The Music' Academy, Madras 115-E, Mow3rays Road,* Madras-! 4
THE JOURNAL OF
T H E 0 1 USK ACADEMY MADRAS
A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC
Vol. XXI 1950 Parts I-IV
“ I dw ell not in Vaikuntha, nor in the hearts of Yogis, nor in the su n ; (but), where my Bhaktas sing, there be I, Narada ! ”
ED IT E D BY T. V. SUBBA RAO. s.*.. B.L., AND V. RAGHAVAN. M.A., PH.D. 1951
PUBLISHED BY THE MUSIC' ACADEMY, MADRAS 115-E, MOW3RAYS ROAD,* MADRAS-! 4
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CONTENTS \
The XXI*Madbas Conference, 1949 O fficial R eport... 1— 63 M usical Research and Frequency Ratios B y C. S. A y y a r 64- 72
P o i n t s o f A f f i n i t y b e t w e e n H i n d u s t h a n i a n d C a r n a t i c M u s ic B y P a n d it R a t a n J a n k a r 73— 87 Carnatic Ragas from a New A ngle—Sankarabharana B y K. V. Ramachandran 88— 99 Carnatic Ragas and the Textual Tradition By K. V. Ramachandran 99— 106 Apcrva Ragas of Tyagaraja’s Songs B y K. V. Ramachandran 107— 109
K s h e t r a j n a B y P r o f . V is s a A p p a R ao 110-129
J a t i s v a r a S a h i t y a s o f M u t h u s w a m i D i k s h i t a r B y P r o f . P . S a m b a m u r t h i 1 30— 135
V i e t n a m e s e M u s i c B y J e a n V a r n o u x 136—138
T h e M u s i c o f t h e P e m s i a n s B y D a m ' B o . 139-142
V i e t n a m e s e M u s ic I n s t r u m e n t s —I llustration F a c in g PagB 140
The Music of Assam B y K. N. D a s 143—180 The Hastam uktavali of Sobhankara B y D r . V. Raghavan ... 181 The Non-M usical W orks of some leading Mrsio W r i t e r s B y D r . V. Raghavan ... 182V-183
S r i M u t h u s w a m i D i k s h i t a r ' s K r i t i s Edited By Vina Vidwan A. Sundaram Iyer 184—189 T he Music W orks o f S am a n n a S u ri B y D r. V. R a g h a v a n 190— 214 The Kandyan Dance—Illustrated B y D r. V. Raghavan ... 215—222
A p p e n d i x : I n d e x t o t h e c o n t e n t s (C ontribution ,* a n d A u t h o r s ) o f t h e J o u r n a l o f t h e M a d r a s M u s ic A c a d e m y V o l 3 , X I — X X THE JOURNAL A OF THE MUSIC ACADEMY, MADRAS
Vol. X V III
THE SRI TYAGARAJA CENTENARY COMMEMORATION VOLUME
ILLUSTRATED)
Rs. FOUR ONLY
The Visvai uirati, Santiniketan, says c The Music Academy of Madras deserves the best congratulations of 3II lovers of music in this country for furnishing a fairly detailed study of Tvagaraja and his contribution to the music world.
The Ufe-story of 1 Veggeyakara is in a way the personified history of the m usic of his days. The present special number of tne Madras Music Academy not o d Iv supplies us with the dates acid faets of the great life of a saint and an epoch-making musician but also presents to a serious student of music, a model plan for taking up the study of musieai compositions and their authors.
Let all lovers and students of music, both in North and South India, derive inspiration trom a critical study of this commemoration volume. Parts hv] the xxiii madras music conference, 1949
to you will Have, we are sure, given you ail the information regarding the nature and extent of our activities. We fervently hope that you and your Government who have the good of the people so much at heart and endeavour to seeure their amelioration by advancing etrltura.1 progress as well as material prosperity and moral well being, s *■ all wS will not he slow to accept our proferred co-operation with heartiness I % commensurate with our status.'' lfi 1 im atw,fla
>0 H© then requested the Premier to declare open the Twenty third Conference of the Academy^aud the series of concerts. * i nw Sri K. V. Krishnaswami Aiyar presented the address to the Premier enclosed in a beautiful silver casket. „ -
The Hon. Sri Kumaraswa'mr Raja then inaitgufatPd the Conference.
h
" My natural attraction.to music and my sense of appreciation of good music have impelled me not to disobey the call, especially when it came from the august body th*t is working with untiring energy for the last quarter of a century for the development and popularisation of our classical music. W ien [ rise to say a few words addressing this learned gathering on this occasion, I do not pose myself as one competent to give ytu gn>dhi,nce matters relating to the science or technique . music. But r ; *,h?sire is more
■ w 4 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXI / 7. BHT [V J to see you—music experts, and music lovers—all assem m one of ‘plahbi hrid to wish1 your Conference and its deliberations all success. vm imtU aqoii v.wnovioi srf a -iwntoa l o o l inert xn bn® 01 u J An »if J J® jfapoi o^ Jtkiotjq odifp bqog ®v/ it a new. glow and force. The Music Academy offers a common platform for learned men and experts in music to have discussions with a view to find new avenues o f development of music without at the same time ignoring or even compromising the high classical standards. The organising of periodical conferences is the foremost item in the propaganda work of this Music Academy. Being devoted to the higher learning and practice of the art, it brings together artistes and persons learned in music and seeks reconciliation between the theory and the practice of music. The performances arranged by the Academy on classical lines have exerted a great influence on the public taste and resulted in the inculcation and spread of classical music among the people. “ It is also gratifying to note that this Academy is giving encouragement to the rising young men and Women with musical talents by introducing them to the public. In olden days it would take years and years before youngsters of talent and attainments came to the fore-front, because of want of opportunity and patronage. This Academy is rendering yeoman service in the eause of musio by affording opportunities to the talented men to come to eminence. Its endeavour is to effect improvement in every aspect of this fine art. Bharata Natyam, a splendid fine art, which was for sometime associated with stigma and prejudices, has also been resus citated with a new force and dignity. I am sure that the Music Academy will continue to serve in a still larger measure ih spreading our music and thus enriching the cultural life of the people. Cultura l progress and moral well-being of the people are the primary concern of the State also. And you are aware of the efforts taken' by the Governments, Central and Provincial, for spreading knowledge in music. The opening of the College of Karnataka Music by the Government is a step in this direction. I am sure that the efforts taken By the Government as well as private institutions will bear fruit and add to the happiness and harmony of the lives of our people. “ Gentlemen, I thank you once again for the honour you have done me to*dfty and I have great pleasure in inaugurating this Conference,” nmm Umta&tX'j noi tafce'ttgqs edT Jmvo turnpatS 5as The Premier then declared the Conference open/"]^ Vote of Thanks , Sangita Kalanidhi T. L. Venkatarama Aiyar, Vice-President of the Academy, proposing a vote of thanks, endorsed the view of the PARTS I-IV] THE XXIII MADRAS MUSIC CONFERENCE, 194® Premier and said that music and devotion wjffere inseparable and that constituted a unique feature of music in this country. He added that the Conference was being patronised in an increasing measure year after year and musicians from Northern India were also now participating in the discussions. •.vrdtsTeif-t Election of the President Bangita Kalanidhi Rajamanickam Pillai, the outgoing President, proposed Vidvan Mudikondan Venkatarama Aiyar to preside over the Conference. In doing so, he referred to the keen interest taken by Sri Venkatarama Aiyar in research work in music. Sri Venkatarama Aiyar, he added, had received his training in the tra ditional gurukula method and was endowed with great talent in m u aio «ktiK sotb has onorfq; imnjj rS£omni> .irihm edit o fjn fw Sangita Kalanidhis Tiger Varadachariar, Maharajapuram Viswa- natha Aiyar and Musiri Subramania Aiyar, Professor R. Srinivasan and Srimati C. Saraswati Bai spoke supporting the proposal. Sri K. V. Krishnaswami Aiyar then garlanded Vidvan Mudi- kondon Venkatarama Aiyar. .aj i Presidential Address 1 a Vidvan Mudikondan Venkatarama Aiyar then delivered .his presidential address, . !!« ^ a t />'.?>- t; After thanking the Academy for the honour done to him by electing him to preside over this year’s Conference, Vidvan Venkatarama Aiyar paid a tribute to the useful work done by the Academy in the cause of music and referred in particular to the training of teachers, encouragement of new talent, reviving Bharata Natya, the learned discussions held annually, the publication of the '' J**journal and music works and the opportunity provided to the public to listen to Hindusthani music. Comparing tbe music of thirty years ago with what was now prevalent, the President said that a lowering of standard was notice* able along with departure from tradition (sampradaya). There was a tendency now to overstress the importance of theory and grammar (laksham) to the detriment of practice and usage (lakshya). He was of the opinion that lakshya must receive greater attention than takshana. It was possible that those who had not the natural facilities to demonstrate could delve deep into the science of music 8 ! IJQVKNAL OF THE MADRAS MUSIC ACADEMY fVOL. 33X3 and with the help of l^search widen musical knowledge. Bub he would remind everyone that sangita was a nadavidya and was an art to be learnt by practice. Who could learn the subtlety of gamakasi or the singing of raga, tana, paUavi, swara etc. by -the mere theoretical description of what they are ? There was no doubt that they could be understood better if they were actually demonstrated by one having a trained voice. He would, therefore, urge .thpse in charge of .musical institutions, not to over-rate the Value of theory in musical training. * 'cr/o ftnCMnq m •w%i& 3t«v arc ituvDi/ pcgoqmq Musical Training n« .'mum at rfiow doi&oma 7. amma&jdiuti / n o ■ It tfas true, the President continued, that music had spread out to a larger extent among the people now than some years ago, Thanks to the radio, cinema, gramaphone and musical institutions, the number of those, practising, music as well as of listeners had greatly multiplied. But one could not say if quality had remained unimpaired. Sangita could not be learnt merely by a course of training. One should have a natural taste for it and this had to be developed by training under a guru, by listening, by teaching others and by experience. Sangita was similar to pranayama. A votary of nada, singing with concentration to the accompaniment of tam- boora sruti would forget himself and commune with the infinite. Music was of various kinds—light, heavy, emotional and divine It was capable of appealing to all types of people. As Vidvan Ipayat Khan had said, “ Lay people like light music ; intellectual people like heavy music; spiritual people like divine music.” Its appeal was thus universal. reV • • wesf. nt sOT|9w i niMi tmma io ttttn&i m ! fit vmefwsaA Addressing himself to those training themselves fox concerts, the Vidvan emphasised the need for proficiency in singing in chowka, madhyama and druta &a?a. They must also respect tradition and be good at both lakshya and lakshana. Music was the language of emotion and like other things might also be degraded. It was there fore the responsibility of practising Vidvans to correctly shape the taste of the listeners by maintaining a high standard, eiij nu Uf), A < , «»«-4 t * -W** , or. tiller v- • f. Continuing, the President said that the art of raga alapana, singing of tana, pallavi, swara etc., had definitely deteriorated in recent years. While some of these were disappearing, the others were poorer in standard and lacked method. Those who have not had the advantage of listening to old Vidvans like Ramnad Srinj- % Krishnappa should make it a point to listen to sotne of thope'^tifl with. «s find who had heard and enjoyed the music of those1 days. Music could eora«o into ifcfc own again only with the Help 6f stt&h Vidyans wbflM'iinprif^ftadill^llnk With the earlier generation'. Raga- (rfapami aocowitag to tradition Was libW practised' isdmedehdih^ Hindusthani musicians and some Nagaswara Vidvans of thie South. As raga was the essence of Indian music, the President appealed to Vidvansto study the various aspects of ragd alapana which would help them to widen their knowledge tihd imagination. H e, also Stressed the need^for siiigittg ih tlie TiWWUW riiiw * * WM*V v ‘ t «r'Ta \ t " ■ **§[*' * v-. • \ 15 sswv v*^ rtW *" i \ > J1* fo ‘ * *'1** v*' bled The president then referred to the study of sruti,. He said that it had been stated clearly by authorities like Bharata, iSarngadeva and others that 22 srutis coulcl be identified in an octave (,sthayi) making up the seven swaras Sa ri ga ma pa dha ,ni, . tfruti could be defined as Nada which was pleasant to the ear and made up of a fixed but determinable number of sound , vibrations.. Ahobala had explained in his ' Sangeeta Parijata ” the exact places, occupied by the various swaras on a vibrating string and the intervals between 2,. I... 4 ^ X>v 4 - Xu y-. #■» ydl rV >*.:Vk 4 * I- -w-v-x sX -» m *-» 4 * n 4-t r-. ./-» n r t i-1 ny.X-. n u • • J- X. ... Mr. Clements, Hr. V. H. Paranjpye in the North and learned research, workers in the South. Their conclusions on the sound value of a swara or sruti had differed slightly in some respects. But it should be noted that the basis of th^r r©ee«^ch, was the music that was now prevalent. Would it be proper for us to judge the views of Bharata and Sarngadeva who,bad based their- study on the music of those ancient days ? The sruti was likely to vary either way in a swarasthana in accordance with i^sqf^r^kranm. There .was also tbe question whether the vikrili swaras were bandied by Bharata and others in the same way as we do. might be compared to the steps leading up to a building. The width of each Step represented the. limits of oscillation of the relevant dependent on the raga bhava and the consequent gatnaka. Ur view of the fact that pur music was enriched by gamakas, any attempt to determine the precise character of a sruti pould, only, be,approximate. The sound value of a swarasthana might also, vary slightly depending oh the practice, skill apd imagination of the singer. s J[t wo.uld ppt be dhttrect, therefore, to determine swarasthana*. from thp conclusions kf^Ah^m ai^c^f^esearchere, each necessarily influenced' by his 2 \p TRB JOURNAL 0F TRE; M^DRASMUMC ACADEMY j {VOlr. M own peculiar equipment and experience, Practical musicians of experience should be asked to sing at length and the research worker who had a full knowledge of Mkthya and lakshana in addition to modern scientific methods could determine the sound values. It was worth noting that Venkatamakhi, had given the sruti values only for the swaras of his mela ragas. Earlier authorities had given us raga lakshanas only in the form of swara krama but not in sruti values. to* bus ft uiH The President next pointed out that the present vogue in the singing of vikriti swaras (observed in the 72 melakartascheme) was to identify suddha gandhara with chaiusruti rishabha, suddha nishada with chaiusruti dhaivata, shatsruti rishabha with sadharana gandhara and shatsruti dhaivata with kaisiki nishada. The speaker held a different view. He would request the Vidvans and research workers to determine if it was proper, for example, to equate suddha. gandhara of 5 srutis with the swara sthana of 4 srutis. While it had been suggested by learned men in the past that suddha gandhara should be produced at the chatusra rishabha fret on the Veena*,^ had not been stated that the same swarasthana was to be played. He also appealed to everyone to devise a small handy pitch pipe-like instrument which could serve as the standard for ‘ adhara sruti * (drone). This was necessary as the harmonium had gone out of use and tambura had got into its rightful plac^ ? .,q / Referring to musical appreciation in general, the President said that there was a tendency by the public to applaud any type of music with the result that the singer got a licence to sing as he liked and what he liked. The enthusiasm to learn pieces in the traditional way was waning and the practice of changing even the dhatu of kritis and altering or mutilating the sangatis at will was on the increase. There were several versions of one and the same kritx current ampng the musicians. The 'President declared that the responsibility of determining the traditional patha of kritis and of resolving the exist ing confusion rested with the Academy. While determining raga lakshanas it was necessary to enunciate the old aBd traditional 'ones instead of trying to fix up a new lakshana to the lakshya now in vogue. He referred in particular to Pantuvarali, Chittaranjani, Drleepakam and Tarangini ragas which in the present day had deviated from tradition. He appealed to the Academy to take up the matter afresh