iyengar stated that if the tion passed by the Tamil Isai Conference, resolution of the Tamil Isai Conference and pass this resolution unanimously. were adopted, good music will disappear. Vidvan Parupalli Ramakrishniah Pan- New songs cannot come into being by tulu stated that karnatic music was the plagiarism. The Tamil Isai Conference common property of Tamil, Telugu, Kerala resolution is not one the object of which and Kannada provinces. The songs of is to improve 'music. Tyagaraja, Dikshitar and Syama Sastri Sangita Kalanidhi Dr. Muthiah Rhaga- are in Telugu, Sanskrit and Tamil. There vatar observed: Music has been gradually are other eminent composers also in these evolved as a result of the labours of several languages. It is desirable that in the generations of masters of music. I very interest of good music we should support much regret that at the present day move this resolution of the Academy. ments should arise for bringing down Sangita Kalanidhi Vidvan Musiri Subrah classical music. I do know Tamil songs in manya Iyer stated that it was originally plenty. I have also composed songs in required in the Tamil Isai movement that Tamil and I took a leading part in the only the first and last songs should be in Tamil Lovers’ Conference in 1932. But I Tamil; but now the resolution is that 80% never sold myself nor my culture away to should be in Tamil. Of course we do sing any movement. Let us not enslave our good Tamil songs and in a good number. art to the dictation of others. My soul But it is regrettable that many persons has been enraptured by classical music and who do not know music have sponsored the the great songs of the classical composers Tamil Isai Sangam resolution. There should cannot be forushed aside. Let us not sell be no linguistic restriction in music pro ourselves or our musical culture. grammes and Vidvans should be left to Sangita Kalanidhi T. V. Subba Rao themselves to select their songs. expressed his opinion as follows: To fix Vidvan Semmangudi Srinivasa Iyer a percentage of songs with reference to stated that the controversy about the any particular language is to make a language is most deplorable. We sing only woeful confusion between literature and good songs, and that is why the kirtanas music. Sangita is solely the art of express of classical composers have been sung over ing beauty in sound; and to require the and over again by successive generations. aid of language is to reduce its power. We will only follow them. Good music The grandest achievement of Karnatic cannot be dictated to us by the lay, and music is Raga, which knows no bounds. democracy in music is an evil. The Radio To insist on language in musical composi should not insist on programmes in parti tion is to be deaf to the highest beauty of cular languages. It is a sin not to sing music. There is none so deaf as those classical songs to which we owe our know who will not hear good music in whatever ledge of music. language it may be. Vidvan Valadi Krishna Iyer supported Bharatam Nallur Narayanasvami Iyer the resolution and stated that insisting on said that the sahityam in *11 musical com ° 1 PARTS I—IV] CONFERENCE PROCEEDINGS 13 positions whether in Telugu, Tamil, Mala EIGHTH DAY yalam, Kannada or any other language SRI SVATI TIRUNAL DAY has the same musical background. He con 30-12-1943 demned the new movement strongly. Vidvan Palladam Sanjiva Rao took the Sri P. S. Sundaram Iyer, B.A., l.t.. chair and requested Sangita Kalanidhi Dr. Member, Expert Committee of the Aca L. Muthiah Bhagavatar to deliver a dis demy, said that he was anxious to have the course on the greatness of Maharajah policy of the Music Academy defined with Svati Tirunal. reference to the Isai movement which Sangita Kalanidhi Dr. L. Muthiah Bhaga is shaking the foundations of Karnatic vatar gave a brief account of the life of music. He was glad that this resolution Maharajah Sri Svati Tirunal. Tbe Maha had been moved. He was of opinion that rajah acquired knowledge of several lan Vidvans should sing only good songs of guages, learnt music, painting and other great composers (in any language) and allied • arts. He patronized several musi that they should not be bound in any cians. His kirtanas brim with a great manner, and that they should assert number of alankaras such as svarakshara. themselves. Sri Muthiah Bhagavatar sang a piece of Svati Tirunal in Asaveri: “ Palaya mam”, The President, Vidvan Sri Phlladam and showed the svarakshara beauties in Sanjiva Rao stated that he used to receive the same. His court was ornamented by letters from the* Radio asking for a good number of Tamil songs. He once sent a eminent Vidvans from Tanjore such as the piece beginning with the words “ Epda disciples of Sri Dikshitar and Tyagaraja. He has composed kirtanas for the utsavas Vande ” in Tamil, and it was admitted to in the temple, kirtanas specially intended be a good song. Only it was “ Maru- for the Navaratri celebration, dance songs, balka ” with the beginning words alone etc. He has composed high-class kritis, coined by himself. This shows how much of musical culture those who cry for varnas, padas, ragamalikas and many other beautiful songs. Tamil songs have. In truth, good music will suffer a lot if the T a m il Is a i resolu The Bhagavatar paid a tribute to His tion is adopted. Highness the present Maharajah of Travan- The resolution moved by the chair was core and his interest in music and other unanimously passed. arts, to Her Highness the queen mother Setu Parvati Bad, as well as to the versatile With reference to this resolution of the scholar and Diwan, Sachivottama Sir C. P. Academy, Sangita Kalanidhi Ariyakudi Ramasvami Iyer, K.C.I.E., for their boun Ramanuja Ayyangar made the following teous patronage of music. statement: “ I concur with what Gayaka- The President Sri Palladam Sanjiva Rao sikhamani Muthiah Bhagavathar has said thanked Dr. L. Muthiah Bhagavatar for at the Experts’ Committee meeting. Tt is his enlightening discourse and requested a very just presentation of the case. In the Vidvans present to give a recital of the interests of the art of music, it is select compositions of Maharajah Svati very necessary to sing the compositions of Tirunal. the classical composers in a prominent degree. The question of language cannot Sangita Kalanidhi Ariyakudi Ramanuja and should not be allowed to interfere Iyengar sang ” Sarasaksha ” in Rama- where the interests of good music are kriya (Pantuvarali) and “ Mandaradhara *’ concerned. The aim should be to keep in Todi. Sangita Kalanidhi Musiri music on the highest level attainable and Subrahmanya Iyer sang “ Rasavilasa ” in consistent with this aim compositions in Kambhoji and " Sriramachandra ” in whatever language should be sung.” Huseni. Travaucore Samsthana Vidvan THE JOURNAL OF TttE MUSIC ACADEMY [Vo l . x v Semmangudi Srinivasa Iyer sang “ Jaga- He explained the interrelation between dI6a ” in Natakuranji and “ Ramachandra akshara, svara and laya as they occurred Prabho ” in Sindhu Bhairavi. Travancore in song and in dance. He explained the Samsthana Vidvans G, N. Balasubrah origin of the Bhagavata Mela of dancers manyam and Aiattur Sivasubrahmanyam of Meraitur and other villages, under the sang “ Kripaya Palaya ” in Charukesi, and patronj^ge of the Tanjore kings. He Travancore Samsthana Vidvan G. N. Bala explained the prastara of tala and how subrahmanyam sang “ Sankara ” in Ham- jatis are built in dance and how rhythm sanandi. Vidvan Tanjore Lakshminarayan is used in compositions like the pancha- Iyer sang “ Parvatl Nayaka ” in Bauli. ratna of Tyagaraja. Referring to the four Srimatis Lalitangi and Kuma^ri Vasanta abhinayas of dance, he said that the sang “ Padmanabha Pahi” in Hindola. rhythm should be kept by the feet, the music by the voice, the gestures by tbe The following Vidvans took part as hands and the emotion by the eyes. accompanists in the above recitals:—San gita Kalanidhi D. Venkatasvami Naidu, CONCLUSION tu Vidvan Mayavaram Govindaraja Pillai, Winding up the conference, the Presi Vidvan Paighat Mani Iyer, Vidvan Palani dent, Vidvan Sanjiva Rao, gave a resume Subrahmanya- Pillai* Vidvan Venu Naicker, of the proceedings of the committee in the Vidvan Balasubbarayalu, Vidvan Gopala last eight days. On behalf of the Vidvans krishnan and others. assembled, Gayaka Silftmmam, Sangita The proceedings for the day came to an Kalanidhi Dr. L. Muthiah Bhagavatar end with a vote of thanks to Sangita thanked the Academy fo r . organising the Kalanidhi Dr. L. Muthiah Bhagavatar and discussions of the Experts’ , Committee and the musicians who took part in the pro referred to the attainments of Vidvan ceedings, proposed by Sangita Kalanidhi Sanjiva Rao and paid a tribute to his Sri T. V. Subba Rao. Guru the late Sri Sarabha Sastrigal. Gayaka Sarvabhauma Parupalli F.ama- NINTH DAY > ■ * - krishnayya Pantulu also gave expression 31-12-1943 to similar sentiments. The 17 th Annual Conference of the Rao Bahadur K. V. Krishnasvami Aiyar, Experts’ Committee of the Music Academy President of the Academy, expressed the concluded its deliberations today. Vidvan thanks of the Academy to the President Palladam Sanjiva Rao presided. of the Conference, the Members of the 8 AM AN SINGING Experts’ Committee, the Maharajahs of Mysore, Travahcore and Cochin, the Rajah of The daughters of Sri G- Mahadeva Aiyar Chettinad, the donors of medals and prizes of Parur sang two Samans set to music by for the several competition^, the Press, the their father. Sri 'Mahadeva Aiyar explain Vidvans who acted as judges in the com ed how he set these Samans in Kharahara- petitions, the Vidvans who gave the con prfya (Kafi of North India). certs, the authorities of the Rasika Ranjani Vidvan R. Ramamurti Aiyar, a disciple Sabha and of the Mylapore Girls’ High of the late Gayaka Siromani Palamaneri School, the boy scouts, the students of the Svaminatha Aiyar, sang the DaAavatara Teachers’ College of the Academy, * the Ragamalika (Kamala) of Sri Svati Tiru Corporation authorities and tlie Police, nal. .. Sri Ramasubban and his daughters who gave a concert on the opening day, to LECTURE ON BHARATA Messrs. Vernon& Co., to the Director of Bharatam Nallur Navayanasvami Aiyar the All-India Radio, Madras, hnd the gave an exposition of tlie principles of Members of the Executive Committee of Bharata Sastra, Bhava, Raga and Tala. the Academy. m 16 THE JOURNAL OF THE xVIUSIC ACADEMY [VOL. XV IndiaU Fine Arta Society, The Mylai The first Sadaa was accordingly held last Sangita Sabha and Rao Saheb T. D. Nara- year when the title of Sangita Kalanidhi yana Iyer were pleased to give donations was conferred on the President of the year for the award of gold medals and prizes to and the former presidents. the successful candidates and the medals Today we have met to honour Sangita were given away to the prize-winners by Vidvan Palladam Sanjiva Rao who occupies Sri S. V. Ramamurthi, I.C.Si, at the an eminent place among the Vidvans in Academy's ‘Sadas’ held on 2-1-44. Karnatic music by his knowledge and experience. He has presided over the Con THE ACADEMY SADAS ference this year with distinction and it has The Academy, Sadas was held on 2-1-44, been decided to confer the title of Sangita when Sri S. V. Ramamurthi, I.C.S., pre Kalanidhi on him. sided. Welcoming Sri S. V. Ramamurthi, With the object of encouraging knowledge I.C.S., on behalf of the Music Academy, and appreciation of classical music, the Sri T. L. Venkatarama Iyer said, Music Academy has been holding competi " I have great pleasure in requesting you, tions for amateurs in various