and establish their old and correct raga lakshana. It was possible that ragas had got changed and patha of kritis altered PAETS I-IV] THE XXIII MADKAS MUSIC CONFERENCE, 1949 11 on account of the difficulty experienced by some singers of less than average ability io handle the swaras correctly. Ragas differed in the matter of rakti. It was not proper to acquiesce in the recent depar tures Jfam tradition op the basis of were pleasantness to the ear or ranjakatwa. We would be guilty of limiting the scope of sangita which was an ocbanJn its .expanse, ig*. M% \ Addressing students of music, the President stressed the need for undergoing apprenticeship under an experienced singer after a course of schooling is over. Tala, he added, had no doubt an impor tant place in music, but it should not by any chance spoil the sweetness or pleasantness of a piece. He mention^, ilfeosivftnous features of pallavi-singing and emphasised that in the process of development one must never lose sight of the raga bhava. He had heard paUavis sung by Talanayar Somu Bhagavatar and his son Badhakrishna Aiyar. They laid great store by the sarm laghu, what ever the variety of tala handled. The President requested the Vidvans of to-day to emulate their example instead of taking odd tala measures which would merely bewilder the listener but not please. He said that we could not flatter ourselves that we had added to tbe knowledge of tala either. The compositions in rare talas that Had been left to us by eminent men like Eamaswami Dikshitar, Maha Vaidyanatha Aiyar and Ramnad Srinivasa Iyengar were still unsur passed. The importance of raga in any paUavi or tala composition would be realised if one remembered how Vidvans Tiruvayyar Subrahmanya Aiyar, Mannargudi Cbmna Pakkiria Pillai, Semponnar kovil Eamaswami Pillai and others kept thousands of listeners spell bound by the way they handled raga and pallavi. Similarly in swara singing, the speaker pointed out the need for a correct understanding of tala. The smra-phrases used must be on the pattern of a tana varna. Be also appealed to Vidvans to revive correet tana singing. Speaking of the use of the mike in concerts, the President felt that this amenity tended to make an audience listen carelessly. He knew how Vidvans in the past had entertained big audiences without the help of a mike and how the listeners would listen attentively. This apparatus was also likely to hide the defects of a voice and make it unnatural too. He concluded with an appeal to all feflpw-vidvans |p offer their fullest co-operation to the Music Academy and do their best fo further the cause of Carnatic music on the right lines. 1I ;#$&$ aaKaaaijioo ^tecm basccam uixx sht [tx-i ??9k*i a»fii 88»( lo 8 f9%aia am m 2 3 ' ^ a , # , t n & i r j b i t uh M & m i jtf&iir&GfS *> M>£i2p flipai.p ■•eroaou ■ fi&rtr&Q m . l , Spieux.m iteQ ifi ! &&Qm w QjET^Ls «.<9u> jjmmiJkw&M smv'tfo Q«h Q s &t non pcip/fi^LD jp jw euuQ uir (i£j$u .?>' iv it i—(Ben/sir sQ &i <&4ssar^uS).Cope3r. UQZ eS/soj Teora^a&Ui ^jy^'Wrjrf &^ u9s0 ^ u Q u tfliU 3nnP,\upss>p QsFiueuQp&ru& j>j6iirr&*ariwr piurr eBGr&opGu* &mr m){iu>(rp£uju>ir(3jw. iS$ £ ats i-iyl THE xxm Madras Mtrsic coherence, 1949 IS erosiSp eQpenp ervemuuddr dup^Sqr^ikG p us\ euQ^e^rwsi'arflsc 0 eo a r g p id 0 .a/ra»r© ^^amjsvrpuiy- turret) Qj^eiien'Tidljpleireri ^ jp d i bVayrir&© > / gara^/^Perr&j Qp/Piu «t/0 Lc. (j^&eFenud^ u ffQ eufil Oi_a»ri_/ruj K . V . 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Lectures & Demonstrations . ! **T.OT>1^ Ua) eri# , hUa erf owat tO .mtuov mi bnnol mow •o , (i) by Sangita Kalanidhi gri K. Vaaudevachar. of Mysore Rm (ii) by Vidvan Madura Sri Rangam Ayyangar^PaWarA^m. < qtt heygjr Vidvans Voenaf Nartfyaina AiyangaD Madura Subrah manya Aiyar, Vidvan Ramachanftra Bhagavatar of aottgaiaTi i Maajakkudi na and Vidv^h? Harihara Bhagavatar of iHaybaviitae^bavn.tio* dot') AvidayarkodAvid* ou ?G4ttu Yai!yaan TUB JOURNAL OF THE MADRAS MtTSIC ACADEMY [VOL. XXI yd btffrY. by Messrs. Pt. Ratanjankar, Pt. Ravi Shankar and Gyan -isi noijontji Qbosh— Hindustharii Mtttic r i a8’,0/ ' ‘ 3. Papers : Will include among others : (i) “ Musical Research a®d Frequency Ratios” by Sri C. S. Aiyar 4. Raga and Rasa;yvi Talk and Demonstration on Veena and Gamakas jU Vidvan Devakotta Narayana Iyengar then gave a talk oh ‘ gamakas ’ and rendered them on the Veena. The Vidvan mentioned that there were 15 ‘gamakas’ in,$il*put of which Jf) or 12 at least were found in vogue. Of these again, he said, the sphuritapratyahata was somewhat The Vidvan illustrated the playing of gamakas on the Veena by rendering raga and tana ih Todi and Kalyani. He also played the ‘ ghana-raga-panchaka ’ and wound up with Madhyamavati. j ...«■:« ?,p/ u r/ii rvmuw " The President thanked the Vidvan and said that Sri Narayana Iyengar combined in himself the delicacy (naya) of Gottuvadyam PARTS > IV ] THE RXII1 MADRAS MUSIC C0NSTCRHNOJ8, 1 9 4 9 Sakharama Rao and strength (pourusha) of Karaikudi Sambasiva Aiyar, both of whom he worshipped as his masters. Talk and Demonstration on certain songs of Tyagaraja which had undergone-:change h«o! > dfiw ’io qidgffiobtsaiq leh/m ..sraoqal^M ,H«H foori#B dgiM 'shir) ta^iA Vidvan Manjakkudi Ramachandra Bhagavatar gave a talk and demonstration on the subject of Tyagaxaja’s compositions whose musical settings had undergone changes incongruous with their origi nal forms. He first sang the raga, ‘Margahindola ’ and then the piece, ChaJamelara in its correct and authentic form. He said that the rendering which was in vogue now was allied to Saramati rather than tO Ifargahindola. He did not elaborate this point as this raga has been put down for discussion in the current session. OnS To 'gmlTttla' Ml to \h m u X tH s q htta ■■obnt.tm ~ m &bom The Bhagavatar then rendered the correct palha of the Kalyani kriti, Tripura and Sundari, Sangita gnanamu, Xenundu redagudura and Mokshamu in Dhanyasi, Karnataka Behag and Saramati respectively. He pointed out that the Umayalpuram Brothers were so zealous to preserve the correct form of the kritis as they were composed by the great saint that they even discounted all display of swara singing. It was wrong to suppose that those eminent vidvans were incapable of swata singing. The fact was that they were such authentic ^repositories of the true forms of kritis of Tyagaraja that even the great musicians of the times used to send their pupils to Umayal puram f o x learning the kritis themselves. The Umayalpuram Brothers did not desire to be mere ‘gayakas’ in any narrow sense of the term but preferred to be real ‘ bhaktas ’ and ‘ bhagavatars' as envisaged by the sage himself in his compositions. 4 The President thanked Vidvan Manjakkudi Ramachandra Bhagavatar and referred to the fact that the learned vidvan was the grandson of the Umayalpurm Brothers, the direct disciples of Sri Tyagaraja and as a repository of the correct sampradaya, he was competent to speak on the subject. ‘ He added that the Vidvan’s valuable observations as also renderings were not only true to sampradaya but were also appealing by virtue of his rich voice. Vidvan Venkatarama Aiyar reiterated the need to-day to coirect the versions of many such pieces. 1 f* w o # p i i m 3 m m .wImmtilji gjlood jmsjs(fnus8 ibijdi/ntaviTHE TH IR D D A ft-ii .ai»#®jB£a aid aa beqqidsiow ad moifw Io dfod 25/A December 1949 @6tfltftit8e© »8f the- Mdste Academy ilTdtortnection with its 23rd Conference metthafe hikg at the Lady Sivaswamy Aiyar Girls’ High School Hall, Mylapore, under the presidentship of Vidvan Mudikondan Vdhkatafatna Aiyar. There irks 1 present a gatheringofnaU sfcianSknd tovdrs^ofiikhteie. ? :i0 ' -igho if9d;> rfiiw aifoingrroorti aagiisrio enoktehmj had &$ai&es Ucfaum ,aoeiq edi nod* b^fapw.'Ott Ratio value of Srutis 1 eH .araiol Un o il forff hiss 9 8 .on of orfcwddujs hu« iocmoa aft ni- »t»Ss«t»i»A-I Thp jjieetiug began with the reading of a paper on “ Musical Research ##{1 J r e q ^ p c j ; ^ ^ ’’ l?y Spi G, $. Aiyar. Sri Aiyar started by say ing that ip f view.:)of .the need for theory teaching in modern music education and particularly of the starting of the Cfptral.Col^e olf Carnatic under aoyernmeDt aujpicea, the subiect of his paper Was of importance. In his opinion there was a Z W w m u T m * m r . r a tio g aoM b, I between which gamakas occurred: the intervals in the Andohka .. , . , ? -■*->, " •: : . . y . m i so aosmiats *»«:. gamaka in the same swara above or below the note are to the extent of quarter toms, having values below a semitone of 16 15. Reference 1 ; f , . , . o l n o ,I s M fa l cm . was also made by him to his paper, , A study or the microtoaal •..! 'Op r 1 variations m frequencies in Carnptic Music m the August (1949) issue offyurreyt Science and added, “ At the present state of true scientific knowledge regarding our music, I would even cry Hait to the teaching of the theory of frequencies in music, which are found in the text-books already mentioned, excepting those of prolongable swaras, as far as known. No amount of getting by heart the fractional pAfcts !r-iv] friai Ajtiii m a d r a s m u s i c Co n f e r e n c e , 1 9 4 0 r 3 $ ratios, dr cyclic cents or of the swaras representing the aroha and avaroha of their sanchara, can create the aesthetic feature of raga forms in the human mind. The shades of sound and pitch have to be learnt by the ear and initiated by a teacher.” He also emphasised that ‘‘ any scientific research in music proposed to be undertaken in the music institutions started by Government here as well as in i the; North, ‘ should be on the basis of living music ?. and nob on tbe study of books, ancient or modern, whioh cannot show samples of sound for investigation.'< In this connection, Sri Aiyar appealed tod our classical vocalists and instrumentalists of to-day to give special recordings of classical music on tape-record. a eecimevian Incidentally, Sri Aiyar touched on two points, namely, that the Central College of Carnatic Music appeared to get only a Step-motherly treatment at the hands of the Central Government and that so far as® the question of the uni6cation of the Hindustbani and Carnatic systems of music was concerned, he was of the firm Opinion that all such talk proceeded on a very erroneous basiB and that he would go to the extent of saying that the mixing of Hindusthani with Carnatic music was inimical to the latter. loi gmJnsd) nl • The paper as well as warmth with which Sri Aiyar pressed his views provoked heated discussion and some of the members who were present bad to place their views on Sri Aiyar’s paper and observations, in writing. Prof. Sambamurti stated that the frequency values which Sri Aiyar had questioned and which had been mention ed by himself in his books and in the Academy Presidential addresses referred to by Sri Aiyar had been arrived after mature discussion and'* deliberation.v He did not agree with Sri Aiyar in his view regarding the relation between the Hindusthani and Carnatic systems. Prof. Ratanjankar, Principal of the Central Hindusthani Academy, Lucknow, while disagreeing entirely from Sri Aiyar on his views on the relation between the two systems of music, observed that after long research on the mathematical ratios, the conclusions that Sri Aiyar had arrived at were that to achieve the correct interpretation of the ragas and their intonations, the teacher was more important and effective than any number of calculations, a truism which no practical musician would disagree with. | Prof. R. Srinivasan, as a mathematician who has bestowed senate thought on this question, said, that according to him, the real ! sweet notes ifi actual use escaped this kind of analysis;1 These vibrational values could give only a general indication. To hear by 4 THE JOUBNAL Of THE MADRAS MUSIC ACADEMY [VOL. XXI tbe ear the particular note in a raga and to reproduce it properly r was a surer guide, as no definite vibrational value could be fixed, the swara in the Carnatic system being unique in copc^tioH^ «j acnot Messrs. Seshadri and Krishnamurti, two Physios professors who were present by invitation, opined that music, though subjecti^HeV} bad an objective physical basis and Sri Aiyar’s paper was a plea for scientific research into the correct swara-sthanas o f out musie*' 1 For this, they said, there should not only be close collaborated work by physicists and the Classical musicians, but also scientific laboratory equipment which could he organised and provided for only bv the 3 universities and the two national music institutions recently started by the Government. . t ( t , *♦« ap U £y£|% os. ag >. ft JiliJj & 0 i M #£$J i l J&jjT' ei ga ma pa ga ri sa” were regarded as exceptional usages. The raga was suggested for reconsideration at this year’s Conference, particularly With regard to the character and permissibility of ‘ni’. Sangita Kalanidhi Tiger Varadhacbariar wanted to know in particular whether the ‘ni’ in the sancharas in this raga, some of which he sang, Whs ‘kaisiki* or ‘kakali’. 9g0 {jp '.; Vidvan Madura Subramania Aiyar said it was ‘kakali* though it was a bit lower. Singing some sancharas he said that “ sa ri ga ma ’’ occurred sometimes though it was possible to sing it as “ sa ga ma. ” Vidvan Manjakkudi Ramachandra Bhagavatar sang “ Bhajare ” with “ sa ga ma, dha ni sa ri sa ga ma ri sa ”, ,. .J „T hH V id van Alattur Venkatesa Aiyar sang “ Saketaniketana ” with <1* ga ma ri sa ” as well as “ ga ri ga ma,’’ on which particularly Sangita Kalanidhi Musiri Subramania Aiyar wanted a clarification. Sangjtg Kalanidhi Semmangudi Srinivasa Aiyar was also ©f the view that A ‘ ga ri gama ” occurred, as also “ sa ri ga m* ” in the same song bgt ^.y^nkatesa Aiyar did not agree with the latter aanchara. • * • | ^f£|fj> J8 jjVJ Vidvan Ramaniah Chettiar said there were many prayogas which were admissible ; there was “ sa ri ga ma though the ‘ni’ was ‘ kaisiki’, ‘kakalff Jitep occurred; • AsMjtding to him, the raga was put down under nata bhairavi also. Vidvan Bharatam Narayanaswami Aiyar said that ‘ni’ had rio karvai. noi s Seh T. sL. Venkaitirama1 Aiyar sang tbeiT3Mkshitari 'piece,3 “ Sri Matri-bhutam” and said that “ sa ri ga ma’’ was admissible and also ‘kaisiki nishada’. Asked by Sri Musiri Subramania Aiyar and others for a clarification of the exact nature of ‘ni’,* Sri Venkatarama Aiyar said there was only a touch of kaisiki ‘ni’, without karvai. The Saramrita, he said, put the raga in the 28th mela, and added that if it was put down as bhashanga, it would suffice to indicate the variation in the sancbara and the exact nature of the ‘ni’. T Sri Musiri Subramania Aiyar objected to putting it down as bhashanga. Sri Semmangudi Srinivasa Aiyar said that the place of /nr. may even he said to doubtful and the noting of it in the lakshana as^a definite swara would only be misleading. Pandit Ratanjankar pointed out that in playing on veena, 4dha .p#)| and returning to ‘pa’, ‘ni’ has necessarily to be touched? '':fysxmMS hl\ V’idvan Madura Srirangam Iyengar sang the sancharas as learnt rom his guru, Sri Namakkal Narasimha Iyengar, in which occurred 36y THE JOURNAL OF THE MADRAS MTJSIC ACADEMY [VOL. XXI S t i r “sa ri ga ma pa ma dha ni sa, sa dha pa ma ga ri sa ’; apd 'id’ touched ‘kakaii’ in “dha ni sa” and ‘kaisiki’ in “sa dha ni pa”. Pandit Anantakrishna Sarma of Mysore drew attention to the lakshana gita in the Sampradat/a Pradarsini having the saneharas “ pa dha ni sa ’’ and “ sa ri ga ma Vidvan T. K. Jayarama Aiyar Said that *ga’ and 'dha' sounded dirgha and kampita and in the oscillation, kaisiki ‘ni’ is necessarily touched; kakaii is also sounded wfaile going to ‘sa’ in “dha ni sa”. It might be taken to the 29th mela^-g has*- isd i bias erf mrmfhttm .wwa!tfid Asked for a clarification by Sri Semmangudi Srinivasa Aiyar whether ‘ni’ was not printed in small type, both the President and Sri T. L. Venkatarama Aiyar said it'waS not so. The President sang “Intakante” by Pattanam Subramania Aiyar and a chitte- swaram added to it later by an unknown musician, in which ‘‘sa ri ga ma” and other saneharas occurred ; kakaii also sounded. aa8 The meeting decided that kannada was a janya of the 29th mela ; its arohana was “sa ga ma pa ma dha ni sa” and avarobana, v‘ s i hi sa dha pa ma ga ma ri sa”; “sa ri ga tha” and “ ga ma pa ga ri sa ” were admissible. .. a# a a g o v a iq v n f . W e 'ia* &A3 dgoorfi f W doidw ins! ’ saw a g a i a d \ j n i d e t THE FOURTH DAY isieiatedS navBi • *itq saw 26th December 1949 B ttsV A iaM The Experts’ Committee of the Music Academy in connection with its 23rd Conference assembled at Lady Sivaswaroi Aiyar Girls- High School Hall this morning with Vidvan Mudikondan Venkata’ rama Aiyar in the chair. etib«Ia * tol , , A Paper . hiH8 ,u{ G. Nagaraja Rao of Bangalore read a paper on “Architects of Music and Progress of Music in South India and Abroad During the course of an all round survey of musical conditions in the country with reference to the public, the Press, the State, the sabhas, the film®, tbe radio, the records and the musicians themselves, Sri Nagaraja Rao made many suggestions on tlie basis of his observation of conditions of music in the West during his tour. Regarding sabhas he said that there was no use in increasing their number while the standard of appreciation was going down and the mere commercial aspect was becoming more and more important; listening habit had also to improve, along with the acQustic conditions m t P jD PARTS J-IV] «XIH MADRAS MUSIO COHFERENCE, 1949 37 9of halls where* as in the West, large numbers should be able to Sit and listen very well without even the help of the mike. He also said that samples of Indian music in gramophone records which he bad occasion to scrutinise in Europe hardly reflected the true classical renderings which musicians here could give; there was need now to take tape-records of such classical renderings by our leading vidvans. o d t ^ thkiiking Sri Nagaraja Rao for nis paper, Vidvan Mudikondan Venkatarama Aivar, the President, commended the enthusiasm of the young musician but he doubted whether there could be any advan tage by merely comparing or copying Western methods, particularly in respect of Press writing and publicity ; Indian music being an art to be learnt directly from the teacher differing from Western music i$hicM’{66u!$ be read and rendered from written texts, had therefore standard of judgement and appreciation. rtriahH ii n & b a d , 8g n o 8 oaedf lo snoipj isendsiR ^ ' ' 1 fiagalakshanas • h m " t a The President then proposed that in accordance with the agenda, the discussion of Ihijavanti might be taken up. edt iarfJ bias jflsd-JsnbniH of -me* mtn Dviiavanti ... add rffiw £>'.<• ■■■.-si f moo k* .cjfisqu n* at$w j$af Dvijavanti had been discussed in 1931 Conference when it was decided3 Jl that 44-it mmwas n A-fof tbe OOfli28tb mmela, aI o that ifits a a arohana ■pnli a n o woo was ^ “ ansa ri ma ga ma pa dha sa ” and the avarobana “ sa ni dba ni .sa ni dha pa ma ga ma ri sas ni dha ni sa” and that'ri ma g s^ i |g #” was a special prayoga and sadharana gandhara occurred. As an elaborate discussion qf it could not be conducted at that Conference, it had been taken up for funftypk,discussion d u r ^ .jh ^ jP f^ ^ t session. ,"«g ia aflfc hr asw aisdi Jadt beotqo oels ad ; sgsi This being a rare raga, discussion was practically guided by some testy books, notee: from which had been brought ; by m%ny vidvans, and tlie single kriti of Sri Muthuswami Dikshitar in this raga, “ Chetaeri ” which alone was generally known and whichjTf#s rendered by Srimatis Brinda and Mukta, Madura Srirangana Iyengar and in part by Alattur Venkatesa Aiyar and the President himself, t j Opening the discussion, Vidvan T. K. Jayaramd Aiyar said that though classed as a janya of the 28th mela it was really to be described as a sankirna raga, as it took the chaya of more than one raga, primarily Sahana and Yadukula Xqmbhoji j there was also a shade of Bhairavi; it took sadharana gandhara also. Pointing out that tlie beauty and the full form of this raga came out only in ; 88 THE .JOURNAL OF THE MADRAS MtJSDC ACADEMY fftfK P 4bkl i: vilaniba-rendering, as indeed in the ease of many other ragas; 1 the bividvan sang the alapana of the raga and conolnded that, as the texts baaicM the proficients had to sing it by the lakshya.^* liatert'Sri Jayaranm Aiyar suggested that the sankirna character of this raga owas probably . due to its origin in folk music and songs in mettus of this raga might have been current among women-folk .*-acp'.i oila-t Manjakkudi Ramachandra Bbagavatar, wjio said tb$t the Umayalpuram School knew no piece of Tyagaraja in this raga, was of the opinion that “ ri pa ” was admissible, that “ pa dha ni sa ” was a prayoga and that saneharas in tarastayi do not bring put the raga taksban&T^. ° ^ ^ ° < Pandit Anantakrishna Sarma of Mysore said that he had heard a inangala harati song in this raga sung by his grandmother and another composition by a composer of the Surapuram family which had an imitation in “ Swanta Chintaya ”, a composition of Krishna Brahmatantra Parakala Swamigal., Singing portions of these songs, Sri Sarma said, “ ri ” was the jiva swara, and that “pa ri ” was frequent than “ri p'S'V” <*** hm( 43 9{fT Pandit Ratanjankar who spoke tb clarify the relation' that this raga bore to the Hindusthani Jaijaivanti, said that the Hindusthani raga was an upanga of Sorat and agreed with the Carnatic raga in the purvahga. Questioned about the prayoga, “ dha sa,’* the Pandit Hr Kb rendered Hmdusthani Jaijaivanti said that it did not occur, in ^j^bgita Kalanidhi Semmangudi Srinivasa Aivar agreed with the dpinidns lucidly set forth by Sri T. K. Jayaiaina Aiyar and added that the prayoga which occurred in Pandit Ratanjankar’s rendering of the Hindusthani counterpart, namely “ pa dha ma ” could be adapted and incorporated into the Carnatic form bf the raga ; he also opined that there was ‘ni dha ni sa”. f> Vidvan Ramaniah Chettiar who read out fts lakshana fully as gi*en in so«ie text books emphasised the characterisation of this raga ^ *“ i&maMshama-Vakra ” which signified its rather difficult form ■which had to be guided more by the lakshya g he said that ri gahia pa dha was the normal arohana; sadharana gandhara was more fi ban im jA m&toioeV yoi tiaq ni bn& tfidt Bharatam Narayanaswami Aiyar said that this raga was current in bhajatla and bhagavata compositons thongh at the time he could ■not reebileet the pieces, a fir Joot #t en <*3 at a ae' bedhoaeb e oi Vidvan Madura Srifangam Iyengar said that his guru had tlofl him tkhi J in jic ti in the same mela fbad to be taken as afiaiogy1 hhd guide for the development and singing of this raga. PARTS rt&fyjTfcM XXIII MADRAS €»8FSREN€*~, 1949 «’ 39 si Sangita KalAfiidbi T. L. Venkafa*AtlAa Aiyfcr sahg also ati additional hkshya for this raga, a Tamil Itamayana padaaM, “ E nn a buddhi mnainthayada.’5 Rendering also the raga, he viewed that taTa stbftyi sanchara could be done ;* that ita arohana was ‘‘sa ri ga ma pa ft dha eaJ? and Avarohana “sa ni dha pa ma ga ri sa” thafc ^aa ni dsba ni sa’f was a epeci&lprayoga and that sadharana gandhara occurred. lot The President then gave an alapana of the raga, and singing• snatches of*4 Chetasri n{ hie tendering’of whidh followed strictly the o Sampradaya Pradarsini and differed slightly from the patham rendered by Dhanam% grand-daughters, he defimtelyCpined' that “sa )l ri ga ma pa dha Sa” constituted the arohana. Reading out Subbarama DikShitar’s sancharas and his notes oh the raga he said that slight shades of Darbdt airH& Bhdimvi also Appeared / besides the more p«itttil#ht Sahana and Yadukula Kambhoji. The decisioxi of the Conference was that the arohana was “ sa ri ma ga ma pa dha da avarohana “ sa ni dha pa ma ga ri sa ni dha ni sa “sa ni dha ni sa” occurred, “ri ga ma pa” was a special prayoga ; in “ri ga ma ga ri” sadharana gandhara was taken ; “pa dha ma” was also admissible ; it was a janya of ^he^ th mela. ^ inedJaifhniil t h e FIFTH DAY «ii •r-Murt odT e ebaacooo 9»loa wpm edi to aeaigan exit mmw at esgm earns b&amkjm as odt ffi hxmol eiiriael ebrt* Xl- f tihy-sii otjmibioooA .toDaejq . wra ml t yd The Experts Committee of the Music Academy in connection -■Jut? as v jalvfH! of bijMLbSm flpirfy j/awros «nan- • , with its 23r4 Conference assembled at the Lady bivapwami Iyer Girls , School Hall, Mylapore, this morning. Vidvan Mudikondan Venkata-j° rama Aiyar was in the chair.. . , ~ ' ' » , ' , , Owl mmamvi matfJha /I m oafs bnfi mmtt ed J qmSooo imbnl «di ? Paper on Hindusthani and Carnatic Music igna-n;ug*#” The proceedings o f the day began with a impef read by Pandit ^ Ratanjankar o n ‘^'Points Affinity between the' HindnsfhAtii! and Carnatic Schools of Indian Music” . In his long and learned the Pandit first surveyed the history of ancient Indian rriukrc ift respect of both ragas and compositions as evidenced in the Sam a chants and literature from Bharat a downwards; whatelem ent - of id ancient Dravidan musics such as could be thought iesf on the basis of 4 old South Indian literature like the Silapadikaram, endured in the o Carnatic system that is* being handled at present, it was not possible k> to say exactly. Carnatic music? as in vogue to*day was mostly* ^ related to the main stem of the Sanskrit textual tradition, along of with Hindusthani. It appeared to him that the: dielinct Carnatic > j >! 4(X>f; THB JOUBJfAi. OJf THE MADRAS M&Mfk AOADEMX [V ot. Nfltt divergences tot h shape from the fcimeofj Ramam&tya’ewark. file however, drew >attention to the fact that many folk melodies now a known to os as r cgas were current in all parts of the country, that d th Sanskrit wori themsfives from Matanga downwards referred to m ostof the raga® as deai aid that among compositions themselves, || for instant* in eia th Sa* krit works spoke of vernacular varieties, se latay karnata, etc, Pan iit Ret anjankar observed that, although nether of us, Southerner.1 or ortht ners, could claim to-day to l>e singing the sangita of tlie Jihe ttanat a Sastra, Brihadesi or iiatnakara, we cr , Tely assure ourselves hat even to-day our classical music is only a modified farm of tbj same old tradition. He emphasised n that music was a practical rt and as such progressed according to >; the conditions obtaining in m age to age and from place to place. He instanced the superceasion of the old grama-moorchana-jati and raganga-upanga-btashanga modes of classification of ragas and the rise of the raga agini-scheme in the North and the mela-janya scheme i 1 the gjouth. Thanks to the efforts of the late Pandit Bhatkantfjfc jn Hindusthani music had to-day accepted the 72-mela scheme of the, South as the basis of the ten thats under which Bhatkande grouped Hindusthani ragas. The Pandit then enumerated-the pm thats and sang samples of some ragas in which the two degrees of the same note occurred, a feature found in the Carnatic ragas designated bhasangas as explained by the Carnatic musicians present. According to Pandit Bhatkande the Raga-ragini scheme, which he tried hard to understand was '’out-, of-date and the mela-janya scheme, the most reasonable mode of ragaf* , classification, which though he took it directly from his South Indian contact, he later could find also in Northern granthas like “Ragatarangini’^jj*!* Hridaya-Kautuka ’ ijetCi bThPfugh the ^qpts of the South Indian sememe could be traced to works like that of Rama- matya, the Pandit 3aid, the great Trinity, Syama Sastri, Muthuswami Dikshitar and the iipmortal Tyagaraja revolutionised the music o f, t inoiooa ’io. vio/sal off./ be^ev-iug -Jaiff tibasT art/ ^Regarding the links between the two systems.a P andi t Ratanjan*9i kaf 1 pointed out that the gamut of twelve semi-tones was the same io to both; a number of ragas could be mentioned with the same melodic ia ; content with difference only in nomenclature; similarly the same kind > of syllables were used in alapa; in compositions also, the different *0 parte like dhmwa etc;, mentioned in tbe North;, could be compared o.t to the SoKEth Indian pallavi et©;*: the drupads of the-.North and the 3i kirtanafr e# the South had a common origin in the prabhandm of oldpw il&rtT-fi]' ‘4S$A3&ijJ madras ' ’ 19¥$1 Vt thib South Indian' jav&fis dbm pared with the tbumris of the North, so also the tillana and the tarana, surawat or swaravarts and saralis dr? awwayahei. / e.am .< to0 OKOf erft rri beeauoaih uosd hkd ^,Tf Patidit Ratanjahkaf hext dealt Willi tier tain compositions useful for academic arid edfioatfonal purposes subh as the lakshanagitaS and v'irhtis :of th% Carti&tib ^bhdol^ which tiife late Paiidit Bfiatkanife introduced into Hindusthani music. Following Bhatkand®, others in the North have now written la,ksiiguagitas. Both Pandit Ratanjan kar and his pupil Ginde sang t\y practical equipment in the art and the ease w ith w hich he could not o n i ^ quote a text but also sing o ff a raga. Referring to his own inte rest in and acquaintance with Hindusthani music, the President said that though there were minor differences and intonational and stylistic distinction between the two schools, he was a firing believer in the essential affinities of Hindusthani and Carnatic Music. HepHd a tribute id Pandit Ratanjankar as a worthy successor of the late learned Hindusthani musicologist, Pandit Bhatkande. 0 ffoiHoq & ^ TThe full text dfjbis'paper is reproduced elsewhere in this issue. oi bsiiaeb bcwsvIkY lA ,86WiraiM3 sisav aft r<3 ^I'ialooTJieq ;tuo *sb»oubeW of beinupiba saw aoiaanoeib 'ladtowd .aweiv liedi eseiqxo Ragalakshana—Useni The President then proposed that the discussion of the iakshana of Useni might be taken up, and initiated the discussion by rendering the raga. He referred to the earlier decision of the academy of the raga which conformed with the generally accepted form of the iaga 4 2 THE JOURJSAD Oi THE MADRAS MUSIC ACADEMY [VOL. XXI though there was a slight difference in it as rendered in natya-sam- pradaya. nvm&m to m w m m .ea*ta.f *d The raga had been discussed in the 1930 Conference when it was decided that it was a janya of the 22nd mela and that its arohana and avarohana were respectively “sa ri ga ipa pa ma pa ni dhanisa” and, “sa ni dha pa ma ga ri sa”; suddha dhaivata was permissible and the sancharas were .vajfl^rl 'damn mrrfr.rftnrH cfm Hrtrfrtfrtrtf * hj. The Vidvans sang the different sancharas of the raga as also snatches of some of the compositions in this raga; but there was practically no difference of opinon. Bharatam Narayanaswami Aiyar sang with abhinayam a darn in Useni in the “ Harischandra Nata^fcks of Merattur Venkatarama Sastri as also the Ksbetragna pad a, “ Aligithe.” Vidvan Manjakkudi Ramachandra Bhagavatar sang the less known Useni song of Tyagaraja, “ Raghuvira ” v 1 Sri Anantakrishna Sarma drew attention to Somanatha’s work where it was stated that Huserii was the popular name of the variety of Todi called Turushka Todi whose lakshana also he read out from an earlier text. Pandit Ratanjankar said that in Hindusthani music to-day, the name Turushka Todi was not in vogue. Even Huseni did not occur separately, but only in raga names like Hussaini-todi and Hussaini- kanada. When he mentioned that the name Hussaini might be due to the patron, Sultan Hussain Shirqui of Jaunpur, Sri C. S. Aiyar pointed out that according to Helmholtz’s book, there was an old Arabic melody called Hussaini. neewec noi Sapgita Kalanidhi Tiger Varadacbariar sang the raga as well as a portion of “ Aligithe.” Vidvan T. K. Jayarama Aiyar also rendered ei the rag;a and pointed out its essential features, which were brought out particularly by its vakra sancharas. As many Vidvans desired to express their views, further discussion was adjourned to Wednesday. f-W j T&E XXllI MADRAS tftTSic ICONFEltlltt®, 1949 43 THE SIXTH DAY 28th December 1949 When the Experts’ Committee of the Music l Academy met this morning in connection with its 23rd Conference »*with Vidvan Mudikondan Venkatarama Aiyar in the chair, the discussibn of the lakshana of the raga Useni was resumed Ragaiakshana—Useni' Vidvan Alattur Venkatesa Aiyar sang the raga as well as the Dlkshitar piece, <( Sri Kalahastisa ” and said that “ sa ri ga ma pa ni dha ni sa, sa ni dha ni dha pa ma ga ri sa ” occurred and that ‘vpa dhani sa ” was permissiblCi m:Mim sofa&riq Vidvan Budalur Krishnaihurti Sastrigal said that the normal arohana was “ sa ri ga ma pa ni dha, hi sa, pa dha ni sa ” was a rare prayoga. Vidvan Rangachari requested that Vidvans should clarify the disputed question whether suddha dhaivata occurred in the ragal Sri Krishnamurti Sastrigal said it did occur. Vidvan Manjakkudi Ramachandra Bhagavatar was of the view that in Tyagaraja’s kritis, it may be said that suddha dhaivata did not occur, and that even inn& dingle context in the kriti, “ Rama Ninne ” namely, at “ Rajaraja-vandiia,” the dhaivata was slightly higher and hot exactly suddha. Vidvan T, K, Jayarama Aiyar explained that it was not a question whether suddha dhaivata occurred or not. What was important was that the form of this popular raga should be in tact whether we use it or not. Singing an old Tamil song, “ Endan* tannai rakshikka ” and parts of “ Sri Raghukula,” he said that suddha dhaivata occurred. Piratla Sankara Sastri sang the piece# “ Palimpara ” of Tiruvottiyur Tyagayyar. According to him, suddha dhaivata occurred in vakra sanckara as an alpa prayoga. / > The President, singing the raga again, elucidated how the late Konemajapuram Vaidyanatha Aiyar would keep the listener in ? expectation for the slight suddha dhaivata which he would throw into the portion “ Rajaraja-vandita ” ia a most enthralling manner? The President pointed out that according to Subbarama Diltshitar* suddha dhaivata was an introduction by the naveenas and he remembered that his teacher, Simili Sundararama Aiyar, telling him that according to Tirukodikaval Krishna Aiyar, suddha dhaivata was a prayoga in vogue in the natya sangita. ' According to the President, suddha dhaivata occurred only in the prUyogas “ pa dim pa” and “ ma dha pa.” 44 THIS JOURNAL OF T.HJS MAUBAS MUSIC ACADEMY [VOL, XXI Bharatam Narayanaswami Aiyar sang a portion of the Useni swarajati of Merattur Venkatarama Sastri and Madura Subramania Aiyar sang, " Rama Ninne,” .: o* : ; aid.: The decision of the Conference was that the arohana and the avarohana were “ sa ri ga ma pa ni dha ni sa ” and “ sa ni dha pa ma gari sa.?.?!;■ v“ pa dha ni sa ” was largely used; suddha dhaivata also occurred. The raga was a janya of the 22nd mela. ins Pantuvarali eiii The raga, Pantuvarali, which had been previously discussed once, was taken up for discussion again and the President observed that according to lakshana, sadharana gandhara occurred* but in practice antara gandhara was being used; and as there were Hindusthani vidvans in :the Conference;, he desired to know how they rendered the sadharana gandhara in ragas that used it. Pandit Ratanjankar sang Suddha Todi and Multani at the request of the Presideut. hboe mdiodw noDeeup baJuqaib eib ibii Further discussion on Pantuvarali was adjourned to Thursday. &•'•£.