branches of Sir, to preside over the Sadas today. This music. As usual, this year we held competi is the second of its kind which we hold. tions in Vocal, Vina, Violin, in the padas It may not be inappropriate to mention of Purandaradas and Kshetrajna, in Svati the circumstances under which the first Tirunal’s kritis, in Tamil songs and in Sadas was held last year. The principal Pallavi singing, in which men and women object of the Music Academy is to preserve competitors took part. It is a matter for standards of classical music and to enable great satisfaction that these competitions an ever increasing circle of Rasikas to were well conested and largely attended and understand and appreciate them. We are that the standard of artistic excellence dis endeavouring to achieve the object in many played therein was high. ways. We are publishing a journal devoted As a person of wide culture and high solely to the exposition of music; running thinking, you, Sir, have an abiding interest a Teachers' College of music wherein in music, and we consider it a privilege to classical music is taught in the traditional welcome you here today and to ask you to style; publishing ancient treatises on preside over this Sadas ahd present the music not hitherto printed and holding con Biruda Patra and the insignia of the title of ferences wherein Sangita Vidvans and Sangita Kalanidhi to the president of this year’s Conference, Vidvan Palladam Sanjiva experts discuss technical problems relating Rao, and award the medals and the prizes to music and settle controversial points for to the various prize-winners, and the the guidance of practising musicians. Diplomas to the successful students of the These conferences are presided over by Vidvans who have attained distinction in Academy’s Teachers’ College of Music.” Rao Bahadur K. V. Krishnaswami Ayyar the theory and practice of music. then presented Sangita Vidvan Palladam As the premier Academic Institution, wo Sanjiva Rao:— also confer titles of distinction and honour “ Sangita Kalanidhi Palladam Sanjiva Rao on deserving musicians in recognition of was born on October 17th, 1882, at Palladam their achievement. The Academy after in the Coimbatore District, as the third son having passed through the stages of infancy of Sri Venkobachar, a well-known Mfintrika. in carrying out its ideals felt that the time Learnt his first lessons in Music, both on had come when it should start conferring the voice and the violin under his elder titles. It was decided to confer the title of brother Sri Prananathachar, himself n d's- Sangita Kalanidhi in the first instance on ciple of Shatk&lam Narasayya of Salem; the Vidvans who had been Presidents of tbe later, decided to learn the flute, migrated to several conferences of the Music Academy. I Kumbhakonam and became a pupil of the PARTS I— IV] CONFERENCE PROCEEDINGS 17 late Sarabha Sastrigal; has had a long dis Sangita Kalanidhi Sri Tiger Varada- tinguished career as the leading Flute chariar said that the Academy was a Vidvan for about forty years; has been promoter of high class music—classical honoured with the title * Venugana Siro- music, as it was developed by masters and mani ’ by H. H. the Svamigal of Sri Uttaradi gifted composers of the past. While the Mutt; is well-known to his large audiences Music Academy has rightly taken over the for the Rakti and Madhurya, for the softness patronage of musicians from Kings’ courts, and delicacy of his style” . the Vidvans enjoyed greater liberty h»re than in the courts. He paid a high tribute He then requested Sri S. V. Ramamurti to the soft and delicate style of Vidvan to present Sri Palladam Sanjiva Rao the Sanjiva Rao. Sanad and Insignia of the title and Sri S. V. Ramamurti presented the Sanad and Sangita Kalanidhi Sri T. V. Subba Rao Insignia. congratulated Vidvan Sanjiva Rao on the deserved honour conferred upon him. He Sangita Kalanidhi Dr. L. Muthiah Bhaga expressed his feelings of admiration for vatar first congratulated Sangita Kalanidhi the greatness of the guru of Vidvan Sanjiva Rao, the late Sarabha Sastrigal, who it was that raised the flute to the high status of a primary concert instrument which it now enjoys, as well as to the artistic abilities of Sri Sanjiva Rao, who shines as a worthy student of that great master. Vidvan Sanjiva Rao thanked the Aca demy for the honour done to him in a; suitable manner. The Chairman next distributed medals to the successful candidates in the music competitions held by the Academy, and the diplomas to the successful candidates in the Government Examination at the Tea chers’ College of Music. Sri S. V. ItAMAMURTI’S ADDRESS In the course of a thought-provoking speech, Sri S. V. Ramamurti expressed his thanks to the Academy for giving him the Palladam Sanjiva Rao. He said that the ‘ opportunity to participate in the Sadas for Music Academy had rightly taken the conferring the title to Vidvan Sanjiva Rao, status of the Courts in patronizing eminent musicians. The Music Academy should be who had established his name as a master taken as a model institution, the mother in playing flute, and whose name was a of ither music institutions. He observed household word throughout South India. that Vidvan Sanjiva Rao highly deserved In honouring him they were honouring the honour conferred on him. Sanjiva Rao themselves. They must be grateful for the is the seniormost Sangita Vidvan and the Academy for the institution of such titles most experienced flutist. He prayed for the and medals, whereby the public were welfare and long life of Vidvan Sanjiva enabled to give expression to their senti Rao and wished for his continued service ments of respect and affection for the great to the cause of music. artistes of South India, He also congra- M— 3 [VOL. XV 18 THE JOURNAL OP THE MUSIC ACADEMY tulated the prize winners and hoped that university of arts, where we had music, more boys and girls would compete next dance, painting and sculpture housed. Our year and win more prizes. On the first day life too has been a university of arts, with of the opening of the Academy Conference, its Carnatic music, Bharata Natya, Ajanta Sir S. Radhakrishnan had said that music paintings and Chola sculpture. Our archi was as high as philosophy, and he himself tecture is the symbol of our arts. A little was the pilot who took them high, not on while ago an English friend of mine who wings, but on words. After they had flown high for the past ten days in the music visited Madras, asked whether we have world, it was his (Chairman’s) duty at not any museums of paintings and sculp this function to bring them down to the ture. I told him our art was not secular, ground. (Laughter). but religious and that he should visit our temples, where our arts of the remote ages Need for Annual Festivals of Arts were proudly depicted. Our present day Proceeding, the speaker said that while art is dull and amorphous. Therefore, I he considered music was as high as hope that in future the Music Academy,'in philosophy, it was also as low as arith collaboration with the Fine Arts Society, metic. Arithmetic was one of the three will arrange such annual festivals of art?? R.’s they had to learn. When he went like this for music, dance, painting aid through the simple grammar of music sculpture for the enjoyment and benefit of written by C. Subramania Aiyar, he found the public. The Chairman concluded his the frequencies of the 22 ‘ srutis ’ could remarks, congratulating the Academy on be expressed on a simple arithmetical basis, ; its successful session. as was stated by Ranade. There was j affinity between arithmetic and music. Mr. E. V. Sundara Reddi proposed a vote They all knew what great freedom music of thanks to the chairman and the $*das had exercised in expressing joy and beauty concluded with music by the prize-winners. and pride and humility. “While arithmetic Notation Committee Proposal Accepted is the malted food suitable for the tender digestion of the children’s heads, music,” The Music Academy Conference accepted he said “ is another form of malted food, the recommendation of the sub-committee suited to the tender understanding of the appointed to go into the subject of notation children's hearts.” That is why we see how and approved the introduction of 14 gamaka wide-spread is the interest of the public in symbols for purposes of writing songs in music. W e are apt to think that we are notation. artistically alive. But that feeling of wide interest is marred to some extent when we find that the malted food is being adver THE ACADEMY DAY—2-1-1944 tised as suited' to children as well as The member’s day celebration which, was , invalids. (Laughter.) Some time ago I first started last year was continued th ' , designed a temple of man, with four year as well and was held on 2-1-44. After prakaras—for children, students, citizens and saints. Likewise, we can see in music, light refreshments in the morning, tfere the art of children, in dance, the art of was a very enjoyable programme of music youth with its joy and energy of life, in by the members of the Academy and their ♦ painting, the art of middle age, expressing children which continued till noon. The great hopes and in sculpture, the art of attendance of members was large and great saints, standing apart from life, but able enthusiasm prevailed. to see life all round in its fullness. Our • own temples in South India too are a THE MATHEMATICAL VALUES OF THE NOTES OF AT HE RAQAVIBODHA* Dr. V. G. Paranjpe, Poona Although practically every writer on the older practice given the Srutis for each ancient Indian music refers to the Raga- of these seventeen notes, but his treatment vibhodha of Somanatha, so far as I know, of the Srutis, like that of most of the only Bhatkhande and Deval have tried to medieval writers, between the earliest of determine the modern equivalents of the whom and Bharata there is a gulf of eight notes, but as he does not distinguish centuries or more, is very unsatisfactory. He the Komala from the Atikomula and has understood the &rutis, like his prede the Tivra from the Tivratarh, his cessors, to be unit tones which constitute equivalents are only approximate. Deval the various musical notes and his method has arrived at wrong results. In any of measuring them2 also is very crude. But when he describes the notes actually case both these writers have failed used in music he is very accurate and he to detect Somanatha>’s initial mistake and distinguishes one mela from another when the mistaken consonances mentioned by there is a difference of only 22 cents him. For a correct rendering of Soma- between the notes employed in them. His natha’s music, which has the unique notation system likewise shows a minute advantage of conveying the essentials of attention to the details of musical embel the melodies through notation, it is neces lishments. He is a very fine Sanskrit sary to have exact ideas of his notes and scholar, excelling in both grammar and hence this attempt. rhetoric. That he has a fine ear is clear from the way how he has observed the Somanatha affords us very good material resonances of strings at their nodal points.3 for a reconstruction of Indian music When therefore, with his characteristic at the end of the sixteenth century. He thoroughness he tries to give the ratios of gives a very elaborate system of notation some of the notes amongst themselves we and has composed in this notation charac expect most valuable results from these teristic phrases to illustrate each of the tables of ratios. Musicians, however, are different Ragas current in his days, which not always good at arithmetical or other are themselves classified by him under computations and Somanatha has made a twenty-three mclas. These melas consist small error in writing out his. table of ratios. It must be proved first that he has each of seven notes and the notes thus really made a mistake and then only we employed in Somanatha’s time in all the can, after correcting it, make his tables melas together number 17. Somanatha has yield the desired results. pointed out1 with great acuteness that of the twelve Vikpta notes mentioned by his Somanatha’s mistake arises thus. There predecessors like Sarhgadeva only seven were four types of VIpas in use in his days. are really to be regarded as distinct notes, 0 While illustrating the tuning and the five being identical with the other five of arrangement of the frets for the Suddha- the remaining seven. In addition to these mela Vina with fixed frets he tells us that fourteen notes current in the older music, the first string (beginning from the right) three more notes, he says, were used in is tuned to sub-grave sa, the next one to his own days. He has in conformity with sub-grave pa, the next one to grave sa, and * Paper read at the Oriental Conference, the fourth to grave ma. The notes on the •nares, December 1943. first six frets together with another ■V — . ■■■£"■ ..... ______ c? 20 THE JOURNAL OF THE MUSIC ACADEMY [VOL. XV ‘ special fret ’, according to Somanatha’s In his commentary on I.I.48 he stated description, may be stated as follows: — the notes on frets when the interval TABLE 1 between the strings is that of a fourth. mu' SCl' pa" sa" These ratios may be stated as follows: string string string string TABLE 2 1st fret ^ T m K g - 5 - fa nia sa tna sa 2nd „ S- T g . T g . fa g IT string string string string 3rd no note * r been wrongly shown and this mistake was on verses 29 and 33. If he does not repeat committed either while compiling his table it in the commentary on verse 48, it is only or his verses and he repeats it without because he has recalculated the ratios. The further thought about it in his commentary i correct table would be like this: ma' sa' p a " sa" Fret 1 S- 7 g- ft g- 7 g- fa 7- 7 g. fa g 7 g- fa „ 2 3- 7 g. 7 g. fa g. 7 g. 7 g- 7 g fa g fa — SIT. 7 %. fa tt. 7 — STT. 7 %. fa TT. 7 — Special fretg- 7 — . — g. 7 — — — Fret 4 g. ft g. 7 g. 7 7. 7 g fa 7 7 g. 7 77 „ 5 75. ft g. 7 . g. st g 7 fa g. 7 g. 7 g 7 „ 6 g 7 7. 7. g- fa g- 7 7. 7 g. 7 fa g. 7 xxie original table has been added in the I only musical note that intervenes and opposite column and the corrected note. therefore, ft.ft is 182. i f - sMi > i' - fe-a- "A TWO NEW SABDAS ON •# fi aif sv SRI MAHARAJAH SVATI TIRUNAL ., M $ W| - ■• ititit$K etfk!i0M BY Dr. V. Raghavan In the last volume of this Journal cfiptcl ?mcT%Tq5— (pp. 130ff), I wrote an article on the Sabda composer Kasinatha of Merattfir, «ftfa3Rr*tfErgg- ( w in the course of which I mentioned a palm leaf manuscript from Tiruvarur containing many new Sabdas. Among f a ) the new Sabdas in this manuscript, I HRTT§^ vrfe noticed all those composed by Kaiinatha in the above mentioned article, and here I give the texts of two new Sabdas on the CTT rtf ?rr tff sft c T ^ F T C ^ f royal composer of Travancore, Sri Maha cram n^R Wfe rajah Svati Tirunal (1829-47), known for the first time from this manuscript. The rTTsfa cRRT^T composer is evidently one of the Naftuvanar f^ m f — ^PEvTP-Tfrm^ff— rRKTfaHrqrsfa II Brothers of Tanjore patronised by Sri Svati Tirunal, vis. Sri Ponnayya. ?tr^; (:) BraR ( s ^ ) . cTif5 ^frTT^s ^"dd'fid I qsg — aT^fRtiffcTSEcI rTrrm rlfa ^T Plfq^tcrr- «rt cfa ^tT + rRBfwra iff q%RS cfcSRcTTRcT ct$ tm rfts fe r B T cTfe*[U- ii g^ R fdrR h r r t r q%Rf(qr)v5 TRT# (*r5Rrf<^ I) ritp3t T m m qfT^: cm fffe 5W crf^>wt cfUTRM^rrq qfrsr^f %c f'qr a proper understanding of the contri (He used this as the gnkitam in his bution of Syama Sastri to Carnatic Music compositions). He received sound Sanskrit it is useful and necessary to know some and Telugu education in his early years important, features of his life. They are and learnt the rudiments of music from his worth repeating. uncle who was not much of a musician. In fact he had no musical tradition' in his Syama Sastri lived in the golden era in family and his father, it is stated, definitely musical history. It was the period in discouraged his son from taking to music which Mozart, Beethoven, Schubert and seriously. It was not till he was 18 when Weber flourished in Europe; it was also the family came over to Tanjore that he the age which gave us Tyagaraja, Dikshitar got the real initiation into true sangita. and Syama Sastri. Among Syama Sastri’s It was a sanyasi, one Sangita Svami, who contemporaries in South India wTere the led him into the mysteries of tlie higher brothers of Muthuswami Dikshitar (Chinna- aspects of .musical art. Syama Sastri , swami Dikshitar and Balaswami Dikshi learnt the inner secrets of Tata and Raga tar) ; the disciples of Tyagaraja (Vina during the few months of the Svami’s stay Kuppayyar, Walajabad Venkataramana at Tanjore and on his advice made the Bhagavatar and other1?); Arunachala Kavi- acquaintance of Pachimiriam Adiyappiah, rayar (the author of the Tamil opera the then Asthana Vidvan in Tanjore, who “ Ramanatakam ” ); Gopalakrishna Bharati came to consider Syama Sastri with rever (the author of “ Nandanar Charitram ” ); ence and regard and not as one of his Kavikunjarr. .bharati (author of “Skanda usual sishgas. Pup?1 ... Kirtanas” ) ; Ghanam Krishnayyar f mnposer of Tamil padas); Pachimiriam Syama Sastri’s ancestors had been A Byappiah (Asthana Vidvan in Tanjore); chosen by Adi Sankaracharya to perform Pallavi Gopalayyar; Maharaja Svati Tiru- the puja to Bangaru Kamakshi of Ranchi. ial of Travancore, (the Royal composer); The story of how this idol came to be “ Shatkala ” Govinda Marar (whose talents brought to Tanjore is too well-known to be won the appreciation of Tyagaraja); Para- recounted. This sacred duty of offering mesvava Bhagavatar, Gurumurti Sastri, puja to the Goddess devolved upon Syama Venkataramayya, Manambuchavadi Ven- Sastri on the death of his father. By birth katasubbayyar (who trained the famous and upbringing he was intensely pious and panobaratnart!* "* 'hi 4.uatha Sivan; his devotion to Sri Kamakshi increased by =' ? .,-ua, Sastrigal; 3. Patnam Subrah leaps and bounds and it is no exaggeration manya Iyer; 4. Avadyarkoil Subrahmanya to say that the Lokamdtd spoke to him and Iyer; and 5. Tanjore Venkoba Rao in the inspired the rich musical compositions Science and Art of Karnatic Mur' flowed out of his heart. He was Like the other j^vu. m e m b e rs ' on the a devout Devi updsaka. It has been stated Musical Trinity, Syama Sastri was also that it was Syama Sastri who initiated born in Tiruvarur, of wrhich it is said : Muthuswami Dikshitar into the cult of Devi Bhakti. I have also heard it said 1 a{j}<26v'jSed iS p&sQpiGgl” that Tyagaraja sang his Baveri pieces His year of birth is given as .1763, corres “ Parasakti ” and “ Kanna Thalli ” on an ponding to the Tamil year Chitrabhami, occasion when Syama Sastri met him and Mesha Ravi, Krittika Nakshatra. His asked him if he had not composed any Barman was Venkatasubrahmanya, but he song in praise of Devi. Syama Sastri lived was affectionately called “Syama Krishna” . up to 64 years. It is now 117 years since he passed away. His devoted wife pre *An address delivered on the Syama deceased him by 6 days. Sastri Day of the Academy, 19-2-1944. 24 THE JOURNAL OF THE MUSIC ACADEMY [VOL. XY Syama Sastri’s claim to be classed as oms Judging from the comparatively few of the Trinity is based on the quality of pieces of this composer that are now his inspired compositions. There is an extant it is seen that he perhaps had a individuality about his pieces which, like ^ special preference for “ Anandabhairavil” those of Tyagaraja and Dikshitar, brim raga. Each piece in this raga is an' alapana over with raga and bhava. Different kritis by itself and shows the stamp of high in the same raga have each its own attrac merit. The noara-sahitya appendages are tive form and setting. Like his illustrious a characteristic feature of his pieces as also contemporaries Syama Sastri was a scholar those of his illustrious son Subbaraya of high merit, proficient in Telugu and Sastri. There is a special charm in the Sanskrit alike. He was also well-versed in chapu tala. Syama Sastri delighted in Jyotisha and Mantra sastras. He had using this measure in several pieces. The anugraha and nigraha powers. twara-sahitya part of his “ Marivere Gati ” combining this tala and the “ Ananda- Syama Sastri’s compositions were all ip bhairavi ” raga is a masterpiece that has praise of Devi, whose devout Bhakta he the scholarliness and simplicity of a genius. was. His compositions are in Sanskrit, It is a gem of art. His “ Kamakshi Anu- Telugu and Tamil. His style is not as dinamu” in “Bhairavi” and Chapu tala is simple as Tyagaraja’s; nor is it heavy like much more than a swarajati. It is a treat Dikshitar’s. While the presentation of a and an experience to hear. One does not creative artist is discernible even at the tire of hearing such pieces any number of first rendering a piece of Syama Sastri times. must be studied over and over again if one I should understand its fuller merits. Hence Syama Sastri specialised in the slow the comparison of his pieces to a cocoanut, ! tempo or chovoka or vilamba kala. Some the shell of which must be broken open of his pieces rank with the padas of before it can be taken, while Dikshitar’s Kshetragna in this respect. Their bhava and Tyagayya’s compositions are compared is best brought out only if they are sling to the plantain and grapes, the formet in chotvka kala and their appeal is easily requiring its skin to be peeled off and taken killed by rendering them faster. and the latter ready to be served as it in Syama Sastri's genius is seen not only There is the facile flow of sahitya and In his kritis in the common ragas like sangita in all his pieces, which is nr' “ Sankarabharana ”, “ Kalyani ” , ” Bhai marred by the intricate time measures hr ravi ” etc. His pieces in rare ragas like 1ms adopted in some of them. Specialist " Manji ” , “ Kalagada ” and “ Chintamani ” that he was in the tala system, he has lef< are equally noteworthy. These ragas do ” s manuscripts revealing in detail different not seem to have been handled by others prastaras. and serve as models showing the distinctive Tn fact the rhythmic excellence of hi>* features of the respective ragas. The nieces is stated to have secured the admi “ Manji ” piece also is in chapu tala and ”ition of Tyagaraja, who annoyed at the there is in it a wonderful harmony of raga. had handling of some of Syama Sastri’.