■; t W&t'y &d-} ' \ :A ; i neve . Condolence Resolutions; pBfft b;Ba Ym i # The meeting then adopted the following condole nee resolution: ‘‘ This meeting of the Experts of the Music Academy met at their 23rd Conference places on record their great sorrow and sense of loss sustained by the world of Carnatic music in the demise of Sangita Kalanidhi Sabhesa Aiyar, a former President of the Academy’s Conference ,;;and Principal of the Academy’s College, of Hr. Tt Srinivasa Raghavachariar. a repository of Tyagaraja tradition according to the Till&sthanam sishya parampara, Sri Nidamangalam Minakahisundaram Pillai, a brilliant tavil vidvan, and Sri N. Kalyanasundaram, violin lecturer in the Central College of Carnatic W&& wo(i be^bbnio ,/s^a «*« ^oiyife *rtT ni Besides the President, Vidvans present spoke about the departed musicians. Bharatam Narayanaswami Aiyar and Ramaniah Chettiar made touching references to Dr. Srinivasa Raghavan and his devotion to Tyagaraja, while singing whose compositions on Bahula Panchami night, he passed away. Bharatam Narayanaswami Aiyar referred to Sabhesa Aiyar as a distinguished pupil of Maha Vaidyanatha Aiyar and Minakshisandaram Pillai as a ‘Jagad-eka-vira’ in tavil. Vidvan Varadadhariar recalled his early associations with Sabhesa Aiyar and Dr, Srinivasa Raghavan. Sfi T. K. JayaramaAiyar referred to the fact that the late Sabhesa Aiyar could claim sishyas, FASTS M Vj- THE XXIII MADRAS MUSJQ CONFERENCE, 1949 from the late MuthiahRbagavafear to many young promising vidvans of today. On behalf of the Hindusthani musicians and the Central College of Hindusthani Music, Lucknow, Pandit Ratanjankar associated himself with the sentiments expressed by the previous speakers, tht The resolution was passed with members standing. nfe '" Lecture on Raga Form BXbayuttsO no uQiisnrmomsu imu a ls i The President then requested Vidvan T. K, Jayarama Aiyar to speak on Raga llnpa. Vidvan Jayarama Aiyar’s talk was very lucid and highly appreciated. He said that though calculating by per mutations of scales, sampurna, shadava and oudava, as also vakra, we might get innumerable ragas, we fbund that certain ragas were more enjoyable and consequently loved1 more. To understand the greater appeal of certain ragas, it was necessary to grasp the essential features which determined the form! of these ragas ; in his further expositiofi 6f the subject, the Vidvan could deal, owing to limitations of time{ only with the principle of the four-foid relatiohship of notes, vadi, satnvadi, anuVadi and vivadi, and the extent to which this contributed to the Tfcga form. ^ i i r Ifi .vods He explained the vadi swara or the persistent note and illustrated it by singing gandhara in Sankarabharana. Next in importance came the samvadi, the consonant note, having the relationship of a perfect fifth or fourth with the vadi, the sa-pa or sa-ma relationship. He elucidated this relationship by singing Darbar and Nayaki, Hindolam and Jayantasri, and showed how these pairs of ragas differed in their identity on account of their vadi-saravadi relationship* He said that in Hindusthani music, most of the ragas had only* one set of vadi-samvadis, whereas in Carnatic music ,oafe raga might have two or more groups Of vadi- sax&vadiv The anuvadi was then illustrated by the vidvan by singing the antara-gandhara of Sankarabharana and Kambhoji. The vivadi was an inimical note but We handled many beautiful ragas with vivadi swaras. The vivadi swara produced a suspense and tension Whieh had ia pleasurable, sensation when the vadi or . the adhara swuti note or its dominant fifth was reached agairiv I This waa demonstrated by the leoturer singing Varali. It was pointed by Sri Jayarama Aiyar that the vivadi swaras and otheuMniorotones that figured: iU our .music acquired richness on account of f the amplitude created by the resonance of the imperceptible upper partials in the harmonic progression of the fundamental and the panchama of the tambnra. roSam# THE JOHBtfAL THH ACADEMY [VOL. Xfcl *»»“ •») s T«B SEVENTH DAY 1^*oV 3,ili wi,> m Talk and Demonstration on Gattuvadya •,/fA am atg%al ,'M ,T i nerfJ fnehiaei? sriT At the request of the President, gattuvadya Vidvan Avidayarkoil Harihara Bhagavatar gave a talk and demonstration on gattuvadya which was hereditarily handled by members of his family and of which he appears to be the sole exponent now. The Vidvan said that according to Kumaratantra and his own father’s authority, this instrument was to be called Jballari and was used in temple worship, with particular reference to Lord Subrahmanya. His ow n father) Sri Sitarama Bhagavatar had accompanied concerts of Maha Vaidya- natha Sivan with this instrument. He himself, both in the Academy in the past as also elsewhere, had accompanied leading vocalists and shown that this was a highly suitable and appealing accompaniment. Among his own ancestors, Sri Subrahmanya Bhagavatar and Kuppuswami Bhagavatar, the former playing veena and the latter accompanying with the gattuvadya, received patronage from the Ramnad Samsthanam and were settled at the shrine of Yogambal at Avidayarkoil. * v/od Tbe Bhagavatar then explained the construction of this stringed laya-vadya and the technique of its play. The instrument had four strings, sarana. anusarana, pa and sa in the ascending order, unlike the t am bur a in which they were in the descending order. They were played with two light bamboo blades with wooden handles, with a device for slight jingling effect, these aids resembling table- knives. While the blade in the left hand kept sounding the strings, that on the right played all the rhythms. The Bhagavatar gave a fine display of the tala accompaniment that this instrument was capable of, by playing its for the songs Telisi Ramachandra” and the Mohana varnam. His son, Master Sitaraman, sang these pieces. While every intricate layavinyasa produced On the mridanga could be shown on this instrument also, double the speed could be achieved on this instrument, and that with greater melody and pleasing effect. In the end the Bhagavatar appealed to the public, the musicians, the patrons and music organisations to bring this instrument into greater vogue. .&■■■■ Ua»i auk PAJtTS MV] THE XXUI MADRAS MUSK? GOtfFBttBMGE, EM9 47 t The demonstration proved indeed a revelation to many. B ettes the President, Sri Tiger Varadacbariar and Prof. P. Sambamurfci complimented the Bhagavatar. Bharatam Narayanaswami, ^iyau: recapitulate^ how he had heard from an old gurukal at Tfruvyyyar that this was one of the eighteen vadyas to be used in ceremony of dig-bandha-vimoehana at the end of festivals in temples. yy ' ’ yMandra-sthayi Singing > . < , U.ylJ i;,s y ,cv U.vE- /. •'."i.i‘ hr-. Uj y'AA < , . \ ■y ;; m-w y At the instance of some prominent members in the gathering, the Preskfent requested the Experts’ Committee members to express their views on tbe qqestipn of the importance of “ mandra sthayi ” singing in raga alapana, and the need for training music students in mandra singing. Sri T. L. Venkatarama Aiyar said that “ mandra sthayi alapa ” was in vogue in tbe past and there was need to restore its due place which it bad lost to-day. q mii . £ajsi,B{ihs?. Sri Tiger Varadachariar explained how musicians of old like Patnam Subrahmanya Aiyar and Sriviiliputtur Muthiah Bhagavatar sang the “mandra sthayi ” in a clearly audible and highly enjoyable manner. He rendered, “ lukadaya ” in Cbakravakam in mandra and said it was very difficult and required sadbakam. Vidvan Sesha Iyengar, who spoke next, emphasised that, the neglect of “ mandra sthayi ” was due to the very low sruti which musicians were keeping to-day. van fiinn Sri T. K. Jayarama Aiyar said that the taking of a high sruti was not a necessity. “ Mandra sthayi sanchara” was no doubt common in olden days, but its desuetude, to-dav was dqe to several causes. Not all voices could be marked out for easy “ mandra sthayi sanchara ” . The audiences also bad become very large, but the mike which bad to stay, could help ip restoring “ mandra sthayi” singing. The “ mandra sthayi sanchara ” was indeed capa ble of very great richness and the listeners as well as the musicians should be made to realise its value and appeal. He rendered alapa . . : . . ,, ■ • i r t i i l f f l wgm adr rtf, 7moo m “ mandra stnayi. ,, , , r , j,; I, , j . "i.s tj,hdjsfc mhi mxm Speaking from the practical pointy of y g f of a vocalist of standing, and as one who dh* acceptvalue of “ mandra sthayi ” singing, particularly as part of a mpsiciyn’s t raining, Sri Semmaugndi Srinivasa Aiyar dweJt at Some length on the various causes which made it difficult for the musicians of tp-day to devote much attention to “ mandra sthayi” singing in conceits. Tbe foremost of these was the present set-up of the concert, the hall ami the listening habits of the public. The facility of the loudspeaker had brought in tbe '48 tNab j S & fflM o t th e MkbaASMtjSid academ y : -[Vol. %sft dikMfkntage of continuous chat among. thte audience; the electric a grkai;‘ iiiaj^edl&Jeii'K liiid co^tiifuddsly disthfiied {he ^^mafidfa was bldarty ^lucMie t% {^ fa th er lirtitedandiences of bygone day6. In his opinion, ‘‘mandra sthayi” was rather part of sadhakath and mot sb nlabh of concbrt' rendering. Vidvan appealed to the meriting {Mat this was a opinion should not be Jo^eed^C|| ^^erva^i^^nade as if practising vocalists of to-day, who had to taMe'info consideration the audience they hiad, suffered from a deiefenby*.'1'! h- eerujtefli mil iA ' The President, in winding up the discussion, stated that tllri 6(adHara sruti” was to be selected by each musician for himself. But Whatever the sruti, it should lie recognised that mahdra stiii^i should be rendered according to the capabilitiesI1'of the sih|eirfff should not be lost. It was not a fact that it formed part only of sadhakam ; the pad d hat i of raga-Ulapa laid down in the Sastras in sisted on f‘ mandra sthayi ” singing; the akshiptika, the initial part of alapa* conberried itself exclusively with the mahdfa rkhge;*it far frpm the intention o ft hose that proposed the discussion to make d t if reflection th at presen tday vocal fete weife deflefeht m this aspect? Phife, h« thmightv - was ri noni-eOntrovorsial mrittrir arid particUlaiiy inteaefeirigand training^ * miridra 'i&kVpi$ adequate attention j fl.?idw UmB wtfl ^isv add ol anb mw u iimB rigid a do jgniri/si eZmj®/m!ra U^iPH .T hS fduob on saw "bis.viigpsoeo & ton eaw brr Pbe* Experts’ Committee of the Music Academy met this mormagy ia dcomiecfcicm with its 23rd Oonferericriy with' Vidvafe Mudikonda» Venkatarama Aiyar in the chair, a aeofteibrijs ridT . ,5 Ainihnm s^udia Si'SWftkkattij Reciwl M y a * f* »*«■ ',ril : v “ sollukattue ” were render with sruti and raga. Incidentally, h£ touched also upon Kom iwewd ' ntr> edi -ans This was followed by a demonstration by Sri J. Sitarama Sastri and his guru, the veteran Kuchupudi Bhagavata, Vedantam Lakshminarayana Sastri of Nuzvid. It was very interesting to note that the Vinayakakavita n recited by Lakshmiarayank Sastri was ib a tala called Vinayaka tala, which had 72 aksharas add' whs ndt included in the 80. aaWAfff s twjw aiflt iadt babba ,im oq i no Touching the sub t of Kbrinakkot, Vidvan Ramaniah Chettihf pointed out that Wei known vidVans who were doing this, for instance Naikaripatti ha Aiyar. Bkambariah and Verikataramiah rendered it only wii ragabhava, Sri Chettiar also emphasised that tbe syllables v they used and the way they prondnnced them were both sbft •pleasing, quite unlike the syllables and th'd pronunciation now foi d, particularly In natya. nr rr-vip as ,rn*i Bharatam ulNai anaswami Aiyar expressed surprise' that anybody Should doubt the fact that tala should conform to sruti; and reciting from the Bhagavata natya sampradaya of Mhratitruf add other Tanjore‘tillages to which he belonged, he said that the ‘jatis were to be recited with ragabhava. He added that the jatis wbre not to be recited in panchama, but only in the higher or the lower Sthayf; • Thanking Sri E. Krishna Aiyar and the old Kuchupudi Bhaga- • it A fa iftfilAiKA(if fff. G i nargudi Pakkiria Pillai preserved the ragabhava. Reciting the “sollukkatu ” for Simhanandana talk, the President referred to thd Ihct that he possessed mahusdripts of kaviivams In Tamil for a large bomber of talas.' « « I o w s«> wqI1o> adi aolmmlfq 011 Lakshanas of Some Rare Ragas -Chittaranjatfi,T - . Tarangini, Dilipaka ***>• Adverting to certain ragas whose correct lakshanas were being forgotten and the pieces in them were being rendered in the. more appealing and bitter known ragas, the President gave ap exposition of bis views on the correct lakshanas of Chittaranjani, Tarangini and ”6 pipaka, in each of which respectively we had the single pieces, TJada-tanum”, “Maye” and “Rama niyada”. If thus process of eliminating the rare ragas in “vivadi-melas” were allowed to conti nue, we would be losing much of our rich raga heritage. It was ttecessary that the kirtaina-forms should be preserved according to t w setting of the original composers. According to him, the Presi dent said thatf the afohana and avarohana of Chittaranjani were “sa ri ga ma pa da ni” and “ni da pa ma ri ga ri sa”, that it THE JOURNAL OF THE MADRAS MUSIC ACADEMY {VOL. XSI belonged to Jankaradhwani mela and not Kharaharapriya and that the “ni” here was not kaisiki. He rendered his version o f “Nada- tanum” which, he said, had the authority of Tiruvottiyur Rama swamy Aiyar of the Walajapet sishyaparampara. Ashed by Veena l&arayanaswami Aiyar whether the “ni” occuring in the President’s rendering was not kaisiki, Vidvan Venkatarama Aiyar replied it was not and, referring to what he had said in his Presidential address on this point, added that this was a matter on which there should he an exhaustive discussion on another occasion. ,.g ^ _n The President then took up Tarangini. He said that the version now being sung for quite a lpng time and by many leading vidvans appeared to be Chenjurutti, in the 28th mela. According to Sastra and tradition, it was a janya of Charukesi. Tbe President then rendered “Maye” with suddha dhaivata, along with the chitta swa- ram, as given in the “Sampradaya Pradarsini”. With reference to Tarangini, Prof. P. Sambamurti drew atten tion to the book, “Raga Vibodhini” of Pazhamaneri Swaminatha Aivar (1901), where the raga is mentioned as Sudhatarangini. Speaking about Dilipakam, tbe President said that though mentioned as Kharahaiapriya by some, the raga of “Rama uiyada” was really Dhilipaka. The raga Dilipaka was intact in the Varoa- mettu of the Tyagaraja Krifci and had ^ ;>been totally changed though in kalpana swaram, present-day vidvans sang Kharahara priya. Referring to his efforts to unearth the correct lakshana of Dilipaka, the President referred to his meeting Tillasthanam Raja- gopala Iyengar in the house of the late Dr. T. Srinivasa Ragavacha- riar in Royapuram and noting down from a manuscript in his possession the following arohana and avarohana, “sa ri ga ri ma pa ni dha ni pa dha ni sa” and “sa ni dha pa ma ri ga ri sa”. Tbe Pre- 1 w . 1# jcdeiiaJ sident also sang tne piece accordingly. Sri C. S. Aiyar referred to the fact that the arohana and avaro hana that be once noted from Sri Ariyakudi Ramanuja Iyengar was “sa ri ma pa da ni da pa ma ni da ni sa” and “sa ni da pa ma ri ga ri sa”. Prof. Sambamurti referred to the fact that Dilipaka was found described with lakshana in the book, “Sangita Kaumudi” qf Tlruvayyar Subrahmania Aiyar. Tbe same book contained also “Rama niyada” in Dilipaka in notation. Pantuvarali V.,Kaoj ,Hm Pantuvarali had been discussed at the 1932 Conference and also at the 1943 Conference. Discussion now centred round the mela raga itself and not about the identification of the raga of pieces of Tyagaraja generally noted as being in Pantuvarali. g., d • P a r t s M v ] t h e x x i i i m a d r a s m u s ic c o n f e r e n c e , 1949 5] Sri C. S. Aiyar suggested that to avoid confusion, we should use the name Subhapantuvarali and added that Pallavi Duraiswami Aiyar had used * antaragandhara ’ in his composition.