* bhava and tala. The words “ Devi Thala- kritis by his own disciples sang the lene ”, properly rendered, cannot but touch “ Chenchukambhoji” kriti “ Vara raga • the heart of a listener. His “ Chintamani ” layajnulu ” . He is said to have composed kriti “ Devi brova samayamide ” , it will be about 300 pieces consisting of kritis. swara- recalled, was occasioned by the visit of jatis. varnas and raga maVkas hut Bobbili Kesavayya who invited Syama natelv only a few are now in voeoe Th's Sastri for a musical contest. Syama Sastri is oerhaos d” " to the fact that, he did uot asked for Devi’s blessings to come out have many disciples around him to sipe , successful in the challenge. They were of and popularise his ppmpositions. course showered on him. PARTS I— IVl SRI SYAMA SASTRI1 25 BkaiiU is of various kinds and a bhakta faith in God and belief in the efficacy of ’ addresses the Supreme Being in various complete surrender to the All-Powerful ways, aa a lover does his beloved, a child Implicit In the statement that he his mother, a servant his master and so knows no other mantra or japa. (tQniQp on. Syama Sastri addressed Divinity as, u>ijir ggUjfuQpm* erjpimCS/B ” are the the ‘ Mother’ whose affectionate protection words he uses in his entrancing Manji the tender child seeks. It is the highest kriti. The idea is repeated also in kind of innocent relationship In creation. his Paraju piece “ Triloka Mata Nannu ” . If Sita and Sri Rama were "Mayamma” Syama Sastri like the others of the Trinity and " Maku Thandrl” to Tyagaraja, Sri shunned earthly wealth and splendour. Kamakshi was " Kanna Thalll ” to Syama They would not sing the praise of Sastri. He prays for the Mother’s grace any ordinary mortal. Syama Sastri’s in his “ Paraju ” kriti “ Triloka mata ideals in this regard are well recorded in Nannu ” where he says, his kritis. In his Madhyamavati piece he asks “ S qs 8irj(is)u& Qiutlsoir iqew-«r HJSffB uopsut ‘ (SsijLD ears firgrr ?” iSebrgp Q®ld0 (Did I get my desires fulfilled by asking QmpajQLbmranptt ” ■ of the ordinary run of men?) Again, in In the “ Madhyamavati ” piece ** Palinchu his Purva Kalyani kriti "Ninnuvina” Kamakshi ” he says, , ... , r V - '<• he says, 44 8H*(y *iruiri£.mrpiv&S sit^ it <• uBwQeorLjsojfi QuirsifL ,,T Qubjsi^l JH^utruQtmL- £jtfiQ£if;8 (?e emifi erujgls *- Besides the praises he showers on Devi Qf3*>,5 ” there are one or two sentiments which (Having spent my days praising misers And repeated expression in his kritis. It and roamed about as a fool I have become is common for a bhakta to abandon himself a slave of desires and my mind is always entirely to the Highest Being, whose pro perturbed). His prayer to the Devi is tection and blessing he seeks. This is of summed up in the swara-sahitya appendage course there in all his Jcriti*. Words to the “ Anandabhairavi ” kriti “ 0 meaning “ I have no one but you to guide Jagadamba": and protect me “ “ If you are indifferent who is there to care for me ” and so on ineareSetfi aSeg}/u>rr ] mifliLitrp Qm) W.*5*S* *•'****? ■& ■ lS4.*rf(BA ." $»m X4 A ■ WMF a? A wnnwNtv. In hie beautiful u Balahanisa ” kriti I anecdotes relating to these, i| g a th er^ " Dandamu Pettenura ” he asks I woui£ he ^ a lp a b l? a cq & ii^ ti^ j :*■» m » S W « think of a .bo^y .more competent ^(j^ader-* 0>U(£#ir- i.,3 £-ffO take these kinds of work than th$ Academy. a a r 0 . s / r /sibu)ip)>'i : v:» u*-.- "*’* I*;?71^w’^1 i i&v fell I ; .„>£ f '' '' *1joM" (Have I been praying to ypu so that I may Ml get fame and wealth in return?). Such THE RAVANAHASTA VINA Mijl instances may be multiplied. They reveal [ 9-rrtr mmM M i sJlR n a striking similarity and it would be Students of Sdnskrlt- Sangita literature Interesting to study them closer. This, as are familiar with a type of Vina mentioned also the handling of the various ragas, therein as Ravapahasta. The Sangita common as well as apurt'u, by the members Ratnakara mentions it in III 209. Its of the Trinity should provide ample scope structural and other peculiarities are not for profitable study. The student of music, given in these works. ■ specially the research workers, whether under the auspices of this Academy or of It will Interest scholars to read the the University, would do well to' take up following in an article on tlie ‘ Folk- such subjects. Llterature of Gujerat ’ by J. K. Meghani in The importance of the celebration of the Vi$va Bharati Quarterly. Nov.-Dc c , anniversary days of great musical giants— 1S4S-44. like today's cannot be overemphasised, specially in these days of musical strife “From the women’s garba-songs, lot us when people have to be kept reminded of now turn to street-singers ’ t ballad-lore. the traditions maintained by the classic The street-singing mendicants fall Into two composers. Unfortunately the interest of | classes: The Bharatan Nath, or more popu the day is not maintained for the rest of larly known as the Itfath Baya, sings, to the year. It should be the endeavour of ! the accompaniment of his Bdvan-hath (the the Academy to arrange to get men trained hand of R&vapa) and the Veragi's instru in the classical tradition and wherever ment is simple EktAra. Ravapahasta has possible, the members of the actual sishya a strangely mythological origin.1 parampara themselves to render the authen o j JJQT i'li’iJ O il S 'W d J 1 i p l l U & vklfll tic versions of the songs of these pillars The Ravap-h&th...... Though of a of music for the benefit of the music crude construction, it is wonderfully melo student and lay public alike. Before the dious. No bigger than a man’s arm, a half tradition is entirely lost to us—there are cocoanut-shell at its one end, a slim perhaps a handful still living who can claim bamboo-piece fixed to it, and a couple of direct contact with it in some manner—it strings on the bamboo, and on them runs should also be preserved for the future in the bow. „ The bow is furnished with a the interests of those receiving musical bunch of tiny jingling brass bells. The training. In the case of Syama Sastri very wielder of Ravan-hith goes from door to many of his kritis have yet to be recovered d o o r...... lie claims to belong t®. and the authentic text of the son?'?' in the hoary yogi cult of Bhartrnhari and vogue must also be settled. We are told Gopichand. The ballads of these two royal that Syama Sastri was of a reserved nature saints ai;e the Nath Bava’e monopoly ..r. .. . and lived a life of self-eontentment and did The fearless Nath B&va roamed over hills not move much out of his place. But, there and dales chanting. t,. T\ . . . .. to the accom should have been occasions for the members paniment of the R&vap hath.’’ of the Trinity to meet each other and a l The story of Ravana stringing his Vina compare notes on their experiences. Subba with a rib torn from his owti body ’during ■* ■ , , raya Sastri, son of Syama Sastry,. jn his his SSmagana is narrated here by the later years studied under Tyagaraja. Any writer. THE UNIQUENESS OF INDIAN MUSIC* BY Sangitakalanidhi Sri T. V. Subba Rao Music, to the informed mind, is the of feeling by a passage of notes. This func perfect synthesis of Art, culture, Religion tion is peculiar to and inherent in the and Philosophy; the supreme knowledge relation of notes. It does not in the least wherein Mind and Matter, Spirit and Body depend upon the aid of significant words. attain their blissful unity. In this quality alone lies its universal appeal to All sentient beings. Insistence Those who have made a comparative upon the admixture of any particular study cannot fan to be struck by the language for makmg its appeal understood,^, uniqueness of music among the arts. In not only deprives the art of its universality, addition to possessing multiple phases such but destroys the natural beauty and un as the sensuous, the emotional, the intellec alloyed sweetness of regulated sounds. The tual and the spiritual, it has certain purest kind of music is unrelated to litera exceptional features which distinguish it ture. Songs are but the commingling of from other arts. Unlike poetry, painting music and poetry. In proportion as one and sculpture, it does not depend on the element predominates, the other suffers. To external world for inspiration. The gran hold the balance even would do justice to deur of the Himalayas, the glory of the neither. All arguments about the import sunrise, the be-witching beauty of Beatrice, ance of sahitya are utterly puerile in are of no avail to the tone-poet. Western relation to the highest type of sangita. music, to some extent, may perhaps imitate Those who feel the necessity of words to the sounds of Nature like the sighing of interpret the sentiment of the mode should the wind, the rustle of the leaves and be dull to the exquisite natural appeal of twitter of the birds, but Indian Music is absolute music. Raga alone is the purest entirely subjective in character, and derives music. JThe composition where sahitya is its nourishment from the introspective canvassed is an adulterated stuff. In music experience of the soul. Our music is ideal. proper it is the sound and not the sense Realism has no place in it. A simple that counts. phrase of a few tones one after another Another trait which but serves to produces a profound emotional effect. heighten the subjective character of music Perhaps no precise idea is conveyed and is its existence in Time rather than in only a suggestion is given. The imaginative Space. The other arts are two- or three- mind of the hearer has to complete the dimensional. Music has no dimension. It idea according to its richness and capacity. is temporal and by no means spatial. It In this respect the only approach to it is is not with reference to the element of made by the unsurpassed poetry of Milton rhythm alone that music is said to lie in in Paradise Lost where instead of exact Time, but in the sense that any succession descriptions, indefinite images of Heaven, of notes is possible only in a given duration Hell and angels are conjured up by the use of time. Here again, western music, with of suggestive words and phrases. In the its massing or superimposition of tones, emotional spirit of melodic music lies it might lend colour to the view that it is also deep and mystic fascination. spatial; but since harmony is only an In the entire realm of creative art there adjunct to the movement of parts, the time is no greater wonder than the engendering element is of the essence of it also. In melodic music even this semblance of spa ♦Address delivered at the inauguration tial foundation disappears. Tndian music of the Sangita Siromani Course at the rests on Eternal Time and is more than Kalakshetra, Adyar. etherial. , / 28 THE JOURNAL OF THE MUSIC ACADEMY [VOL. XV Another outstanding feature of the art of picture of the Taj can imagine the thrill in Sangita which makes the preservation of store for them when they actually behold it a matter of anxious concern to all its that masterpiece of music in marble. In votaries, is its non-existence anywhere sangita, however, the undiminished excel except in consciousness. Every time it has lence of the original creation must for to be created afresh from the memory of ever be lost to us. The composer’s art can those who render, not exactly as the be grasped only through living tradition. original composer or singer gave it shape, It will be realized how important becomes but, according to the fidelity of the tradi the problem of preserving that tradition tion, passed on to them and their capacity with the strictest regard to truth and to interpret it. The frescoes of Ajanta do fidelity. still exist for us .to see precisely as their The only guarantee of the genuineness authors created them. But who among us and purity of art lies in the degree of can know how Sri Tyagaraja sang his sanctity with which the sishya parampara immortal piece “ Kshirasagarasayana” ? We receive and transmit it in their turn. The can but form a faint idea of it from the most marvellous thing about Indian melodic way it is rendered in the accredited line of music is that classic tra'dition, rigorous as disciples. Sound record on plate or film, it is of raga forms and compositions, yet much less notation, would be a poor substi leaves unaffected the freedom for the play tute, not even as good as a photograph is of imagination and individualistic inter of the original. Few of those who see a pretation. In a paper on The Indian Musical “ Indian tnusic, the fil'd that burns heart Drum,” in Proc. Ind. Acad. Sc. Vol. I, and soul, is superior to the music of any Sec. A, p. 179, 1934, Sir C. V. Raman other country. Foreigners even after a gives a detailed description of the results obtained by him in 1919 which showed that stay of thirty or forty years in India, can in the Indian musical drums we have a not play a single Indian tune correctly. circular drum-head which is loaded and Indian music charms not only men but damped in such a manner that all the over tones above the ninth are suppressed and beasts also. Deer have been hypnotised these nine are grouped in such a manner and hunted simply by music 1 ” f > as to give a succession of five tones in harmonic sequence. The vibrations of the —Amir Khusrau: Nuh 8i-pihr. drum-head present a striking analogy to the case of a stretched string giving one or other of its first five harmonics; the drum-head divides up into 1, 2, 3, 4 or 5 sections giving the respective harmonics. “ — and then, the theme forgotten, the The third, fourth and fifth harmonics are music seems to float away into a sea of obtained by the superposition of 2, 2 and 3 pure sound, formless, meaningless, yet respectively of the normal modes of vibra sheerly beautiful.” tion. The corresponding superposed forms of vibration are readily obtained and ' ■ ' . *\ fn -c' ■ y 8 i V —C. E. M. Joad: Matter, Life d Value demonstrated by means of sand figures. Numerous figures illustrate tjie paper. (Oxf. Uni. Press—p. 309). Vii SAINT TYAGARAJA—A SPIRITUAL GUIDE* Dr. T. Srinivasaraghavachariar, Member, Expert Committee, Madras Music Academy We are gathered here today to celebrate pious, Seif-sacrincing and independent and the 97th anniversary of the great Saint- acknowledged only one Master— Rama. Musician of Tiruvaiyar—Sri Tyagaraja. I yv nenever h e nad to experience aumaiv consider it a uniaue privilege conferred on suilerings aim pleasures ne effaced nits me by the Music Academy in asking me wnoie seif akd attributed everytuing to to address yoh this evening on Sri Tyaga tne ivaramatma, vide “ Neeke dayarada ”, raja whose personality and teachings have "Emi jesitnenemi', Makeiara vicharamu”, always been enshrined in my heart and etc. I thank 'them for tlie opportunity given to His day-to-day conduct of life, his high me to pay my humble tribute to the ideals and "iNisnkamya Karmas” the umver-' Sadguru. suiity of nis thought, word and action, liis deep sympathy for and love towards suffer To some, Sri Tyagaraja is only a superb ing humanity, his true understanding of the musician, to others, he is an expounder of vetias ana Upanishads and the consequent Karma Yoga; to some others, he is a systems of philosophy in their true perspec Bakthi Yogin and to still some others, he tive, his singleness of purpose and Ins is a Gnana Yogin. But, to my mind, his complete detachment from ail things teaching* personify all the above and I material have all been well brought out would call him a " Nada Y.ogm ” that is, in his various keerthanas—“ Patti viduva- an Upasaka of Naaam in its entirety. radtt ”, ” Dhyaname varamaina ” “ Neech.it- Everyone knows that in the .final merging tamu nirmalamu ”, “ Kadathera rada ”, of the Atma in the Paramatma, Nadam “ Koluvamaregada ” etc. His dynamic ©lays the final role. He conceives Nada tirade against insincerity and his hatred Brahmopasana, adumberated by the Srutis of cant and hypocrisy are fully recorded in and Smritis, to be the essence of the Vedas “ Theliyaleru ”, “ Emandune ”, “ Manasu and that Sangeetham is its “ klthula ” nilpa ”, “ Mariada gadura ”, etc. His representation and serves as .a universal extreme contempt and disregard for religion and a common language for the things material are revealed in “ Nidhi- whole creation. His ideal that through chalasukhama ", ‘‘ Kasichede ”, “ Pada- Nadopasana one attains Atmajnanam (Self- vini ” , ‘ Sri Rama padama ” etc. In this realisation) leading to Atma Anandam is respect he is comparable to the great well expressed in “ Marukelara ”, “ Needaya Andhra Saint Potana and Bhadrachalam kalgute ‘ Swararagasudharasa ‘ Nado Ramadas Swami, presenting to the world pasana ”, “ Nadaloludai ”, “ Nadasudha- the type of saints whose one and only mas rasamba ”, “ Vararagalayajnulu ” in which ter is Sri Rama and none else. That he he says “ Dehodbhavambagu nadamul ” etc. came into this world to prove that a life of Sri Tyagaraja never pretended to be a high ideals in a plane of spiritual thought propounder of any new system of philo could easily be lived in this m mdane world sophy but insisted that tlie easiest means is expressed in “ Daya juchutaku ”, of attaining Mukti was through Nadam. It ” Epaniko ”, “ Idi samayamura ”, “ Kali- is not an exaggeration to say he lived the narulaku ”, etc. life he preached through his compositions. That Sri Ramachandra ip the supreme His whole life was enveloped by a flame Parabrahman is reiterated in almost all of spirituality and this served as a beacon his keertharias as also the Uphniahadic light for others to follow'. He was very conception of the Parabrahma as Sat- yam, Jnanam and Anantam. As * An address delivered on the Tyagaraja examples of his constant introspection over Day of the Academy, 22-1-1944. human weaknesses and limitations may be 3 «? r f 30 THE JOURNAL OF THE iVlUSIC ACADEMY [ V O L . XV mentioned jjuuuku gam1' (,one oi tad ~ 'fetdndlffg TnaiaclblTstics ol a real Hhatcia iamous x ancnarataasi ana 1 re m ms • kiegaaa" piece ‘‘i>akiuni enariin- ineeuane” . i ney are so forceiui anu win itiinu vinave . in fact, it looks like a set be an eye-opener ttr the less fortunate ana ol ruies or w The' Dozen Commandments •' less pious monais. Almost ail ilts -to be observed strictly if a " mumuksnu ” 'keeriliauas are brimming with reminueis wants to become a ? Nishkainya Bhakta ' that richness ana poverty, pleasure ana anu attain realisation. The following pain, good ana bad, are all mere mirage Dout’a are set forth; winch ore Alma, oouiiu by Maya, oenevvs i. uon't proclaim that you are an it is experiencing m tms life, ana mat tbe adept in Japa aud lapa. Don't be false to yourself. oniy way by wuich these opposites may, T I"tc* iiO ■ ■■■ O j 'vi&i-j:-.*;30JSS 'Ja be brought to the point of equilibrium is Z. Don’t wanuer to acquire name and through Rama namarn. fame. The abovementioned keerthanas go to 4. Don’t get attached to your kith and prove that* Sri" Tyagaraja was a Karma kin. - - x Yogfih, but it will be seen at the same time 5. DonT think Bhava (Sariisara) and that he cements the various systems of Vibhava as true. philosophy by' showing that' the easiest 6. Don’t make any distinction between nihtliba BT'salvation is through 'tfadam. iit Siva and Madhava. iff'common knowledge that a person striv 7. Don't proclaim that you are a true* ing for Mukti should tirst and foremost try person and earn your livelihood by false to eradicate' the ' Kanuikrodtias, and Sri and faulty methods. ’ ’ 1 ^ & ki Tyagaraja1 shows "that this could be attained i 8. Don't forget to concentrate on the onl# by tlie grace of a spiritual guide as Holy Feet of.S ri Ramachandra even for a iff M Guru Teka'V ' He advises peace and second, s m a. mua ■ /- nc calmness of mind)" "to "be brought into touch c;.. 9. Don’t acquire Rajasa and Taniasa. with the Supreme"Self, and shows how one gunas. > oh3 m may attain this 'tfadopasariti, be he a 10. Don’t do anything which even* Karma* Yogin or a Bhaktlii Yogin or a Jnana savours o f Kaniyam. *;li" ia Yogin 1 S&nthaniuleka’ ’) . His ideal 11. Don’t leave the Rajayoga path until of Rhakthi ife the' ‘level reached by Narada, it is fixed and ^stabilised in your mind Prahlada,' ‘PafaSkra" Ttariidass ' and others permanently, *• : • ! • (r id,' “ Kaligitlnte” ). In “ Tsalamelara ”, » 12, Don’t forget Sri Rama Sikhamani ” CheraravntiemiYa:'’V i “ Proddupoyyeni ” he as the constant i companion of Tyagaraja— reveals despair at tlie delay in having the Divine Dancer—at all times. * J ) Rarria ’Darsd.naM more frequently. He c it is certainly no exaggeration to say wants only " ’Sattvika Sri Rama Bhakti- that theserule® are the essence of a bWrksha *' which is much superior , to similar description in the ‘‘ Bhagavat Mukti1, Akhilrt Sdk'ti arid the Trimurthis. Gita” - ■ A" •-■moi,,-:- , ./..rncby Hfe compares ’ffiiy individual’, however It is wonderful how harmoniously Sri much learned, to a corpse, if his or Tyagaraja blends the different systems o f her learning hi'1 Vedas and Sastras, philosophy in a nut shell in his ** Saveri ” etc. is not imbued with Bhakti. This piece, “ Samsarulaithanemayya” . He, asserts idea is also brought out in “ Etulaina that a person can both be a Samsari and a Bhakti ” , " KalAlaiierchina ”, “ Kaluguna Sanyasin, provided he does not commit any pada nirajaseva ”, etc. He wants this kind of Himsa; provided he is constantly “ Suddha Antharanga Prema Bhakthi ” to in the company of Parama Hamm, discuss be stabilised in his heart when he sings ing Godhead; provided he is filled with the tlie “ Seetha Manohara” piece. j ardour of Jnana vairagya: provided he is Tt is interesting to see his vivid picture always at Dhyana yoga with Hamanamam of true Btiakdha. He describes the out- ever inBis lips, making gifts of the fruits &A t‘ : !i. b i t A b/ic: ‘CUiWrX i „ r, cfdt no ftkab dlsb saa'ifcbs w f' w vo raoil:) ins-iR.a rad id dfmt-u- j eiW l o 94 yam 'ar-oribJifiiT fm* umiua PARTS I— IV] SAINT TYAGARAJA—A SPIRITUAL GUIDE 31 alii aill swag oi jtfuaM liikulsM of kia karma; provided ho banishes from When we are at the piece " Telisi Rama his mind all vicious thoughts and worships chintanato namamu seyave o manasa ” I with all the fervour at hi? command at am reminded of a small anecdote I heard Sri Ramachandra's holy feet considering from the Sishya Parampara. There lived a himself, his wife, and children as servants great saint, Ayyaval by name, in the village of Sri Rama; and provided he puts implicit called Thiruvisanallur, near Kumbakonam. and undying faith in Sri Rama’s grace and This village is very famous for its Sanskrit sings His praise in the company of Sadhus, learning and music, even to-day. This saint surrendering his self and everything that was the one who got the Ganges from Kasi he has, to the Lord, without even the least to the well in his house in the .said village, thought regarding the fruits thereof. To on the occasion of the Sraddha ceremony such a Bhaktha who surrenders himself so of his father, owing to some dispute with completely and fully to the Lord, the Lord's the Sastries of that place, which is m other blessing would come df itself. Sri Tyaga story. He had heard about the pieces of raja puts this tersely in his Bhairavi Swanuji “ Ramakathasudharasa ” and keerthana “ Thanayuni brova” in the “ Thelisi Rama chintanato natnamu" and form of a qyery which has only one answer. could not reconcile the lines " Bharmad- This brilliant keerthana has the same yakhila . . . . Karmabhandhajwalanabdhi invisible and subtle magnetic influence on namame ” in the forhier piece with the us as the sun has on the lotus and the moon lines " Thalapulanni nilipi, nimishamaina on the kumuda flower. In fact, in Tharaka rupune nija tatvamulanu "Seethamma mayamma ” he conceives (Marmamulanu) thelisi Rama chintha- Septa and Rama as his mother and father natho namamu seyave” ,—in the latter. while he gives Hanuman, Lakshmana, So when on an Ekadasi day, Ayyaval Garuda, Satrughna, Brahma and Bharata had been to