- Sri Hulugur Krishnachar said that ' subha ’ was only a prefix denoting the mela number and the raga name itself was Pantuvarali. For a time, discussion strayed into the correct rendering of the Tyagaraja Kritis, Aparama, Vadera, etc., with reference to “gandhara”, Sri Manjakudi Ramachandra Bhagavatar rendering these with “ sadharana ” and Rajgopalan (Gopu) rendering these with “ antara”. Sri T, K. Jayarama Aiyar, in explaining the current practice in which versions with both “ gandharas were found for these Tyagaraja kritis, said that the distinction lay more in the way the “gandhara” was intoned, it being steady in Kamavardhini and oscillating in Pantuvarali. He saw no difficulty in the same raga being mentioned by two names. Madura Subrahmania Aiyar wanted that the whole question should be clarified with reference to Varali, Pantuvarali and Subha pantuvarali. Sri T. L. Venkatarama Aiyar replied that it had been decided previously that Varali was the 39th mela, Pantuvarali 45 with “ sadharana ga. and Kamavardhini or Ramakriya in 51 with “ antara”. It was decided that in the case in which “ sadharana gandhara’’ was used, it was the 45th mela and was to be called Subhapantuvarali. most olson iuo THE NINTH DAY JAid , r hrJi r - 31st December 1949 ■» edJ at som oletf fi)tu h d Demonstrations on Sitar and Tabla ! ^ :n : , J When the Experts* Committee met today for its last sitting at the Lady Sivaswami Aiyar Girls’ High School Hall, Mylapore, with Vidvan Mudfkondan Venkatarama Aiyar in the chair, Pandit Ravi Shankar of Delhi accompanied by Sri Gyari Prakash Ghosh of Calcutta on the tabla, treated the packed audience to a splendid recital oil swarf y‘Requesting him to give his demonstration, the President referred to his brilliant concert a couple of days back in the Academy ahd to the fact that he was the pupil of the veteran Ustad AllanddW Khah. ^ aBbma 5U'° ■■ ' i, lyrmja ->Ja, Sri Ravi Shankar demonstrated and explained ragalapa, instru- mental playing and the plan of tabla accompaniment in Hindusthani music. lie rendered Miyan-ki-Todi ascribed to Tansen whose aroha and avaroha were sa ri ga ma (prati) dha ni sa and sa ni dha pa (vakra) ma dha ma ga ri sa. After alap, he played jod and jhata and showed tarpafana, the producing on the strings of the bols of the pakkawaj and then gats in trital (16) matras in different jatis, tisra 5 2 TJ?E, j o u r n a l o f t h e m a d r a s m u s ic a c a d e m y ,{YOL. _**I and inisra, in vilambit, madhya, madhya-druta and druta. He clearly showed also the atikomal (lowest grade of sadharana) ga called todi gandhara. Explaining the style of tabla accompaniment in gats, he said that the instrumentalist and the tabla player alternated in their elaboration, the one just keeping the skeleton the tala or the gat while the other was elaborating ; this device prevented confusion both for the player ae well as the listener and the two began playing together only towards the final crescendo. The display of this by Mr. Gyan Ghosh was greatly appreciated by the audience. Sri Ravi Shankar then played Sindh Bhairavi in thumri style, gat in ardha dhumali tala'(l6 matras), and sitarkani (16 matras) which was the dame as tisra jati trital. * ' “ f' ' Hm*' ,‘n** i} !' fi’O t f ri* ' ’C’S'W pdi t&i, thanking the Hindusthani Vidvans for their excellent perfor mance, the President said that when ears were filled with such music, words rarely came o u t; he however wanted to emphasise the fact that the Hindusthani contacts created by the Academy were a great boon to th6 Carnatic musicians and he hoped that Hindusthani vidvans, on their part, would arrange for similar opportunities for listening to first rate Carnatic music in the North. Supporting the plea for ‘ give and take ’ in music between the North and the South made by Pandit Ratanjankar earlier during the session, the President said that Such contact could be seen continuously in the history of our music from the times of Dikshitar, Tyagaraja and Maha Vaidya- natha Aiyar. Y AG RTVXH-t 3H T Referring to the wonderful s&dhakam of Sri Ravi Shankar, the President said that the training and the exaotitude with which the North Indian musicians sang and played showed the subtle and distinct swarasthanas, as in the different degree of the same gandhara, which should be zealously adopted by Gur vidvans also, if many of our rare ragas with such subtle distinctions of swarasthanas should not become things of the past. " Referring to the element of tala, fie. emphasised that tala was ail the time, kept in view of the vidvans though they never exhibited it in any disturbing maimer. Compli menting Mr. Gyan Ghosh on his demonstration, the President referred to certain aspects of tabla which our mridanga yjdvans could profitably adopt. He emphasised that the drum accompaniment should be nada-pradhana and it would be advisable if we had on our mridangas more of the “ gumukku ” with less fingers and less of toppi-beating with open palm. 'i i>; beTebflpn a Paper oo Harikatha l baa. 1--. ■ Srimati Saraewati Bai then read a paper on Harikatha. She traced the history of this devotion-cum-musical art form and referred P a r ts i -iv ] t h e x x iii m ad ra s m u sic c o n f e r e n c e , 1949 53 to the celebrated votaries of this sampradaya and her own part in it as a pioneer among ladies who took to it. ' Paper on Chaturdandi t . > h - ■ ,,H..LA Vidvan Hulugur Krishnachar then read a paper on the meaning of “ Chaturdandi ” in continuation of his paper on Qopala Naik read at the last Conference. His view that Chaturdandi was a corruption of Chatustaniri and meant a veena of four strings was not acceptable to the scholars present , 'ni;- si.-iibnaH* mcti k Concluding Function beiais d*>dD = no Winding up the discussions of the Experts5 Committee meetings of the present Conference of the Music Academy, the President gave a resume of the proceedings of the present session and referred to all the papers* the demonstration and the raga discussions.*-) He dwelt at some length on one of the important discussions, namely that on mandra sthayi which, he reiterated, should be sung by vidvans accor ding to tbeir capacities. There was no question of this being enlarged upon by only those stigmatised as retired vidvans, there being no valid or fixed point at which such a line of distinction could be drawn. He thanked the fellow-vidvans both old and young, who co-operated with him in the conduct of the proceedings and paid a tri bute to the President Sri K.V. Krishnaswami Aiyar and the Executive of the Academy. He emphasised the permanent value of the service the Academy was doing in this, the unique part of their activities, namely their Experts5 Committee discussions. vri nil Sri Krishnaswami Aiyar’s Speech The President of the Academy, Sri K. V. Krishnaswami Aiyar, in expressing his thanks, referred to the work put forth by the Sec retaries, the Treasurer and some of the active members of the Confe rence Sub-Committee and the vidvans who took part in the concerts and the discussions. He said that vidvan Mudikondan Venkata rama Aiyar had conducted the proceedings of the Conference as its President with great ability and learning* he was undoubtedly one off the greatest of praehina vidvans of Carnatic Musi© and the mem bers of the Experts’ Committee and the Executive Committee of the* Academy might well be proud of their choice of Mudikondan Venkatarama Aiyar as the President of their 23rd Conference. Sri Krishnaswami Aiyar also thanked T h e H i n d u and Sri K. Srinivasan in particular, for the unfailing assistance rendered by. him as well as his staff. He expressed his thanks to the donors of prizes and the judges who decided the prizes in the several competition conducted during the Conference, to the Press, particularly the Swadesamitrcm p 54 THE JOURNAL OP THE MADRAS MUSIC ACADEMY [VOL. XXI and the Ananda ViTcatan and to the authorities of the R. R. Safina, Lady Sivaswami Aiyar Girls’ High School, Pt fir. High School, the A.I.R., the Police, the Corporation and the Dhanvantri and Krishna Boy Scouts and tbe Scouts of the P.S. High School, Kellet High School and the Hindu High School for making the Conference a success Speaking on behalf of the musicians who took part in the Ex perts’ Committee discussions and in particular on behalf of those who came from the North, Pandit Ratanjankar and Sri Gyan Prakash Ghosh stated that they had learnt a great deal from attending the Academy’s Conference. The Conference which they held in the North were mere music festivals and had no such constructive activities like the scientific discussions conducted by the Academy in their Experts’ Committee discussions. They said they would carry the lessons home and fry to conduct similar scientific work in their Con ferences also, ni his ad fiteoffs J^sieJiei. mi axbami Tiger Varadachariar and T. L. Venkatarama Aiyar paid a tribute to the learning with which the President, Sri Mudikondan Venkatarama Aiyar, had conducted the proceedings. Sri Ananat- krishna Sarma of Mysore and Sri T. K. Jayarama Aiyar, in joining the previous speakers in paying their tribute to the President empha sised the permanent value of the discussions and thanked the Aca demy for organising these discussions. Bharatam Narayanaswami Aiyar recalled his association with three generations of the gurupa- rampara of tbe President. /lynu The session concluded in the traditional style with the singing of mangalam by Sri Saraswati Bai and the vidvans present. There was a group photo of the vidvans who took part in the discussions and the concerts and the members of tho Executive of tbe Academy. Hi JEOCK* Oil'W 1 • atfi'Am'f rtahnoAiboM Ufa January 1950 nli blM THE MEMBERS’ DAY The Members’ day of the Music Academy was celebrated in the morning when the members and their children rendered songs. Vidvan Mudikondan Venkatarama Aiyar initiated the proceedings by singing a krifci on Vinayaka. He was followed by Vidvan Rangachari and Manjakudi Ramachandra Bagavatar. Others who sang were Srimathis Kalyani Padmanabhan, S. Patta, V. Shanfcay Muthu Mee nakshi, Parvathi Mahadevan, V. V. Jaya, S. Manonmani, Thangam Avyadurai; Meenakshi and P. S.Kokilam. Srimathi Rangammal and ©Master Srinivasan accompanied on violin and roridangarn repctievely. - • 1 j 9 f^ * T S W V ] yHE XXIII frJAWiUS MUSIC 1949 55 Messrs. M. S. Sadasivam, P. tvamaehaudriah and Master #R. Ja Kalidas 9fX also sang Aljiirar on j the ITOIUUaJs occasion.1J OdUU^JiS Vilh $fX|B / 05 t 3’QQfP W l*v*»K ,e«.sT - THE ACADEMY SADAS ni Mbfi-v.q;. The $adas of the Academy was held in the after noon at 3-30 P. M. under the presidentship of the Hon. Mr. Madhava Menon, Education Minister, Madras, when tlie title of ‘ Sangita Kalanidhi’ was conferred on Vidvan Mudikondan C. Venkatarama Aiyar, President of the 23rd Conference of the Music Academy. There was a large gathering of musicians add music lovers. After invocation by Srimati D. K. Pattammal who sang “ Sri Saraswati ” and the declaration of sadas by Sri K. Soundararajan, Secretary, Sangita Kalanidhi T. L. Venkatarama Aiyar welcomed the Minister and other guests. He referred to the activities of the Academy during the last 23 years and said that it occupied an honoured place among the foremost cultural institutions of this coun try. The object of the Academy was to preserve and improve the great musical heritage which they possessed and to attain that object they were running a college of music, a journal and were publishing valuable treatises on music hiihertd dot published, and were also holding competitions in the rendering of classical music by amateurs. Another important phase of the Academy’s activities consisted in the holding of annual Conferences in which leading musicians and savants took part to settle disputed questions relating to the theory add practice of music. It required scholarship of a high order to preside over such Conferences and the President was conferred the title, Sangita Kalanidhi. Referring to this year’s President, he said that Vidvan Mudikondan Venkatarama Aiyar, who wa? a musician of great repute, well versed in the theory of music and having consider able practice, fittingly deserved the title of Sangita Kalanidhi. Sri T. L. Venkatarama Aiyar then presented Vidvan Mudikon dan Venkatarama Aiyar with the title and read the citation. is l isv a ia i ti T he Citutiapida?. od Born on ldtt* October 1897 in a jrfusieal family and son of Sri Mudikondan Chakrapani Iyer, Vidvan Mudikondan € . Venkatarama Iyer learnt music from Sri Vedaranyam Swaminatha Iyer, Sri Konerirajapuram Vaidyanatha Iyer, Jjruvizhandur Kannusami Pillai, and Sri Simizbi Sundaram Iyer. He has been honoured at. Samsthananis, is well-grounded in critical scholarship, and has published many papers and editions of compositions. At present he is Vice-Principal and Professor of Vocal Music at the Teachers’ t h e jb u iu u f c o f fa ® M'AbMA# M tfsio a c a d e m y C'ftotf: ;±fcl College of Music of the Music Academy, Madras. One of the senior - most Vidvans and a staunch upholder of Sampradaya, he is a specialist in singing Ragas, particularly )^re cues, Tana, Neraval and Pallavi. m v erf4 l o a«ba>j »riT ic] orft icbw; .M .cl Qfc-g aM .i&JsiniM noilaimbSl Bo ' bonelnoo Saw t t yd$ 16 faSbiseiT .8*18"/of oi&n al a a*w oiedT 08 ” § f M a odw U •Dsoovni lyilA .aetaxsxsbnuo# iiJ him M UB ffmmh adi heasoolow 1& 7 ydi lo aeiiivfiojB yd-io bna leJainiM na baiqoooo $i 0 i gnbub v.mehaoA - n n 00 airff lb poor. Wtips soAlq betooHori 9*1$ cvorqinri f)«S 0 $o#|d.o aifT .■'{if 3>s(tfo iiulf ai& ifj tMiad faomirn f&arg xmdattdttq mm® g a iiiitin 9 -tow *^y«{j Oil# e iew fofte h‘ mmSMM pfm pwv .8ia» M » 4 &>u thre ,.v_ .... __ , , , . ... , r. . Kalanidhi ” on Vidvan Mudikondan Venkatarama Aiyar^ *’ ajjjaa Vidvan Mudikondan Venkatarama Aiyar was next felicitated by several speakers, Sangita Kalanidhi Dwaram Venkataswami Naidu ex pressed gratification that a prominent vidvan had been honoured. Sri T. K. Jayarama Aiyar said that the conferment of the title of Sangita Kalanidhi 011 Sri Venkatarama Aiyar by the Music Academy, an august body, was really an honour done to all of ,them who had taken nadopasana as their mission in life. Vidvan Venkatarama Aiyar, the speaker said, was an ardent adherer to sampradaya and was unique in his raga alapana and swara singing. He pronounced without any fault the sahitya of the kritis in whatever language it may be. Sri Jayarama Aiyar expressed gratitude to the Music Academy for its invaluable service for the encouragement and development of mueie, the finest of fine md mmm m u d o / I Dr. Alagappa Chettiar said that he often Pondered whether it would be possible for the Music Academy every year to choose a new President for its annual conference to confer the title of Sangita Kalanidhi. He was glad that the Academy had, during the past. 23 years, conferred this title ‘Sn^jprsons who deserved it best. &4itT30lF}T}MM» J XXttS utKAMUa aMPM* OWWWWHSm, 19*9 .ftfaer. % * m to & w & ? a NaUfml,CpiHgres?,4|^ .^jj^forcai tflfheose t^.saBie HWIRffiW ^ W B9WWr*fct Ihie, redounded l$ & * f ^ s w S f e og, p ^ % h $ s rfrtsbi tfc* cause & * « £ & « hoped t h ^ , ^ .ft^./^epgth ty.elreqgth^i^ij^ al 8jS/, ^ iv Paying his tribute to Vidvan Mudikon^tidVeakataraiina Aiyaiy ae. a r4ja$ admker*’o,! iSaiMNu; Raghunathai idtfgfenrf Assistant j Editor, SSTCfiliimd^ > tceferrBcb to Jthe;. ^iataan [«s Ifteaosf the greatest of j^atehiUxftividwa«6 adtclaaiode wfad,!*n keipiag iwith • the old samprm d#p&i had learnt miwib thorough: the gH»tik*k* system. ,ufle jVMMm Vbnkatararaa AiyarynWae thd dkoipl© of more than: one gucu bjuuihid musicdaad,j'!fcgprii»to^ iweaaaafeiwjffarsid^ o&.ihis *fcecKmtm> On tim sdthef Adndt his m«ak with it*>fbiuodd*ioni«fed.l land truly:daid, wad enriohed forthi® varied «®E|krieBo^j(i{Th«iway in which he had; conducted the proceedings of this year’s Conference as alsodihie JSaciJerts’ jCoEniBBUaffl’s d^i^rf& pfci^ad amplyjustified his selection as the P resent. ii ri«ffi^gh^a^h!’^i^iy; th^^ntf^Ad^hd/W fifdW ’^ m the m usic of the cddi'^f?