Thiruvaiyar, he chanced to thie place of brothers, while again Pa ra meet Tyagaraja who ihvited him to grace ni esa, Vasishta, Narada, Parasara, Sovnaka. the Ekadasi Bhajana conducted in his house. Suka, Tndra, Gowtama, Vinayaka, Subra- Just before the Bhajana began Tyagaraja manya. the Sanakasanundanas and all called ouut suddenly " O! Panchapakesa ”. true Bhagavathas are styled as his Atma There were ? or 4 sisliyas of the Swamiji Bandhys, in preference to his blood rela by that name in the bhajana party and tions. Can the feryour of a Prema Bhakta none of them answered the call. All of jo further? Who else will .have the ! them Were looking at one another not know courage to speak out that those who do not ing whom the Swamiji meant. And Swamiji swim in the. ocean of Bhakti, Bhaffyam can called out again, with the same result. Bui only be a burden to earths even if tap-' when he called out for the third time " ph! a r e born as suras or bhusuras and that Puvanur Panehapakesa ” that Panchapa- those who do not d o. Mfmaftica, puja to the kAoan of the Puvanur Village came forward Lord with the name of Siva Ram and prostrated before both Ayyaval and Fueiimr tnuja flower^) mingled with fla w -- Swamiji and awaited orders. At once Sri ef celestial rnnsic. based -on Tyagaraja looked at Ayyaval and began to 8vxi.ro, are not. fit. to bp humane TMpce* sing this "Thelisi Rama chintanatho ” Uko the above and others like ^Ahh^-rap * keerthana starting from the anupallavi Bhakthi ” are. too numerous to mention. " Thalappularmi nilipi etc." Whei},he had finished- the piece Ayyaval expressed to Sri That our Swamiji was , very liberal and i yagaraja that he understood the subtle cosmopolitan in his religious outlook m unity of these two pieces In spite, of their brought out vjvidly in hia nieces “ Balsm r apparent contradiction.i S'.'.A:! 'i/.: , , • ....V, tJ.T kulamu ”, “ Ithavadaivamulavalla ”, “ Kolu- vaiyunna.de Kodandapani ” (Dev Ugandan) 1 Ayyaval who lived earlier could not and “ Telisi Rama chintanato ” have met Tyagavyar. Ed. % 32 THE JOURNAL OF THE MUSIC ACADEMY [VOL. X\ Thera is also a legend handed down from actually beaeaehin* Rama to save hi# life Sishya pararhpara that Valmiki—not satis when he was very ill, is shown in the Kepi fied with his immortal work In Sanskrit, piece “ Anyayamu seyakura Needless to Ramayana, as it can only appeal to the say that this prayer was granted. learned and intelligent few, was born as Tyagaruja in this Kaliyuga with his full His extreme faith in his Ishta Daivam Atma and sang 24,000 keerthanas in simple is expressed in a large number of keertha language with the purpose of reaching the nas, such as ‘‘ Vidajaladura", ” Nada- masses. This is perhaps the reference in dinamata” , “ Palukaveifti ”, ” Nadupal- the Swamijl’s keerthanas “ Epaniko JanuJ palikeru Ih his “ Theevfia Vahini ” ninchithi ”, " Ramakathasudharasa ” stat piece, " Sari chesi veduka joosuta, Saketa ing that the very drinking of the nectar of Rama, nyayama” he inquiries of Rama the Ramakatha '(Ramayana) will be worth a . significance of the apparent injustice of Samrajya. It is his modesty that makes vicious people prospering in this world and him say in ‘‘ Dasarathe nee runamu the religious minded becoming poorer and Theerppa” that the real author of these poorer. ■ " ' :....■■tt : compositions is Sri Rama and that he Next when we com® to the J nanawargam (Tyagaraja) is only a mouth piece of the expounded by our Swamiji,. one feannot miss Supreme Lord, with a subtle reminder that the essence ot this cult, leading to tbe Bhakti and Bhava are the most Important Mahavakyas “ Aham brahmasmi ”, Tat factors in poeey and music. That even vamasi” etc.. in his compositions ” Jnana- Bhakthaa must go through the terrible mosagarada” (Shadvidhamargini), “Seetha- ordeal of an examination before they make vara sangeethajnanamu”, “ Tattvameruga themselves fit to earn His grace is amply tarama ” ” Dwaltamu Sukhamu" and proved in his Ahiri piece “ Adaya Sri others. He says that the Sukthama, and Raghuvara" which may be called hir, the Karana Pareeras forjn tfieJeevatma of masterpiece. Who is not thrilled in every the Paramatma (Maha Karanam) and this fibre when listening Co this keerthana in Paramathman could be approached easily its sublime mellifluous purity? When out by the transcendental music alone, starting of anger and Jealousy hie puja idols were from the conventional one (Sangitham). throivn into the full floods of the Cauveri Thus, the ‘ Mumukshu ” becomes the river by his elder brother one can easily Jeevanmuktha conquering the series of understand the bhaktha's pain and sorrow, birthB and deaths; and this is the supremo by studying his Thodi keerthana f Yendu essence of the Bhagavath Gita, Vedas, dakinado ” . His search for his dearly Upanishads and the Brahmasutras. In loved Rama in every nook and corner ir. ” Nadachi Nadachi Jucheyu ” he asks touchingly portrayed. Later, when he get'- us to esohew bogus pujas and get in .tune a vision and runs to the river, but is at a with Atmarama. Similar sentiments are loss to . flfed the exact spot where the idols expressed in “ Anugragamu ” ‘‘ Kshinamai '■'J be?n thrown, he sings with ewer' thiruga ” “ Dhyaname ” ‘‘ Rama niyeda ”T resignation, his brilliant piece “ Nenundr- “ Manasuswadhinamaina ” “ Manasu vi- vedakudura” (Karnataka Rehag). Whe^ shaya nata” , "Enthani ne varnimthunu ” the idols appear on the surface of the etc. It is clear from hie sayings that truth, water in the centre of the rivev, he dan^e-? Chitta Suddam, Ekagrachittam, Vairagyam with joy to the tune of “ Rarama int.idakn ” and Self-discipline form the bed rock on (A saver J) and tbe Idols reach the bank which the supreme structure of Divinity dancing to his same tune to the wonder should be built. As a Jvanayngin he is not of the spectators gathered there and to tbe- in favour of any kind of Yajnas and con extreme joy and ecstacy of our Swamiji. demns them as responsible for Jivahitrsa His magnanimity in not only forgiving and as promoting material prosperity and his brother for this sacrilegious act but enjoymment (r d e ‘‘ Yajnamulu and Ninne PARTS I—IV] SAINT TYAGARAJA—A SPIRITUAL GUIDE 33 nera). His self-contentment is pictured in manisam Sankaram Namami me manasa "Rukulapadi Velunna ” (Thodi). * sirasa ” and “ Sadasarasambu ilanu nara agrithiaye - Pranavanada ” . It is in the After all is said and done one will be fitness of things that a Jeevanmukta perfectly Justified in asking "W hat is Sri should make no difference between Tyagaraja’8 fundamental doctrine and Siva and Madhava as expressed by himself religion?”. To me, it seems, that he was in “ Neechittama ” (Vijaya Vasantham) first and foremost a " Nadopasaka Parama “ Paradaivamula juchunanthane Bhagavatha Sikhamani ” and had practised " Bhavamanthu nivai baragetha vaiya ” " Nada-Upasana ” first and last throughout and “ Ninnuvina namathi yendu ”, " Nenu for the attainment of Moksha. He himself yetsata juch.ina neevai unnathi Rama ” expresses this cult in his “ Nadaloludai ” and the Reethi Gowla piece “ Nee daya (Kalyana Vasantham) wherein he says galgute ”. The following pieces are also that he is adopting the same cult which worth noticing for their reference to the was adppted by the Tirumurtis, Indra,, Guha, Ganesa and most of the maharshis. easy attainment of the first conventional He expresses the same sentiment in " San- * music leading to the transcendental music geetha jnanamu ” (Dhanyasi) wherein he and Nadabrahma. (1) “ Sogasuga mri- asserts that Rhringl, Natesa, Samlraja, danga thalam ”, (2) Ragasudharasapanamu, Ghataja, Matanga and Narada attained (3) Manasa etulorthane, (4) Chinthis- salvation through this Nadopasana by thunnade Yamudu. which you come to know the difference Sri Tyagaraja’s contribution to the between good and bad; by which you world of music is very extensive and of realise that this world is a mirage and by a high spiritual order. In pithiness of which you can conquer the vicious circle expression, in mellifluous flow of language, created by Kama, Krodha, Lobha, Moha, depth of feeling, emotion and life with Made and Matsarya. He describes in crisp Bhava, Raga and Tala it will be no exagge language in his " Mayamalava gowla ” ration to say that he excels many eminent piece “ Vidulaku Mrokkedu ” those who Vaggeyakaras and is perhaps a class by have attained salvation through “ Nadath- himself. He visualises all the forces that maka Saptha swara” knowledge, viz., pulsate beneath the common crises of our Kamala, Gowri, Vageeswari, Brahma, daily life and describes them with beauty Vishnu, Siva, Narada, Indra, Bharata, and strength. Sri Rama being the personal fcasyapa, Chandisa, Anjaneya, Subramanya, manifestation of the impersonal Nada- Vinayaka, Markandeya, Agastya, Thum- brahman acceptable to all sects, endeared buru, Someswara, Sarngadeva, Nandi to all people with different standards of and such others. His "Saramathi ” keer- intellectual development he addresses his thana " Mokshamu galada ” bears ample songs principally to Him. Sri Tyagaraja’s evidence of how one can attain easy life must be Btudied in the background of salvation through Nada Upasana. The his oceanic contribution with an open and line “Nadavidyamarmamubulanu therisi ” an eager mind to receive enlightenment. in “Yendhuku pethala” and the Charana A musical savant of a high order, a in the Kalyani piece "Bhajana seyave” also Vaggeyakara, a Nadopasaka and also an testify to this doctrine. Again the lines esteemed friend of mine, says of him thus: “ Muladharajanadamerungute mudhamagu " A critical study of Sri Tyagaraja’s life mokshamura, kolahalasatswara grihamula- and his works (compositions) will convince gunuthe mokshamura” are elaboration of everyone that he is a Vibhuti Avathar of this doctrine of Nadopasana. The crown God come out into this world to rehabilitate ing piece is the soul-stirring one in Begada music in its original purity of construction, "Nadopasana chevelasirl O Manasa Nara- to redirect it in its proper channels of yana Sankara Vldhulu” . At last he spiritual communion and to replenish it gives his mangalasasanam in "Nadatanu- with original compositions breathing com 34 THE JOURNAL OF THE MUSIC ACADEMY [VOL. XV pletely Divinity throughout, holding himself devotee of Rama he laid stress on true out as one who has realised Jeevan Mukthi devotion' and surrender to God and pointed through Nadopasana. His glory radiates out the futility of mere learning and point all over the country and is sure to captivate less austerity; as a musician he trans the whole world one day. Let us feel formed a mere art into a Sadhana or an proud that he was born among us in South Upasana." The other says: "H e (Tyaga India like the three great teachers of Vedic raja) is a classic romanticist and a conser Religion, Sankara, Ramanuja and Madhva vative , radical. Nothing short of the and make sincere efforts to carry out his absolute universality of his mind could mission by propagating his ideals through have succeeded in saturating his songs precept and example. with that spirit of sweetness, peace and bliss which lingers in our soul, long after I am tempted to conclude this by repeat the sounds have faded away. No analysis ing the brilliant tributes given to the of his greatness can. ever enable us to Swamiji by the editors of the Journal of convey to others the thrill of his songs the Music Academy; one says “ Tyagaraja * which galvanises our whole being. Their was only one of the many musicians and power and beauty should be experienced composers of this age, but undoubtedly he and enjoyed each for himself. They was the foremost of the composers, for possess an undefinable charm for all. They among the composers he was a poet, and are of the very stuff of which life is mad*. in his poetry there were great devotfon No common mortal could create such and truths of philosophy. Perhaps no great supreme excellence. It is nature herself music ever flowed out except from a saint that presents her treasures of sound and and a man of realisation. As a true artist sense in the person of Tyagaraja. His and a true man of realisation Tyagayya voice is the voice of eternity ”,—and may spurned the path of worldly glory; as a I humbly add,—“ full of Eternal Verities” . THE EFFECT OF GOOD MUSIC coming from India who imparted music ACCORDING TO THE CHINESE to Greece...-, the Hellenic tonal system had “ When the spirit of opposition manifests its origin in India or perhaps in China; the itself, indecent music comes into being.... Greek instruments were all of Asiatic when the spirit of conformity manifests origin ------in music nothing belongs to itself, harmonious music appears.:.. So them (the Greek) which cannot be found that, under the effect of music, the five in the orient in conditions of superiority social duties are without admixture, the which leaves them far behind...... ”. eyes and the ears are clear, the blood and Prof. A. Weber believes that from the the vital spirits are balanced, habits are Sanskrit Grama (Prakrit Gama) are derived reformed, customs are improved, the the French Ganmie and the English Gamut. Empire is in complete peace ”. The Arab word for scale Gama ah confirms —the Yd kl cited bp M. Coiifant and this. extracted by A. Danieiou, Introduction Prof. Sylvain Levi says “ Music, in which to the Study of Musical Scales, p. 17. the Hindus excelled, has not as yet been the object of special studies. The refine INDIAN ORIGIN OF GREEK MUSIC ments of too scholarly a theory have David and Lussy say in their French paralysed the researches of Europeans..,., History of Musical Notion and its Origin the West owes its system of Notation by (Paris, pp. 17-36). “The musical system of initial letters of the names of the notes the Greeks had certainly not originated in to Hindu music; they borrowed it, as they their country One is bound to suppose did for numbers, from the Arabs who had that Pythagoras brought from the East the learnt it from the Hindus... . (India in tht musical system which was adopted by his Grande Encyclopedia). countrymen of Hellas.... It was foreigners Quoted by A, TkmiGUm. 'M Q.O RAJA SERFOJEE OF TANJORE AND MUSIC BY Sri C. S. Ayyar Member, Expert Committee, Madras Music Academy Raja Serfojee of Tanjore, a great patron the Resident, to Dattajee Appan, Sertojee’s of tlie fine arts, is generally accredited with minister, requesting that the violinists of the formation in South India of the the Raja's Band may be sent to General European Band at his court. These Euro Bridges at Trichinopoly, who was in need pean musical instruments have . been of them in connection with the celebration subsequently utilised for Carnatic music, of the birthday of Her Majesty, the Queen constituting the present so-called Tanjore of England. Band. With a view to ascertaining Musical instruments were generally later historical facts, the recent publication of supplied by Mr. Benjamin Torin, after he “ The Guide to the records of the Tanjore proceeded to England in July 1801. The District, 1749-1835 ” in 1936 in eight following fires from whom purchases were volumes by the Superintendent, Govern occasionally made may be noted. ment Press, Madras, was gone into; from (1) Messrs. Arbuthnot & Co., the summaries of the letters published (2) „ Harrington & Co., and therein, the following facts were elicited (3) „ Griffith & Co. which might interest the general reader. The following are the names of the steamers Raja Serfojee, son of Tulajaji, ascended on which some of the instruments arrived the gadi of Tanjore on the 30th June 1798, from England—‘ The Dundas ’, ‘ The Indus’, on the deposition of Raja Ameersing and ‘ The Repulse ' and 4 The Minerva ’. reigned upto 8th March 1832. Prior to his Indents for the musical instruments are ascension to the gadi, Serfojee came not available in detail in the Guide and largely under the influence of Rev. F. C. such as are either replaced or to which a Schwartz. Serfojee was in his seventeenth specific reference has beem made are given year in October 1793, according to a letter below: of Dattajee Appah to Rev. Schwartz. The (1) Violin, (2) Violincello, (3) Harp, Raja’s studies were attended to with the (4) Clarionet, (5) Serpent and Bag-pipe, kind assistance of Rev. William Gericke, (6) French Horn, (7) Bassoon (nine- who was particular, in teaching him the keyed), (8) Harpsichord, (9) Pianoforte, Bible, English and Arithmetic. Serfojee’s (10) Brass Horns, (11) Trombone, (12) interest in European music and in Euro Bugle with keys, (13) Concert Trumpet, pean musical instruments appears to have (14) Poluphoman Trumpet, (15) Tam been due entirely to the influence of Rev. bourine and (16) Organ. Gericke, since no reference to musicN is The Raja’s pianofortes and music books found in any of Schwartz’s letters. Musi were generally lent to the wives of the cians for the European Band were first Collectors or Residents; the services of his engaged from the 21st January 1799, and tuners were also in demand by the Euro the band was particularly formed in view pean ladies at Trichinopoly. The ladies of Serfojee’s marriage to come off on the and gentlemen mentioned in the corres 26th February 1799. pondence with reference to music books As the violin is now largely used in and musical instruments were Mr. Baker, South India as an accompaniment to vocal Capt. Ashton. Col. Pater, Col. Pieton, Carnatic Music, I was interested to know Silvestre D’Costa (probably the Band the first historical reference in these letters master), Mr. Martensen, Mrs. Blackburne, to violins. There is a letter dated the 16tli Dr. Mitchell, J. L. Hafke, Mrs. Wahab, January 1800, from Mr. Benjamin Torin, Mr. , Joaquim Moraes, Lt. Michael, Mrs. 36 THE JOURNAL OF THE MUSIC ACADEMY [VOL. XV Wallace, Mrs. Fyfe, Mr, August Bruce Resident of Mysore in a letter dated the (Raja’s Bag-piper), Mrs. Rowby, Mr. Hun 19th March 1824.2 ter and Mr. Edward Griffiths. (c) Sir Alexander Johnston, appa A few items of special interest are noted rently a visitor at Tanjore, was entertained below. at the Resident’s house by a performance (a) The Raja had a Brahmin tuner on the veena by one of the Raja’s musicians of the pianoforte whose services were on the 29th November 1816.2 requisitioned . for on the 17th September (d) The monument of Rev. Schwartz, 1917.1 who died on the 13th February 1798, cost (ft) A musician from the Mysore Court Serfojee £ 1,000 sterling, half of which was by name Venkatasubbiah, stayed at Tanjore remitted in advance. # en route to Rameswaram. He was recom 1 Vol. VI, p. 192. 2 Vol. VII, p. 283. mended to the Resident of Tanjore by the* 3 Vol. VI, p. 116. 4 Vol. V. INACCURATE MUSIC AND ITS EFFECT “ Even if we leave aside the role of music pose of Art is totally misunderstood. as a means of spiritual realization, the Unfortunately the materialistic and highly effect of musical chords and modes (ragas) utilitarian tendencies of our times rarely is much more far reaching than our ears allow people to bother about anything are able, at first, to allow us to perceive. which is not immediately tangible. We Our ear can appax-ently be satisfied by a utilize daily all sorts of forces, recently very approximate accuracy. But a per domesticated, in total ignorance as yet of fectly accurate interval does not react only their effect upon the structure of our on our ears, it produces a transformation organism and upon the balance of external in all the cells of our body, a slowing down events. This is why we find it quite or an acceleration in the movements of normal to change the course of sounds, every molecule in ourselves and in the if so doing brings some immediate simpli surrounding matter. This effect was fication; and this leads us to try to change utilized, not only in India but in Greece, into a closed circle the endless spiral of and later in Persia and Arabia, for curing fifths, to tear up the comma and divide it certain diseases. Mohammad Hafid des between the other notes and so bring the cribes at length these musical therapeutics cycle of sounds within the narrow limits indicating the scale to employ for each of human logic. Whatever advantages may disease. But, if we utilize habitually in be obtained by such an action, and there accurate intervals, on the ground that our is no doubt that such advantages do exist, ear does not clearly perceive the difference, we expel the heavenly element from music the effect that those sounds will produce when we obliterate the possibilities of on our organism can well be the opposite contacts with spiritual forces by disfiguring of that which our complacent ears persist the intervals. The music so reformed loses in accepting. It is with our mind only its true purpose, and its magical effects, that we cognate this inaccurate music which henceforth uncontrolled, can become danger leaves us tired, contracted by the uncon ous. It is not without reason that Plato scious effort of adaptation instead of being puts in the mouth of Damo, the last of the’ agreeably transformed by the beneficial great Pythagorean teachers: “ One cannot influence of harmony. This is why to dis j touch the musical modes without disrupt regard small differences in intervals has ing the constitution of the state ”. very grave consequences with regard to the —Alain Danielou, Introduction to the deeper effect of music; consequences which can only be neglected when the real pur Study of Musical Scales, pp. 15-16. AT II] OG O PLAI OAA IYER GOPALA PALLAVI OF SONGS I—IV] PARTS THREE KRITIS OF PALLAYI GOPALA IYER EDITED BY Travancore Samsthana Vidvan G. N. Balasubrahmanyam, b.a ~ (Hons.). 2 8 ] U J§6UrT6lfSlG5fi ” f eru rf) s u ff eh Clm$ud65t M am - ^jua; 0(T6TTLn. 1 aii ff u a rfl m. ucv €06$ rfl p siw u p <* u t x rfl 6iib $ oiri) rfl & u & rfl <95rr ; rf y f . . Lf jr t8 ear erS eafl ^ . fftfl p urr . . gi eafl . if ; qjv it || •. • ii («?) L!€V6\)a9 P p L.1 45 ifl £ UlT <95 U p p p u p euvir 3D «wriL 1 . Uj Q rfl ff/T . , gg 6u ff ew-oQ p . LA ff Si ff LB SSsfl iQ (o LJ . 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GUI p U <95 rf) GUV rfl ss LJft 36 3> u p p p . 45 ff £) LMIT . «i> U 6 0 «> 61/6W PQFjtF UiT . 6W LMIT . 