# Idddd '1 that the num ber of such V e ^'ir^ tsiidah^ \ras ' ifhb sptiak^f referred to the drkcUSsibn (<& l 6W^cft>tii&. of the han^fdMps 4 s b public. It tv ^ ^t^fes#&d!lfh^% #c 4 usb d f this fa ct the m usicians Were Sri Raghunatha An t & o o fa i’m sj] m onia^ a s if meant tor th e mike, p * ., . . Wmm y ja a .a jj& jo Iu b hagtto«m nrtw m uti JaOJ. Maa ona Jra.snieiliiemm ancients bad put. down Jdr peipg listened to in thopsaoads. A change ,tTjuanJao.) jafm nuf, n&fauia aolommnoo jauuamir oat haminng brrh Hfltt o-.ij- ,s service m brrtigmg8-fU ton bib.Pna. to the fore jioiiayiaa many pt^chma atticw i* vidvans. jol aionrav could 6>e g: ive an »W .Jxioono* deni no aimj^iim xioir. Irelfao od .bilip-r Jia la p i^ iiu o opportunity to the public to listen to the music of these vidvans also .ajfiow t;;9-nr nert# vfl Jffoiq oj snunnf «wew anoiJaieflag m J oitf Ip It was not: proper ho ignore them for one reason or the ojhr” 11 vnwoaoA suit o f ainmn . aid J m iv ih o i -tovi?. aaiaiafajinoYi could not understand why .tlie suie qua )wn of a musician,sh a nan ®w* .oimsm nraapaayilou aid. creiR Eb'ioniaiioo oit salty n| his capacity to satisfy the puphc in thousands™ 1 ifaiaove jtmi sun frolpanawoda Biuonon movement was gaining ground for constructing 58 JOUKKAL o f TBB MADRAS MU too' AoA&tMY [VOL. 5XXI listening to the artistes in small numbers. The speaker requested the Academy to pay its attention to this aspect also. If sampradaya mdsftyhkd to be presorted and restored to its due place of hohodr efforts ought to' be made t‘o enable tbe prtfcHma vidvans to gite the benefit1 of their mathfo' experience to 1 the phfelie in general and vidvans in particular: This he would cOnStdbr a real sefVide to the art of muaie, be eonduded. H iUptbW & aiadn-t aid gni^-aT tioi Replying to live felicitations Vidvan Mudikondan Venkatarama Aiyar said that hei.considered that the honour conferred on biim mas more-due to tbe blessings of bis elders than to his own scholarship, which he thought was very little. He thanked the Academy forwHi- ferring on him the title of Sangita Kalanidhi and said that the Academy was one of the premier institutions working for the cause of true Carnatic music and added that there liras need for an in creased number -of such organisations which so derrotedly identified themselves With the cause. 3 an coasrdaot) a’xaov eidi lo sgaibsaeoiq Vidvaia ‘ Ifudikondftn VenkataWtna Aiyaf then referred the modern trend|;!jin ( Qarnatic music and said that although it appeared to him that nowadays Carnatic music had increased iu ite yidtju the depth had suffered , consifiefably. Itj was ^.gratifying to find increased interest being taken in Carnatic music but he would not welcome such increase i t ; ^ 3^ndards thereby deteriorated. He was afraid that this was exactly what was happening now, <( The Academy, for its part, had been doing its. best this dan ger. The holding of the Experts’ Committee session every year along with the C o n f e r e ^ ^ ^ a ^ ^ , educate the younger vidvans who. due to various reasons, ra q ^ h ^ if^ becoming corrupted in their music. He appealed to these vidvans to treat the decisions arrived at the Experts ’ Committee (after mature deliberations) as binding on them and to adopt them in practice. fan aiwpiatiutpi.hi. :. \ . iume is'dA adfsiiurh Vidvan Mudikondan Venkatarama Aiyar warned against com- mercialjsingart and said that those who practised art for art’s sake and shunned the Hmelight could not be brushed aside as contributing nothing materially for tbe progress of the art. He asked if Tyagaraja. Syama Satri and other great composers of the old, who worshipped nada as a vehicle for attaining salvation, and did not practise it as a commercial art, could be called non-musicians on that account. We . i i j on nswai] of oiwnjTniff otf v#ifT«#?onao of the later generations were turning *o profit by their great worlds, ^idyan venfeatarama Aiyar reiterated his thanks to tlie Academy7 and said that he considered that his colleagues in music also had a r, . , , , • JJ .it.;,, j , usHUO.dj, i ofiduq ea tcVf6if*a oJ. ylioRojso aid right to snare tbe honours showered on him that evening. ! lUHrawstefttlt ewtri gmluu't tenon iot r>nifOT5| §nrm«g SAwr.tnernevom — Competitions \ r ; i, ltsc qousrpoq Dolors o» MaiMW , gux»s$l qona'feq pA ppe j^ijsig yceqebja j gutugp? p^apmi jAuapnsrmmqpT ]. Vocal Music Gents I Prize donated by Sri M. Sudarsanam Sri D. Pasupati M qor lyengarfpe ’*} rrgjc vctfqeinX guroeq g / vTleA8‘jepspnj< II Prize donated by tbe Music Academy Sri A. Srinivasa Raghavan H«qrj-~qon»fGq pX g^ugqff : U Prize donated toy G« :M - Balasubramanian Sri K. S, Ramachandran in memory of Late G. V. Nara- r> |fj|| £ qojjiyanaswam y Iyer -/rg.teniA gumyfT / • fjeiktj 2. „ Ladies 1 I Prize T. A. Doraswamy Aiyar Medal—do Srimati B . Pattammal nated by Sri T. D. Narayana Iyer »» i i |i Ljouirpeq frl qm iqnaic ycfrqercA gu yp A' gixgeunpvurtJ >> » *> II Prize donated by Sangita Kalanidhi Sem- Srimati S- Muthu Meenakshi mengudi Srinivasa Iyer in memory 1 LIisg ! ofu Late Vidvan Semmengudi | Narayanaswamy Iyer nrqn r .„ v_ . ^ p sf^ u i g©qm fiTLAff) B*n ^jeqe}-— iiaaH*Noo olbiiw evtfdvw idx*5 iHA [am •extfva II Prize donated by the Music Academy Srimati V&llavammbal 0 »))) ) » ‘» I I j |outfpf,q p i fpe pjnaic yoffqem'A gunnrq v - gewwMfcsrq 3. Violin I Prize Kasturi Ranga Aiyangar Medal — Sri T. S. Mani I I B M s e ; :oj donated toy Sri K. Srinivasan gumtrq g K‘ 4. Veena I Prize Dhanam Memorial Medal-donated Srimati Yamani Saraswati QQmExmoiaa by TheMyki,Sangita Sabha MIREEffg N„', . 6. 5. 5* 9- . oen Composers Modern wt Tirunal Swati Compositions J > * * i ‘ , ze iz r P I I e iz r P l l l e c f Q i u & s & w * ,, , ze iz r P I I ,, » C ti s n io it t e p m o i I W® W II ” m q ® T Prize I ze iz r P I I ze iz r P l l I ze iz r P I I ze iz r P I I e iz r P I I I « W XI I I ze iz r P I UP® I W® W I L*-]sq_Hjig?pgg7pemoxm? I i s lis b I j qonfffeq p i pp© yjnaio pp©yjnaio i p qonfffeq j ramalyer r e y l a m a r , o if» f m vtHM ' h® uai y m e d » « A ic a lu A ® th ^ d e t a n o d c Academy m e d a c A ic s u M e h t y b d e t a n o d t c Academy m e d a c A ic s u M e h t y b d |te a n o d the Muak; Academy m e d a c A ; k a u M e h t y b d e t a n o d ed.by the Musi - o q - - y m e d a c A ic s u M e h t y b . d te a n o d . Muthiah (' r a t a v a g a 'B ( h a i h t u M r ..- L c Academy m e d a c A ic s u M e h t y b d e t a n o d c i x r y m e d a e A ic s u M e h t y b d e t a n o d ed by the Musi y m e d a c A ic s u M e h t y b d te a n o d Medal— a d e M i a B i t a v r a P u h t e S i n a r a h a M m enltoqj girapsa# jIg i. rc me root! me rc i. jIg girapsa# enltoqj m u g i p q e f » i i o q dhi Verakatararaa.Iyer e y I . a a r a r a t a k a r e iV L . T i h id w ■ p qouffpeq p i fjsttSifB* jre fffijiq p i gem- gem- i p fffijiq jre fjsttSifB* i p qouffpeq ta Kaia- a i a K a it g n a S y b d e t a n o d — l a d e M Al u Jaya- a y a J lu e m la A . a r M y b h e e t a a o d p memos.! j’^pe 0- 0- j’^pe memos.! p u s r p e q p i g i j r * * r j i g i p q e p r s u pA pA E O Z m X O D m m m m 8 n ^ q j j ¥; ;% ¥ e '/}' y ffiriwXffBV jy SDAL&i/jt t I / m s i i a e i y q s i g ar jq x & u e ro ra e g i$ti n jMemorial a i r o m e j M ^qj — j^eqej yvw- w v y 'f i i < l j ! gumapj / imyiHWimpsfj / ! gumapj akshmi mhan a h im s a r a N i m h s k la a h t e e S i t a m i r S Krishnamurthi h t r u m a n h s i r K i m h s k a L i t a m i r S jayalakshmi m h s k a l a y a ij V . V i t a m i r S i r w o G . V i t a m i r S mati G- lli a v a r a d n u o S - G . A i t a im r S l a b m m a y a l l a V i t a m i r S M. G. vasankaran a r a k n a s a iv S . G . M i r S V. a y a J . V . V i t a m i r S mati i t a w s a r a S . K i t a im r S t 7 t m ili* 11/’ g' VI i p W , l 3 ES> m * s US 5 I £ i£uA$£? ^ral81bdkF«ititdi, KPRt m I vrnabfnA arfi fd bted saottll* «f»ndiw ositq adi m arfti i «dl frifca (9om"t9%aoO. ad*#*w ttoi-lo8crflg& ni m - s'fitfo «u| t&Jmm h4cf^mmMm ha* femv alb. ■■m>Srms tnofj- 0^rff|j tyisam t»jiiiifft|pifo«qfab • ■-■■% io ie t Srm-! otm fflMI loim oa mmt '&»frfOB 'Vtoivtffcmw Hrt a r C8 ® .-I g - r * dd gsadiii^rffooo affiMg ng; fltgx>0 baA'adotol § .rir ogn 6^'fo«aiS?d/§>i*« Ha«il faagbfte ha. rwoto ,oc09^ p c£ s d | w t A * i* f bafiofofe Olif « I Q2 THE JOURNAL OF THE i W > £ R Competitions held by the Academy Dr. V. Raghavan, Secretary, in introducing the prize winners in the competitions hlld in connection witlf-the Conference, said that ten competitions wire held in vocal and instrumental music, in diffe rent classes of compositions and departments o f music. These com petitions attracted j89 competitors, somo'bf them coming from sucn distant places as pombaySand Cocpin;§n dome competitions, thp contests were crowded and .very keen an<|[the standard also was yery high. He thanked ] those who donated prizes for the dompeiitioli awards. % & | f 1m '•< jjx j & .v $ - 2 Dr. Raghavan than presented the students of the Teachers}’ College of Music of jthe Academy for ‘the awarding of prizes and cert - ficates. In a brief jspefcehjEbe recalled that if:was tfee Academy thaft moved the Government and the University t«» introducevmusic as a subject and as a ciourse of study,apt! it was from the Academyls College that veterans like Tiger Va^radachariar, SrHSsbhesa Aiyar aus also others went asl Principals and tochers to the Mgsic department of the Universities i of Madras andiAnnamalalnaggr.^' Hgjstatedvtbat in the Academy’s ipollege |(f Music mstribctiqn w£* given;, not oifiy i l the practice of mus|c but in the theory a»d pedagogy also, and they were running a m^dei school foy Ihis ^purpose. * T h e. pollege/’had been getting an amjuahgrant from the Department.of Public Instruc tion, which had re^ogmsedjthe College. .Butjbhe successful students from the College w^re facedf witfe many §epa£tmsnti$l difficulties, i i the matter of employment mad Bjr.tRfl^haivan appe|ile§ to She Minister «> to redress these grievances. W o $$ Dr. Raghav also announced ar donation iof fils. 300 O O P; O' Svimathi Mrinalini «r er IE MINISTER S ADDRESS i. 1 ^ ,.4 ^ M In his pr esider|t ial ad dress, Mr.MadhavS, MenOti congratulate!! Vidvan Mudikondaii ^enkatarama Aiya£pn ffis musical prowess. Hs also congratulated [thbj prize winners in the competitions. He sai 1 that as far as the subject of music was concerned there Ought not t 3 beany difference of opinion. He wrs happy that this was a ulfiqu e subject in which t lere, was no scopft for difference Sy caste, creed c r religion. There m ghtdbe differenceoin the quality 0f music asc als 3 the capacities of musicians. All were agreed on the needrto maintain and develop music, j? Referring to tl le great appeal which music hadlm listeners, th 3 Minister referred, i n appreciative tepns, to a drama staged by th 3 PARTS 1-IV] THE XXIII MADRAS MUSIC CONFERENCE, 1949 6 3 blind students of the Victory Memorial School for the Blind, inside ‘Vidyanagar’ in the Teynampet Exhibition, and the popular impres- sion nwie, on .th* He appreciated the efforts of the Music Academy in the cause of music and expressed the hope that it would pursue its endeavours with the only object of promoting art for art’s sake. He also referred to the starting M the Cehtral College of Carnatic Music appealed to the ,*eud its support t o ^ new organisation{which emiiicnt yjid^p Sri Ssprqssed, th.e £oU,ege of Carnatic Music sh o o k }.p k complementary \p ^ o ^ e r ^ . the preservation and advancement of good music. Dins ad vfltn ii bfns luamsxoaaarat tmw f a t a a eoaeio8 .2 With a votko# t&aiwks'.by Sri Kc Baiasufedfamania ‘Aiyar,ibne of Trtt«teeep of tlie-Academy/ the function* fcortoludedt .araioo ad J od a to le^alq eirtv * od od .taifainemoitsni odT taeux&iv&aam lo uoiJieoqxe aid si noiJooffsJai omroa sad .yah rmboar od-J lo Jsin&oiv vlaiatioo.aiageh od.r ni noiJqtoieq atrotraaas «M to! ,Jx* oibofom exfitlo .bx£\I «S\£ ic fsdf wand (. A revival of such interest on this subject was noticed on the formation of the Music Academy, Madras, la the faster Week of 1929, there was a presidential address on Srutis under fits auspices.— vide Appendix D of the Annual Report of 1929. The President put up a resolution from the Chair that the original 22 srutis of the (45 32,64/45,,3/2,(128/84,8,5,) ,5 3,27/16.) .(10/9,9/ These very frequency ratios were suggested by Helmholtz in his ‘ Sensations of Tone" at pages 280 and 281, Translation by Ellis (1885), though the exact numbers were not enumerated, bbt expressed as C D E F G A B, fiats and sharps, and they were advocated by Fox Strangways in his * Music of Hindostan ’ (1914) page 117, on that basis with reference to Hindu music. Thus, so far as modern Indians understood it, the Bharata’s scale of 22 ratios whs mathe matically calculated on the Sa Pa and Sa Ma bases, f lay emphasis on the word ‘ mathematically’ since the interpreters of ancient texts, like Deval Clements and Alain Dame lou have stated 'different ratios for some of the 22 frequencies. Really in tbe calculations, two more ratios 81/80 and 40/27 (above Sa and below Pa respectively) come in. The problem is actually associated today with the choice Of one from each of the 12 twin ratios for the 12 frets of the vina on the Sa string; So some meaning was read into the ancient text oti Western lines. There are four observations, in the address, as noted below : (i) that the ratio 27 20 is recommended therein, instead of 40/27 suggested by others, lor the reason he regarded 27j'2° to he Be8ada Madhyama ; fa siio # 1 )' a blind adherence to a system of 22 srutis only, is not justified for the reason that to minimise it < to 12 or 10 ,,, jwloffrPP^reiitly/ is to impoverish, and to extend is to enrich m* ret W h eritage. , sdt y/Hf* ’« bsvuansqxs «* w ^Siua (Hi) that ’* Hie fact that some or all the frequency ratios 25/24, btabncjs 8 25/lb, 48/25, 32/26, 36/25, 25/18 (worked out on the bases of 5/4 and 6/5) and ratios, 27/25, 60/27, 40/27, v>.h 1 lo 'Hat iWHWH are' actually employed cannot be overlooked,” ■simtV-.b yt , though at an earlier stage it was suggested the ratios .*0 , ;j 40 27 and 160/81 should be rejected among the ratios led my 9 avfll Bharata’s scale. (Any physicist will im med iately a sk srb » !i Vji? what objective method have these definite pro- .j <; ,jj noupcements been made of frequency ratios that they o': Tf 1 <»j QCtucdly exist in our present day music) and » *,jq m im tfOtmmy&t THfi MADRAS MUSIC AO*BKMY ffO iA 'll* t erfi if (}T) a; statement that frequency ratio 7/4 is unftAturafll and ' foreign to our scale ” as against Helmholtz’s statement —.aeoiqsua a that it is a Swbet musical note. •• J»q * **-n errd-t ,©£*H It appears to n\e that no objective study was either insisted on or desired J ffPjT------K. U J * MpPpm—ytyu f1 t y f w l SO YSSfH f 8! 6 © 01} (JBl'dl &t-!i 00*-*. t of musical intervals, npt exceeding One octave, in which lqa fre quencies have been listed in Appendix XX, Sec. I), pp. 453-450 5. At the Easter Conference of 1930, the theorists became emtexvaiive and would adhere to the statement that 22 srutis includ ing 8a and Pa were sufficient. They allotted certain names to the < 4 4 ^ ^ 6 0 symb<>l« Rt, R, |G„ G,t, Ggr G„ | ,M*, M», ;M„ | fh, Dn Dg, Dit | N.j.,. Ns, N*r )Ht giving four namoB Jot each of tbe 5 swaras, Rishaba, Gandhara, Madhyama, Daivata and Nishada, and duplicating the names for the ten • ftwaraafchauas in.the octave of the veena, besides Sa and Pa, since shadja hae become prominent in present day music, and consonance therewith is essential and they must be defined in relation to shad ja. There was a discussion-on tjiq desirability to describe Raga-lakshanas in terms of specific srutis employed, and the same President formulated the srutis represented by the above symbols ooouring in the several typical ragas on ‘ which there was the greatest agreement or tbe least disagreement, though it was not intended ^9 exhaust all the ragas ftp which1 particular sratis occur,' at the same time, expressing fyiis disappointment that even in regard to common ragas there should be considerable disagreement in regard1 to their characteristic srutis. Re t the 12 ratios, which are simple, since they denote harmonious and prolongable notes, as 1, 16/15, 10/9, 9 8, 6*5, 5 4, 4 3, 3/2, 8 5, 5/3. 9/5, and 15/8 (also considered so by Helmholtz) no diffi culty was experienced at all by the theorists beCitUge these ratios are verifiable by «©y student of Kama tic m ueic’with a knowledge of Physics, who has studied, them with reference to the 8 standard tundmg. forks of : the diatoniccj scale, available in the Physics labo ratory and he is quite certain that they exist in Our music of to-day. i-Tbe ^theorists were cautious enough^ not to Specify definite ratios in the ragas, where they were not so simpte'; and they ex pressed the characteristic srutis in terms of the above symbols, to depote a small rise or fall in pitch, as I Understand* the discussion. Intpite of this, owing to the statement ©f the President in the previous year that Begadw Madhyama has the ratio of 27/20, * ■ Pa BTS I-4V] ttB^BAROir AXO FHEQVE^eV fSfeTl^S fft tb<* fallowing Statements re : thS otler 10 srtitis—^ m ^ ^ r a tio s ', are found in Sri Sambamurty’s book regarding the Theory of Karnatic Music (Table IV of Chaptei IV of his Book IV).,“Frequency JE^!