631 suv s f a 'if eiw eiw p r f eiw rr p U & U a, 6n)~ois . p rfl suo a, u <95 u p <£ r f e iw jb u a rfl a H oW° • u ff erVoir . Gsr eu jr <5 J >3X11x1 . ® J— f f IM 6S S t U ( y £ ) LETTER TO EDITOR Pro/. V. Appa Rao: Notation Dear Dr. Raghavan, can be learnt only from sampradaya or After I met you last I secured correct rendering as demonstrated by a copy of the report of the sub-committee experts. It would be necessary however, appointed to go into the Notation to to state in the vivarana of the raga, that be used in Carnatic Music and read it a particular svara be rendered as, say for along with Sri Vidya’s article in the example, the ri of Gaula, the ma of Varali, Academy Journal. I have just today sent etc., in terms of the well known svaras of to Mr. Subrahmanya Aiyer the following certain standard ragas. view-points on the subject. I am also send (2) Different ways of writing down ing you a copy of the Bame for your should be employed for kirtanas of medium perusal. Tou may kindly show this to • and slow tempo, i.e., the eight units of Mr. T. V. Subba Rao if you think it fit. time of the Adi-tala should be represented “ I did not study the problem of notation by 16 sub-units of time in Madhyama-kala till now though I am aware of some kirtanas and by 32 sub-units in Vilamba- controversy and consideration in the kala kirtanas. If only one way is adopted matter. I have just now tried to go into and if Madhyama or Vilamba-kala is the question in a way. I venture to write written and underlined on the top, the below certain view points for your perusal learner may not be practically helped much. and consideration. The reason why kirtanas like Akshayalinga- vibho are sung generally in Madhyam'a (1) In certain ragas two svaras of the kala is perhaps to be attributed to the same denomination i.e. ri, ga, ma, dha, and representation of the unit time by 2 sub ni are used. The one which is normal and units of time in the Sampradayapradarsini. more often used may be simply written In the case of Kshetrayya Padas it is as ri, ga, etc., and the other less frequently necessary to represent each unit of time used may be marked with a -j- sign on the by 8 sub-units, as the tempo is very slow: top, if the note is higher in pitch and with otherwise very often, double and triple a — sign if lower in pitch. horizontal lines have to be drawn on the Example: If (#) dha is suddha nor- svaras and that would complicate printing. + (3) In regard to the Gamaka symbols I mally, £ is chatusruti would like to suggest as follows: If (<£) dha is chatusruti Kampita should be represented (a) by 4- the sign A if the svara does not rise to, normally, # Is shatsruti the higher one and (b) by 12 if the svara If ;$) dha is chatusruti reaches higher. Moreover, the number of normally, $ is suddha. such unit symbols used should be equal to But very often a svara will be sung with the number of kampitas i.e., slight variations in a raga. For example (a) fA 1 dhaivata in Vasanta is sometimes slightly } represent two such kampitas, higher and sometimes slightly lower in (b) oo J pitch but never exactly suddha dhaivata. (a) A A A 1 represent three such kampitas, Such variations are numerous and perhaps ... \ etc. form the characteristic and essence of (b) ono j Carnatic Music. This cannot therefore be Sphurita and Pratyahata may be omitted adequately represented, as the variations altogether. In the primary stage every one are of various degrees. The asterisk mark would have certainly learnt how to sing or may not do more than indicate the fact of render on instrument Janta-svaras in aro variation; the actual degree of variation hana and avarohana. PARTS I—IV] BOOK REVIEWS 41 Nokku. In the beginning of a kirtana Ravai and Vali. It is better to represent where the arohana and avarohana svaras these with the help of svaras than by are written nokku for any svaram may be symbols. indicated both by the symbol and in words. Odukbal and Orikkai may be omitted, as But this symbol need not be printed on the these are useful only to the vina players. svaras in the body while transcribing the kirtana. V. Appa Rao, M .A ., l .t . BOOK REVIEWS The Appeal In Indian Music: By Mani The Mahrathi Drama had in its modern Sahukar. The Rampart Library, No. 31. development received inspiration from the Thacker & Co., Ltd., Bombay. 1943. Rs. 1-8-0. South Indian Yak?a Gana and Bhagavata Nataka. The Mahratta rulers of Tanjore produced musical plays on the model of the Following the Oxford Pamphlets and Telugu Yatapa ganas and the performance their Indian Affairs Series, several Indian of a Kanarese Yahjpa gana at Sangli gave Publishers have started issuing short rise in the middle of the last century to studies on Indian subjects in the fields of similar musical plays in Marathi. In the politics, economics, literature and arts. Universities, Classic Sanskrit Dramas and The booklet reviewed here forms No. 31 Shakespeare came to be studied and this of the Rampart Library Series, issued by gave a new impetus to the Mahrathi stage. Messrs. Thacker & Co., Ltd., Bombay, and The greatest of the pioneers of Marathi is written by Mrs. Mani Sahukar. To quote Drama is B. P. alias Annasaheb Kirloskar, her own words, the booklet “ is not meant born in 1843 A.D. His works are (1) to be a learned exposition of the art so Allauddinachi Chitodayadavara Svari (Siege much as an expression of homage for the of Chitor), (2) Sankara Dig Vijaya, (3) fragile beauties that dwell in it.” Attempt Sangita Sakuntala, (4) Sangita Saubhadra, ing only at showing the points of appeal (5) Sangita Rama Rajya viyoga. Besides in Indian Music, and aiming at rousig the writing these musical plays, Kirloskar interest of the apathetic public for this art, assembled his own troupe of players and the booklet gives just the few essentials of performed his plays. Kirloswar’s greatness the science of Indian (Hindusthani) Music, is also proved by the large number of his in the departments of vocal and instru followers whom he influenced. Of Kirlos- mental music, Raga, Tala and Gracs. That kar's best drama, the Sangita Saubhadra, the ideas of the authoress are sound may S. B. Talekar gives here an English ver be illustrated by the three pages 60-62, sion. The book is doubly" valuable, for devoted by her to emphasise the fact that besides the English translation, Mr. music is a sound-art and not a word-art. Talekar’s long introduction here deals with the history of the Marathi stage, the rise V. R. of Kirloskar, and his life and contribution to Marathi Drama. The Introduction is informing and the English translation, written in a simple style, gives us an idea of the genius of Kirloskar. We congratulate SAUBHADRA (English Translation of Mr. Talekar on his painstaking and meri Kirloskar’s Sangita Saubhadra). By S. B. torious work and hope to see many other Talekar, Godbole & Godbole, 621, Budhwar, fruits of his industry and enthusiasm. Poona, Rs. i. ‘ V. R. M— 6 42 THE JOURNAL OF THE MUSIC ACADEMY [VOL. XV, PARTS I—-IV} NOTES OBITUARY MUSIC IN THE PROPOSED The late Vidvan Semmangudi Narayana■' MAHARASHTRA UNIVERSITY svamy Iyer. We have received from Prof. G. H. Ranade, of the Fergusson College, Poona, It is with deep sorrow that the Academy author of treatises on Music, a Memorandum records the passing away of Vidva; Sri and answers to questions submitted to the Semmangudi Narayanasvamy Iyer who was * Maharashtra University Committee on the a member of the Experts' Committee • ’ I'ne \ subject of a Degree Course in Music in that Academy for a long time, and a leading proposed University. The memorandum violinist. Nephew and son-in-law of t.Jie includes a detailed syllabus for the Inter late Tirukodikaval Krishna Iyer, th5 late ; mediate and B.A. standards, and the Narayanasvamy Iyer, was the inheritor of evidence submitted before the committee a great art; and his playing did occasie at ' by both Prof. Ranade and Sri Sardar G. N., echo some touches of his uncle, the master n alias Abasaheb Majumdar, C.I.E. violinist. i — ♦*-» LOCANA PANDITA’S RAGATARANGINI The date of this work was dealt with The late Brahmatri Chidambaram Sri- in the pageB of this Journal, Vol. IV, rangachariar. p. 68 and the difficulties of the question The slender and diminishing group of were pointed out there. Mm. Kshiti Mohan votaries of the art of Harikatha, in the Sen of the Santiniketan has an article on field of Karnatic music, suffered a great this book in the Vteva Bhdrati Quarterly, loss in the passing away during this year Nov.-Jan., 1943-44, pp. 249-255. He proposes of Brahmasri Chidambaram Sriianga- to prove in another article that Locana ofcariar. He commanded an atl:< >nd Pandita was a predecessor of Jayadeva and learning in Sanskrit, Tamil and rome Nourished in the time of King Lakshmana- North Indian languages which was g e ;( |y sena’s father. He would consider the admired by scholars and a voice anri exe Maithili illustrative songs (of ^Vidyapati) cution which drew the praise of thr late found in the work as interpolations. Abdul Karim Khan. THE JOURNAL OF THE MUSIC ACADEMY, MADRAS OPINION] We wish the journal a long and brilliant career of service to the cause '\e Oriental Literary Digest, Poona, of Indian music. Let all lovers of w rites:— Indian music make common cause with those in charge of the Journal to see ‘ A journal of all-India character, its growing prosperity.’' olely devoted to music has been a serious and long-standing desideratum. SELECT OPINIONS Though the Sangita a quarterly pub- ished from the Maris College, Luck The Indian Express: “ The resump now, and the Journal of the Music tion of the Journal is an event of the ,Academy, Madras ( JMAM ) were first magnitude in the musical vcorld.” Parted "in 1930, both had, unfortu nately, to be suspended after issuing a The H indu: “ The revival of this few excellent numbers. The reappear valuable Journal devoted to the study ance of the JMAM will therefore be and promotion of Indian Music will be welcomed by all thoughtful lovers of welcomed by all lovers and exponents Indian Music and culture with no of the art.” small amount of gratification.' The The Madras Mail: “ We are glad to volume under review, though dated note the revival of the Journal of the 1934, was published only a few months Madras Music Aeademy (a quarterly ago, and the promise of soon bringing devoted to the advancement of the out the volumes due for each of the science and art of music) * * * Fulfill years 1934 to 1938, resumes the thread ing as it does a real need of music of its publication from where it was lovers, we are sure all lovers of art broken. . S 1 ! . >-£ and culture will support it.” Though naturally it is devoted chiefly //. II. The Maharaja of Dharampur: to South Indian Music, there are fea “ * * His Highness is also delighted tures which make it indispensable for to read the articles in your magazine ierious students and lovers of music which are undoubtedly very interesting throughout the length and breadth of and instructive. He is also pleased to India. Publication of original articles read the proceedings of the Academy’s on music by experts, and of classical Music Conference * * . ” works on Indian music are instances in point. Authoritative reports of the The Adyar Bulletin: “ The resump annual conferences of the Music Aca tion of the publication of this journal demy, Madras* are to be found only in devoted to the promotion of research the pages of this journal, and embody in the field of music must be welcomed ing as they do the discussion on import by all lovers of Indian culture. The ant topics by experts and acknowledged Journal fulfils a real need as it is the authorities, they cannot be overlooked only Journal of its kind in India.” by serious students of Indian music. S. N. Bhattacharya, Benares Hindu ****** University: “ A glance a,t the Index This alone should suffice to draw the for the last ten years’ articles in your attention of all scholars, societies and Magazine revals to me the keen interest institutions concerned with Indology to in Music taken by the South Indians. this important journal. There is no such Journal in North India.” 1. Sangitasudha of King Raghunatha 2- 0-0 ; .. ■ ' ' : • / 2. Caturdandiprakasika cf Venkatamakhin 2- 0-0 S I v-. •*** ' ' ' Do. Tamil 2- 0-0 3. Sangitasarasangrahamu (Telugu) ... 1-0-0 4. Sangitasaramrta of King Tulaja ... 3-0-0 I*BI?fTED BY .SRI S. S. SRINIVASA RAGHAVAN, AT TIIF. MINERVA PRESS, 33, BROADWAY, MADRAS AND PUBLISHED BY i.5R. V. RAGHAVAN, FOR THE MUSIC ACADEMY, KF.SARI KUTEKRAM, ROYAPETTAH, MADRAS.