—250/245 in Gaula; G,—32/27 in Bhairavi; G4—81/64 ia BcvagandhariM.,-—27/20, in Begada and s Gaulipantu ; M»—A&93 in Kalyani; M4—*64/45 or 720/512 in Varali; D,—128/81 in Saverir, D4—27/16 in Kalyani i Njt-*16/9 in Bhair»vH,tN4—243/128 i*i Kuranji ”. That the frequency ratios mathematically calculated and stated to be according to Bharata, have been transferred to our modern music with a definiteness is only pseudoscientific research in my opinion. Further, new words have been coined: (i) Pramana sriiti, to represent the comma ratio, 81 80 or 22 cents, borrowed froin Helmholtz ; ( f i ) the Purtux sruti for the ratio, 256/243 ; What a name for a complex ratio f (in) the ^Nyuna sruti to represent ratio 25/24 and (iv) the Nyuna ctvisruli to represent ratio 135/128, "as if the 3 last numbers were taken from ancient texts. There is also mention of the Pythagorean Limma, the Pythagorean major third, the PythagdlWi book, as if they have been proved to be fa existence to day in our music. The above figures and wOtde are got by heart by all music indents going for five Examinations in music, held by the University and the adtlo bairn erlf ni «*h« Hiw doirfw nowaW> idT 1 oa Reference should be made here to Bulletin No. 1. of the department of Indian Music, ‘ The Ragas of Karnatic Music’ by N. S. Ramachandran, a History and Economics Graduate, ay in a player, formerly research student,, published by the Madras Univer sity in 1938. At page 50 and Appendix IT, page 206 will be found mention o f 56 frequency ratios which cannot be detailed here for want ofwpace, ineluding suoh extraordinary figures like 2487/tt>00 and 2187/2000, besides a large number of frequencies ©f ‘ illusory ’ notes which,; he* says, leave the kupreasion of sounding true ;to the ears ! Surely the ear is not mocked M The calculations of frequencies have been made obviously from the relative vibrating lengths, oblivious of the facts (is that the bridge of the vina is a wide one and the exact pjoint of contact of the, string at the bridge cannot be ascertained; (n) the increase of the tension by deflection of the string enormously affects the pitch on the calculated length. The oji i ) —Alaio Damektu has interpreted th a t tlie ratio 25/24 is tlie that sruti above Sa according to Sarngadeva. The twelve frets qii the ga string are denominated by me thus in my Grammar or Music fas also here, 1 ri Rf ga Ga" Ma ma Ra da Da hi Ni Sa’theeapif al Fetters denote (lie I S a tn h a ra b h a ra n a of■i*kp diatohie scale. gift to •lorm 'W iq 0 appUpation of any principles of,Physics is not m > evidence, in this pphlicatiofi. it uiub-ur^n rfood »VDamun\m)8 hH ui bnrnd »ie 7. The latest effusion oi pseudo-scientific research is : Abrahtoh Pandithar’s Book* II ‘ Karunamruthasagaram f (1946) on Ragah (Grammar of Music) wherein large dumber of feg s have been drawn up on combinations bf: the existence of 24 srutis to the O0€MV% arfd where also a system of 48 intervals to the octave is advocated. * ^ 8. From Chapter III. ‘ technical terms, ’ Book I, ‘South Indian Music* 4th edition ^bv Sri P. Sambamtnthy, the following extracts are given :T $&***&*** *)*» * whom niMtowssVt J i 1 ; bwuoo used /ad sbyow wan .ledtm i ..uomiao vtu “ Suddha gandhara, the variety oi ga belpw the aadhaj-ana gandhara and theoretically, the same as the note uXV * '* “ chatussruti rishabha. Also tbe first gandhara note (frequency 32 27) in tbe scale of 22 srutis.” Theory is wrong here as the ga in Sama Gana to day is a resonant Swara.,. 1 0 *,t0f /. , « ** ?»*» •- ! / 10(401 asoio ue/fivH uni ussrogsdjwi edi Jo ttmtaew oef« li as “ Suddha nishada, the variety of.ni l$ow the kaisiki nishada and theoretically the same as the note chatussruti odT • }. dhaivata. Also the first nishada note [frequency 16/$J, in the scale of 22 srutis. j (l8Wtu (li mo h.nimtiyr/ v,\\. rot ® The confusion which will arise in the mind of the junior students by that the suddha nishada as per Venkatamaki nomenclature is tlie Suddhamadhyama of Suddha-madbyama as l(* 9- 4/3x4 3. ’ . ... r.noof Od rnw mrs egsq «o xinrtaqq/v Due m e§**q nr fna j. I N.Ii.—According to Yenkatamak hipHuddha gandhara is near the region Of 10/9 or 9 8 R.E. - and Suddha nishada is Vnear the region of ' 5/3 or 27116 RJF.» iouport to -mdcamt s eebi* >d ,»0S\?8t.S bna ad • The ga and ni of the present day Baiba Gana have been Identified <-by my actual play bn the vidlih recitation; with the ratios 6/f> and 9/5, very important in RitigUUla taga. Jorvdo 4 j >»: need «.> ^ d m ^9. In this academic study/* my own contribution as an amateur • iXX,. it’... .. ! oT.^lA appeared in the then "Weekly Educational Supplement of the Hindu, and a lecture was delivered on the 22nd December 1928, under the auspices of the Music Academy, wherein I demonstrated the . A/ existence of a few srutis on the Sonometer aud the violin, and I Ti was really the precursor of tlie President of 1929, on the ratios EABTS ? MUSICAL BESEa RCH A»l> fRE<4ttEMCir BATIO« 09 enunciated by Helmholtz. Even in the Easter Conference of 1029 I had insisted upon the existence of two prolongable notes of 26/24 a»dj 25/16, as having place in the gamut of sweet notes—wide page 36 of the Annual Report of the Mpgjc Academy for 1929. X was fully aware even tbep, that £he study hry aSonometer cannot be accurate enough for a scientific contribution. In 1939 was published my book ' Grammar of Karnatic Music ’ based on the study of the frequency ratios, existing among themselves in the 8 standard tuning forks of the diatonic scale, which give as many as 18 of tbe 22 srutis. I pro posed therein that there are only prolongable and harmonious notes in our music between which gamakas occur, the intervals being in some cages, above or below those notes, to the extent of quarter tones, having values below a semitone of 16/15. ' , f f ^ f>oo yitro one ,89Uma cqTmns t hbA ©flotfc am) oi ni 10. I would in conclusion drawf ;the attention of my readers to my scientific paper ‘ A Study of the Mi^rotonal Variations in Frequencies in Karnatic Music* in the ,‘eCurrent Science ’ for August 1949, pp. 272—274 where the results arrived at. by a study of. violin curves of gamakas, by means of a Duddell Oscillograph, photographed at the National Physical Laboratory, London, are given.,]The results are as under t 0 * ym no T T * laiixeq laqqn oilt aauboiq uao tsuiiloi / (t*) In da of Saveri raga, the Variation (or andolika gamaka in the same swara) is from rel. freq. 25 16—a small semitone above Pa—to rel. freq. 8 5—a semitone above Fa. On ‘ ;i ? arlalogy, the gainaka in ri of Saveri raga will be from rel? ** - freq. 25/24 to 16/15. The variation is 42 Cyclic cents. (it) The gamaka or variation in Ri of Madhyamavati raga within the same swara is from rel. freq. 10/9—(a minor tone above Sa) to rel. freq. 8 7 i.e. a measure of 49 cyclic « ! 1 cents, and the comma variation is insufficient.r edi d i Ja.toin ao gnivis 'Miia lo l m giiDum*! ni m diaoi (in) The gamaka in Da of Begada within the same swara is from rel. freq, 5 3 (a minor tone above Pa)—to rel. freq. 12/7 i.e. a ratio of 36/35 subsisting between 9/5 and 7/4 or a measure of 49 cyclic cents, and the comma variation is o/i .nwouHkwaawagmnqiqinsufficient. -irmf.vtrr ‘^1tooaou* niri-f i* gnijqaoxaM.in.inLj i vh&nmju.&m It is Interesting to bote that the variations in frequencies within the same swara are quartertones of definable frequency, which exist between notes arising at certain aliquot parts of the Sa and Pa atrings. My experiments show the clear possibility of an inversion of a septimal minor third (7/6 R. F.) from Sa, Ma and Pa in our South Indian music. The European has so far recognised only the inversion b »wfvi a yjlauloa ed aiauaa gmvil ot\s M n o d a o* , Mil l o vbe m ad u m mvsic academy [vol.- obxi of II mkjbt third(6 4 and a harmonic minor ©bird (6$) ftiom Sw, M* '4J3: m * ; 2 i 3,6 **b2/7; flpirg/*!^,- ©#7t This scientific paper (reprinted since in Vol. XX. Journal of the Music Academy) was publife^ed! iri the jotiririal on the submission of an Appendix, showing the analyses of the violin curves by a well-known physj^ftrt9* .aenof ishniifr T.> -tno/xn orfo <*t .sa-toneapdf woled loeyod* .saaso oarae 11. Just as the theorists have given new symbols to the srutis in relation to shadja (the drone has 3 shadja strings, and only one the theory* o# ebnsbft&hce to shadjl has to be envisaged irt another manner, namely, in regard to'the upper partials iti in h u m an voice Of PtOTB. and drt the instruments brought down the‘ proper freiqdenicy, Within the and they should fee verified-ona Scientific basis as hinted in my Grammar of 8. I. Music. As TegaMe frequency 7/4—refmred tb in the address of 1M9, I as a violinist can produce the upper partial * 7 ’—on my ‘ G ’ string and it is easy enough tp play 7/4 two octaves down ; and I do so consciously in my mga alapana in a certain raga. So also 7,6 on another raga, which is in the same finger position on the Sa string, as 7/4 is on Pa String. The consonance of upper partials is a very important subject dealt with by Helmholtz and later scientists re: European 1 Harmonic * music and. it behoves us to study this aspect seientifi- sasi TTii/>iiaayol»idfi io jH m notinnnv io aaatnsg edT .. nally re : melodic music. * 12. Melodic musfc, at all times, is firstly Art—with a Capn tal—though it has a scientific background, as in the case of all Art, just as in Drawing, Painting or for engraving on metal, there is the Science of perspective, anatomy and proportion, which has to be studied*. At the present state of pure scientific knowledge regarding our music, I would even cry ‘ Halt ’ to the teaching of the theory of frequencies in music, which are found in the text-books already mentioned, excepting those of prolongable swaras as far as known. No amount of getting by heart the fractional? ratios, or cyclic oepta or of tbe swaras representing aroha and avaroha of their sanchara, can create the aesthetic feature ofraga forms in the human mind. The shades of sound and pitch have to be learnt by the tar initiated by a teacb-pr., Juflt a#; pahltqr or fiptdptor must; have a living model standing!before him to;paint a .picture or to create a statue for many years of his study, so should the living music be actually reproduced RESEARCH ANO FREQUENCT *AT*IOS by tbe human voice or learnt on the instruments to preserve the prafcttoalforsucceeding generations.Any seientffite TeseR^ htf artisle proposed tO'be undertaken in the Central Allege bf Karriitaka Mmte tifr'i-etetuMre; shouldbe on tbe basis of lifting music and on modern lihes, as suggested in my paper published In thb>‘ Current ScieWeU. ^ Thfe study of books, ancient" tnoderh, % buffi Uhnrtot fry their very nutate;1 show samples of sound fdti investigation i^W iny1 y° -■'i *>* -tmmltb ^itrpwofftu* gniffi edt id'Quoif t X igiiq *>df ttl ." nod rumba baaaitaoe o) dsyone $*iqal3u Lefoinooon elude with an appeal to our eJaatio&l vocalists and ieBtrunredtalitt.ts of today.- One outstanding feature came to mty notice when I was going round with Mr. Alain Danielou, fcearjngJa reecDsded mUsio of classical pieces by classical artists, namely, the lack of ootisoienoo in tbe matter of recording far post©*ity i. tbe wauat of 6>»tho eUoosd, which was apparent, barring a few records And ifcwtfe *hk Wfeieb prdmpied Sf**»gijfe> Kalanidhi Musiri Subramania Ayyar pbo accompanied u*Q to observe tbe other day that Mr. Alain Danielow bad better record our ekarical artists afresh by the tape-roQitwd, instead of collecting alj and sundry records whbhunpi^bt give an erroneous impression of Carnatic Muaje to the WestM <«& bn# oianM Ldtu j4 I have also to warn the eminent V id eos regarding tfie future of Cbrwatic music, whnffiTbitee over thirty veUrS f W t ^b^elh8*iclf ^ece^ytt^^bni My eUHVtteifiinfg from 1918 to 1923 under Vidvan Kalhni^^Of’&e Atiadettty has not fone to iaih ''lA>ihe Wrfiydh Rte Fytiftuddha or the wise, of VaTmiki’s Rntrlayana. Or, like the Wild Cassandra of Homer’s epic the Hliad, as Tennyson pot* it. for t read the signs of the times. The step-morherly affection bestowed by t he fJovetr-ment of India to the O il teal Colbt^e of Karnataka MUsic is a point in evidence td the oHlhdklir. #befb‘fe today a political' stuiit Of the unification of IncHa’smueiOf way-unifi cation of the names of ragas has been suggested by a high Government official of the Government of India. Where is Bhim- Palasi of Hindusthani Music and the 4bheri of tbe song Nagumo Mu of Tyagaraja ? Where is the Bageswari of tlie Hindusthani music and the Sriranjani of ‘ Marubalka ’ of Tyagaraja ? If only our Carnatic Vidvans be enticed by this political stunt, woe for Carnatic mupic ! And let me quote from Prof. A. N. Whitehead, the great mathema tician and philosopher, from his book ‘Science and the Modern World’ in the chapter ‘ Requisites for social progress,’ published in 192t5 and reiterated today by T. S. Eliot, English poet, in his Notes towards Quftufa, published i»- 1948, two i.decades, Jaker^Tn, the matter 00 transmMOf1 p£:ff»l^r?nfoom one generation W the next, in the diversity-Regional \ “ A diversification pmrmg human communities is essential for the. provision of tbe incentiveiSMad ipate^ia) for the Odyssey of the human spirit. Other nations of different habits are not enemies ; they are.godsends. Men require,of theic.noig^l^ra aOWfhing Sufficiently ^kin to h* understood, some thing sufficiently different to provoks.ettention.and something great enough to command admiration In the past I thought the Hindusthani style of Music was durwnemy, and I said that, in ?spite Of'tbwffaet thatdft ufy servieeof S3 years I was In- North J India n a oter 26- 'years and ‘ have heard all type* of music at OalewCta) Julland'ar. Lahore/ Lucknow, Bombay and Banaras, the Hindusthani style1 Will oust the Karnatic style, if we are met Wary enoughyjoft Is undet Greshatn^ law I in Economics, the bad coin will oust the good coin from circulation.^ This I Said1 in niy lecture on Tyagaraja in tbe ^^n|p'IC^'#hBhihtifation, Lftkshmipuram in September 1939—*ewfe IVtveni Cf D u m b er 1939. In my lecture on the Clarinet and the OlMSieal Karnatic music, before the Music Academy on December 27th 194f, I said with a full-grown charity: Let the Hindusthani Music and the Karnatic mUsie evolve in their own natural genius.’' Here history waitf op the musical conscience of .the peqplp of South have been in the past sending always musical fropa the Xoutn to the,North. Now it is just ,the reverse, because Delhi i« ih^fCapital, of Free India. hLet us sing the mm»mfof ,our great Trinity of South India with all the Sruti Suddha and correct pronounciation of the: Sapskritic vowel sounds, our vocalists are capable qf, so that these majestic pieces of art music, with abundance of graceful gamakas may command the admirafjp npr^heri| brethren ; > a«od they sbpuid qimply go away, carrying tbe tpreh of our jppsffip* culture, iike Fa- ffien, apd giqen Tsangs o f old. This w appeal to you, the torekhe^rera of Karnatic Qulture, rfpitf s yd fmJee^gKre need asd aa^m ho m m *nj erf* lo uoriso -utifiH ai swdW .htturl I© fnomtHgyoD M l ‘hi' fstoffio k ra ssn 'io O wM oorngstt goo* 9 # to h odd/ ni) b a n oiimM i«a*DauhniH lo taslaT boa oim tm iftefbscfbmH lo hnwaegpH odJ at etetfW V 1o mo ylno II t to * aJi&dimM * lo ia&i'timbR ‘(dt 1 oiw m KfJstnnS red sow Jnt/ia lao ifito q m il y d hm itm od auavfolT -msmbmn Jmoii^idW M . A Imft o m it e l o a p X m M b a h ‘bboW rmboff mit b«« ojtoMB* ioorfaW coot! fi9(tefwaifdq him amyb b o s \ m t n't barMfdwq faioos m l a&H&appH’*- ie4§iwfe « fj m abtfit/oJ aatfoft aid ni ,feoi( daiign® .toiia .8 .T *d ysbot beiwi|W ol I ®l5 ; POINTS OF AFFINITY BETWEEN HINDUSTHANI AND CARNATIC MUSIC i *‘»Tlldb TOW •'ii^ A-jr'r,jrr ?°tt9d bttR •**« *d K 'f if •• )U!‘ od) WHqqw »***t »dT -8i^t «*>•* Principal, Central Academy of H industani Music, Lucknow. tJ bos r-maia a ll V This evolu^i^ ^ y^ ^ taken place after Bharata because that great author does not refer to raga in his Natya o^^tanili tedili^lia&acontinued even after the birth of the rags.. The ancient ragas were derived from jatis. The jatis supplied the nucleus of the raga, and hence the mention of jati which was tlie source of a raga under conside ration and consequently the mention also of the grama and moorchanas which supplied the scale for the jati was necessary in the definition of that raga. Let tne quote for example the follow ing slokas to compare jati and a raga. The shadjamadhyama jati vidnch 'fs^is'Vikrftk ja^'re^hltihg from a combination of the ttro! suddha jatis namely, shadji and madhyama is described as folloM^ in slokas 86, 87 and §^b^h^ Chapter on jatis of Sangita Ratnakara. *i *T»jf*n4B/l aJtsnsd s'avsbnan mo tb • aJamnH s ’ fHT^ts^rr5 faff it f.-sii =* qiffSte «R I ,*yrTst|j .sgnftgaH. v ,«sb>I ,tvn*n m W . « » » * * * * • ■ u i a m l S s <*rbom U qffSfeTC *^TI j • , aoil}^aiiW rf»l IfeiMaree K.rita MoorchapAof the shadja grama, though Sarngadeva avoide the actual uap^^^be m oorehau^^il had his own doubts About it. ( The question of using an alternative as«ne pr aaepithaet, just to suit the metre does not arise in this ease, because Matsaree-krita would have fitted in exactly the same way as Madhyamadi. Be it as it may our purpose^eif l^tjq ,^ that tin? graip% .mopyehaqa, the strength of the scale or s t r e n g t h or weaves* of the individual notes nay, even tbe style of singing and the tala, had a place in the very definition of a jatL Pioving it thus to la a set composition of music or rather the musical part o r swarakrami qfa Stanford and well known song. J ^ u; ''Let us now torn to the description of'a ragh from this 'very tfork.’ Let us take the raga Kf dime Suddha SadfiafRa i* It is* described in slokas 21 to 23 of the Raga Viveka chapter^ «atfjg*ar Ratnakara thus : ' ' t;-j ^ ^ X***** &«* * m s«snw- M m banesloafe ad o# n«i&d sagm sift lo sahn To slfesfafe UtnSmqtn n m fin ish sd o-t ok^h! iroqqu* n i Id a su sa feefttjaop gd of iiaaod^-afi. angst wl'V .vim aSnioq ads lo ayunei-uNa m di %o n o v s o o X dMhffir ff ahgnag l o mJafuuimooo S sm % w ? 1 # m a m ff(I •Bdh!uain,:I &nud}i* 1 ***& *A* faMrfit m m \ 1? *TRT^.aEW h £ iPFifi This is the very first raga described by Sarngadeva. It is dfhdtf**# from shadja m«dhya*na jati; Tgra Shadja is ifca graha and amsa. Ni and ga are weak notes There is nyasa on madhyama. The. raga is sampoorna. Moorchana is the one starting on shadja. There is prominence of Prasannanta Alankara in its descent. Ravi, i.e. the Sun is the governing deity. Expression of the raga is manly and heoric, even awe-inspiring. The time'of singing is the begining of the day, that is dawn. It is employed in the the third stage of ddtelop- ifteht knowfi as Garbha S&hdbf of the plot of a drama. n i vnniflH leeaoiq ofil odaf afiabiwnm l«»mt»»eTo**q adf fd foaiehknoo si ad aibnl d§> There is only exie. Amsaawara,asi(i n # a* number of tAxmuiwqia ft; jatibn Bharata Before# to emotkapyftl ©fieejfo -f^rjntfp i fffr% * ' Thtttf certain ffektures of the shadja roadhyama jati wWfe selected afid d' musical theme for eiteropbre elaboration conforming to certain Adduced.! 'the emphasiM on Rada, emotibriilneffect of* ft ra‘g4, iiti'tf riotable pc&nt:^ The f agas 1w£rb thrift iritfbdUedd for the pid f)oae b f 0htertaifiii% the mOsibaf lisfceribiP, tfrd human listener of ihficaa^ribftM sa t) j, ?->It »a ?■>({.) lo df: rnus tne ' *®®rr — q , . „ . . ,, . . - Sangita Ratnakara is comparatively a much latOr work. Ragfts must have been in vogue several centuries p earlier. The taga described just now belongs to this period arid seems tb ha*ve gbrie but of yogqo, in Sarngadeva’s time, , It is the very first of .the group of the faga he has described an Poorva-Prasiddha ragas that were in vogue in the past before him. A obapgein f he-constitution . of thf raga had already set in even in Sarngadeva’s time. The. ancient details of rules of the ragas began to be slackened and the ragas began to be defined in a couplet mentioning the-most important points only. The ragas also began to be qualified as Deshi. In support of this slackening of rules in the case of Deshi raga Kaflinatha the great commentator of Sangita Ratnakara in the explanatory note on the first ‘ Adhuna Prasiddha Deshi ’ raga by name Su Raga, says: frrf*to ni tl .jsvabagn'iftB vd bedhaaeh «gsi infi viav edt si siriT hr?. Kallmatfaa ^quotes an previous authority r|on this namely Anjftn«^-who..smy»':^B^« mi aoedT .asrton aleawr mst #g bna iM .flame aiftdT .ftjbada go gmii-ata ejm &ifi si aasrtaiooM .srnooqraas si * swenty nf#*The? idea of ©ailing one attJ tbe same degree of the swale by two different ' names has *aade it convenient in the Karnataka music to^ user hothitbe jRlsbahha, JComal andSuddha, both the Gandhara, KomaK and Suddha and so forth : of- lltadustlMad .SaaiMbKtriQrt example Kanakangi and Sanaa. But in such eases, say for example ip a raga in which both rishabhas of Hindusthani music are used, one as rishabha and the other as gandhara, the Hindusthani gandhara is totally absent whether in its suddb.a osvikrita state. In a raga, on the other hand, in which both the Hindusthani gandharas are used, one as rishabha and the n^ber as gandhara the Hindusthani risha|>ha is totally absent. far this principle is strictly followed in modern South Indian music will be known from the experts in that music. As for the use pf two madfyyamas in Hindusthani music may I draw the attention of the vidvans to the name Ati-Teevrgtara Gandhara given to thie apddha madhyama by old Granthakaras such as, Ahobala and "Lociharts, ojr'Mridu Pancharna, Laghu £ancbama to the f^raii'ma^iSyama or Teevra madhyama of Hindusthani music, bv authors such as Puinifanka ^itlhala and Somahatha f tnefe1* granthakaras have iriciudeid' m their chapters oil ragas, those haviiVg s mmt> taooor m Ir nrrerli to erro jfWiwe both the ibadHvamas ,10000 w vnrJ. as Jn.s ,*&#•»•elq dltfd 7&tuoiih'&q a o f %is&oh$&4¥ bo* iatnsbfcr ^ Pt, BhatK&nde made great'‘hfPdfte th understand the tangible basis for the cfcPsffierdioh under this system as given in the old granthas w»s hardly applicable to the ragas of today. All the ragas had uiidefgnne add^ti^nS and alte-* ) rations during the past centuries and there was ve*yi little ©onnecf ion betwhenthsuf modern an# old fbrras. -Tbe jaoata mela, and janva d raga which refers directly to the flats and sharps of a raga was noted, to get; the most ‘reasonable -process of raga classifieation and he found authority for the classification not onlym t& eSouth but 1 also in the North in granthas like Raga I’aranginiv Raga Vibodha, HHdaya KoUthufeu a»ud Hridaya Prakaah. spifee of the fact that thflwusrtwrtwad nU«*ber of ragas having both the madhyamas in Hindusthani music and that there w*s no melakartiia in Karnataka music to include these raga* be atilt took Venkatamakhi’s Mela if Prastara as a referendum >for hi* Tfeatamfaga system. « H Panchama while the Madhy a m a g r a m a has three quarters of it »pd is called Kaishiki Pa. This very Kaishiki Pa, Trisruti Pa, or Vikriti Pa, was considered by tbe later granthakara, Ramamatya of Swara Mela Kalanidhi, the pioneer of the janaka mela and janya raga svstem an attribute or condition of madhyama itself, He called it Chutapanchamamadhyama, probably because in his time the Vikriti Avasthas of shadja and panchama and, with them, the grama distinction went out of vogue and these penultimate srutis on which their vikritis rested came to be considered as higher vikritis of nishada and. madhyama respectively and called therefore chutashadjanishada and chutapanchamamadhyama making room thereby for some new ragas in which both the avasthas, suddha and vikritis of shadja and panchama were used. The gramas and moorchanas gave place to tbe Gamut of 12 semitones and the melas. Ramamatya who is said to be a descendent of Kallinatha the great commantator of Sangita Ratnakara is thus the father of the present South Indian system of music. No doubt, the present Karnataka system haa grew?| far beypnd scope of Ramamafeya’e work. Tbe great trinity Syama Sastri, Muthuswami Dikshitar and the immortal Tyagaraja have practically revolutionised the music ,q€ this province from what it was in the past ages. But the roots of it are to bC traced fo Swara Mela Kalanidhi and through it to Sangita I 1. Shadja of Karnataka music is called Shadja in Hkidusthaai music. ai ougov n.i ton a** m odi lo (Is .idsism afsineV v l p Suddha Rishabbam^ov n i y s b o i seKomal ; Rishabha >1 i i *' .BfidsHfislrilsM'si S7 wft-ki trio OS *a> 01 r ib " fHwiniirtiti k v d *«fo 6: Suddha ^Madhyima fimavcm. Saddha Madhyama iIo/trT itttiiiV io %m HomsHT ,m itfhfate* v/iav eiriT .*<1 hfidsUH si I f * ihhti^adfryanfcf ,slBisd h Teevra M«d&y*ma aw ,«*? m,m &xn*i hat. dnm tfk ti*( arfJ lo leoaoiq edt .idbiaeiaH *bM H. Pancharna*^** *if Pancharna innate'/ odt ooiij aid /if ■ oad yktadoiq ,©ca e^df>oi£mfcdous.q*te*ri'J ft.’’ Suddha Phaivata Komal Phaivata mdim-rh tfj baa twgov lo Juo tnow noifiUileib Oh a t us srutf :-'’en‘,r> ** o) w ho ir nJhiiv iiadi doi d ir . n;'''5r 1 P«Wt v h t *{ yfevfieedem _p,s. -rlnki lo Pf“ >vata laio A d b b t h i • & & $ ' iP o d s h i t f w ni aagjn wan sunoa lol vdeiadi has edT .beau mem Amaffonaq has «[h©da lo sitiadiv I>n« -*«{(>;a/ bhat^^ti)ffoi»iit*pe £1 lo ioftiflP adl oi eoefq 9V*g aeftsdfnoon? 4§t}$ ml'i b od Jgoaaal Nishada au'jKsiq ®wJghk'3M1ia^ aud# si alipn«8 h» ioMlfi«Ki.a:roo ftdslamaH # of> o K .9f«»fn lo me.iey« neifenl 1*£ Kahali NiShada jqoos oiM Nfshada1'1 ittfioro »rf# ufKT tats lorftaM JilaeS emavS ylrnhi i4M»ip . I shall sing the swaraj now raem onstrs^ft ‘”, ’ :i *i <™*P '>#m H m*m&n mi inti i aaq ed.f ni u * ii l*dw moil mmbvmq effSnSAa*® HE jGA QA IVhA MA BA 1>#A PHA NI NI.-SA-t t » Let me now demonstrate the Suddha Saptaks, the Kanakangi jiH toTRdJ StQiadans/f mb s d o i boaiylsa canoPm Hindusthani: SRGMPDNS aunt in s d ia o fin ill .oko Although as* matfy as 7fi tnodee been mathematically Calculated by Venkatamakhi, all of them are not in vogue in Karnataka music. The ragas today in vogue ire classified among 19 or 20 out of the 72 melakarthas. Ragas are produced out of the melas by special emphasis on certain notes of tbe scale or by dropping one or tvm notes but never more than two, out of the full scale. Tbe omission of swaras, by turns, gives rise to a large variety of shadava, hexatonic, and ouduva, pentatonie, melodies. Ragas are distinguished from one another also by their vadi swaras i.e. by emphasis on different notes of the scale and by specific swara sangatis /a ll these principles are common to both, the Southern and the Northern systems ; a lot of ragas are common to both the systems, though under different names e.£. MbhwDa of Karnataka music is the Bbopali. of Hindus- CI & P a r t s i - i v ] h i tin trS T H a n i a n d c a ^ n a t i c A F F f ? i »t i k S thani tnnsf^,! Hindol of the South1 is MalakouiH of the North, Madhyamadi of the South is Madhmad Sarang of the North. Oortimon melodies tinder different harries as well as different nietodles under common names are met with in both the systems. Hindof of tffe Ntirthi Is just the tipposite form of Malakotihs or the Hindol of the South. Let me sine the scales of Hindol as it is in the South as well as its form in the North ( Demonstrate). Bhairayi in the North is like Hantlmat Todi of the South w hile in the South the Bhairayi is somewhat like Asavari of the North. * .mo >*io ion asafei aid Tits nsteumiA-i isd jegme *dt ml}* bagpoioaf m Ion ( I nhere iierraga aJ&panam in both tbe systems and it employs meaningless ^llabtes such as Na Ta Re To No inhhe Rputh as well in the.Nort^, ■ i'jsm^ho ml4 tiJiwanoqsbi Let us now turn to the musical compositions of Karnataka ah’d Hipdustbani music. A critical study of these prevalent ip the systems will disclose their origin in the ancient prabandjra? which,..! have referred to herebefore. The four or five stanzas namely the ^.nrahaf phruva, Melapaka, Abhoga, and the rare Aptara of the Brabandha have their prototypes in the Pallavi, Anupallavi. P Al _ , ^ ^ ^ „ the S fs F two Kirtanams ofthe South and the Dhtfapads of 1 the1 North hate «both (their: origin m the pra bund has of oM dedicated: «ahsPme (5odL -In both the systems these are treatedwith a sefise of gravity.^f They have a sfcyieof their own. They areth© musieat adaptations ofthe Stoteas the audience w ithits persisting address. One can bear half a dozen kritis in the South in an hour’s time while in the North half a khayal is not finished within one hpur ; of course the duration of. tbe interpretation of a song or an instrumental piece of music depends }up£n the capacity of the musician, not to repeat tbe, same passageaof a1^ ° ^ r again, )>ut to create pewthi^gs every .moment. I have beard just one single raga played on a Sitar or a khayal in it sung fqr not }yss than two hours and there was ppt a minute of boredom. Bat such cases are very rare. Ordinarily a k^ay^!i * should; not be prolonged after the singer has exhausted all his ideas nor should a kriti he despatched within five minutes Effort should be made to expand and elk borate the idese of the original composer by alapana consistant with the original version. I hope the vidvans will agree with me there. m 91ft of trmi won sn 4eJ There is a third type of musical compositions in South Indian mf^ic Itffdtrii as Jawaii. I am tofd, these ccmpositi^ps are a lighjb type and are amourous in purport. I do not know if they are employed kif a, Background for abhinaya. If so, they are tbe proto types of the Tumris of the North. The tumris are songs which are full of Tittle phrases of amorous purport to be repeated over and over again in varities of Dhatu. There is full scope for self expres sion, manodharma in voice, expression on the face ancPaction for the iWMtflfeufeiifllb ftfctb the aim of tumri singing is to bring out said impress upon tbe audience the word sense of the song by means of voice, expreaisioo *nd aefeioni Some danoe gestures are also resor- tgd >>, times, but these, last, by women singers. I remember to haye witnessed h«r« last year, a couple of hours’ programme of aoting on the basis of a song by a famous Sooth Indian female dancer dust one little sentence starting with the word Krishna was referred t*> over and over again with endless varieties of expression and action for over forty five minutes and not for a moment did any body feel bored-h i was certainly well impressed by tbe abhinaya. I however don’t know whether the song was a piece of JawaJi. fitting variations of the Dhatu .boa Mtnp w «» iasHninaipiKma oi smwdoi. In tom • .\tmni9mm ht $fe. »t^ ktmrtnifcs lafeshiarf* gitas itat!Whi#>*ilhe tfbolo of tbe raganjtself in! whi<& m i#dk>mp«*M^Nw set-forth^'The kUfc/ PhnditfjS got fchfei*w» of tttksbana giifc frotfbith©'^oirth. oTh© Sarigitft SjunprAdwyai ^ ^ *© irii ©ofctafas •fc’idtUftf theto. Pt. BhatkandejTs fe&stoafaft fgi*a« at© »H iti Htadft-fengtmg© i &ttd they beteame-^ry &6j*sk*} ©Vfenf amoBg some fcanglfca vMvwwiJof the North-, sure ed j T<> Following1 the Panclitji many olh^l^feafVe N^teriTakishana gitas gfpce. T^iif type qf song has/ beqoml how a ph-r^ o^'the mUsihkl elducatioW ot a stu$ent!If Only the other day our hrfenc! ^'nk!$kr&Tfca t diUa^L ^ibiaqinH ©ad nryifiMfog 1«I TLJriiaJnc'aji qte aituii m Mmtn to iwiaesnqrj} woifystq enl music and Hindusthani music. The provincial distinctiQnS . or Bhashabheda might have been there. But these provincial clis- w w try. Tbe ;ejM»>e Hi S*wh»® w#*.£nyic?H ^V «.^^i-?^S S K »S W W ,i S*nW8f«4i .#«Wfce*t,oiM, ft?, gpneral 9i«tliRtlKo{1;)ihe music! wau commou ,®H0ojpr..;% ; .counUi'. The separation started when the Muslims (ook a iiand, in the V m m a B f .W ai?S»0bugrhfi,iSffl#% d»lPi3 were great patrons of 13 - ______■ ■ . s' “ 55 ; S l l i g§3!sB*fc, 11 U f 15 l ^ m a 2. , D‘»C "» 2 t s l i r m s ■ i | i St ^ *3 jP 5 3 “ §.. = f - A cJgpS.®°£-e83 sT * * S S * P<~£ Ip B*-# I «~s? som o^ - 1 ! ? # § * 3 $2 b £ i E3 £3-• tjp £«o® v*c —- J2 ‘c*- . * o - 2 f ; S ~ % 1 £S3L£;S£s.cF~- W :3 l i | p \® ? - ^ '■r 00 __ 5 at -* ©•■• -r * m, C Ii sjgj p * & i£ p 3t = s f t ! f cCs!ri - I s g l i l g * ©S* * l i . v^ S' ©ng^as* o- s?2, “ or© 5‘ §£ Cjfe ?* §£• a St- X - Srt c 0 - 3, f ^¥*ZPti»zJ& etO I t < * 1 P 3 ^ p &* fifeDR Pi*?* a. H S ^ f 1 3 1 1 2£ S* H f i*.*2 -j< a**!® £ » =*>?!£ O (§• fp£gUp^C- o^ ^ k j - fSB -PCD i AlQ t a e S&sS^G&s-^ s i l l ^ yxj »3^.. -^o* =a^S ls s . 1 1 I S £ ^ | .._»“ ..rss -r | & 3vf^*eA 2 £ W - . | In' fE& g& a Ht B m tt> uOfc g; * g£ I g§k§fiSsx Jfffiifflsi a. c »»,8 ©S«S *■■ S. * ; £ 2 '*♦ “et I i l 4 i K SStssfe? $» i st-r I * P a r t s i - i v ] hindusthani a n d c a r n a t i c a f f i n i t i e s 87 name of Durga, Sriranjini, Abhogi, Abhiri, Vasantha, Mukhari, Deva music. The South Indian Bilanari is the raga of fne very first mangalacharan ** by the late Vishnu Digambarji. The famous Abdul Karim was open minded and progressive enough tq feas^t make j an attempt at giving a South the the VBry useful crass5 W ijneitviB i, ... 5iU; eiolacJ y^ u j i . . o io -<««a u b -J w to give a practice to the throat, ears and’ sehse bf r f'tlim ”01 .9180X0 m o guideline boa gnibna feiebmi ni beJarcatni «93K»i3 m M toi the iw ^ J p r n ia Of the rag&f, as they are, ip either of, t ^ . e y ^ S j iS 110 sin in a Jyorth lndianV W W 8 a varnam or m p o r t a - t * m * » owf saerf* to vtibriav ad* baa eghfjiwofljl to aaoiwoa Jia baivoimi 9 7ad &v Hi* ,b9* .W -« * 11 a® sj.fH9f>«vA oifeaM mibxW. atte tn Iwisvibf) Wv«ieei| * ryrftvtsm wiht mtmT avoff hadjloM tmltn.»»f:.Y .mddA JgorfdA .rni{fMniiH . sssnKI lo srnrfsiV olel siil fd It—SANK ARABHAR ANA X, ** 0«USsrf9«IS'9nfc»OT b(m bebrtrm rrsqo saw rrrhjs^ AtrbdA auormd »rfT .iri«f«iJSsKf gnm8 #« VV'Jft&Mfitfcte** rsoone- evisset offa ni aaMmaa erfa uma has *,snqa ei»j( lo acapajit twiamrnxs rutihaT Mv first duty is to thank our. President Mij-K. V. Krisnnas\\amy odd tatih , . ■£'<■ ,5! snr^u»ot3tit via tm ;fBDoT".V4iw nstbdTiiJuo^ tyer and t>r. J, ife certain aspects of m,r Ragas before tins select aud.ence of mus.cans interested in understanding and enriching'our music. You are np doubt aware of the arbitrary variety and inconsistency between theory and h rf tfnd the need for some kind of aesthetic guidance in ehOOsing arid 'th^tesiS pWeJtEef ii^ A ri^ t A e i ^ ’t ¥ ^ vA iTI siid elsewhere;’We ckbhot iilV# ff#d;sbt4 tbeotiies for ad - identical sfefritf fs&ds^a^bxem^Hflfed the unbridgable di#Nfn^4ir between PtihdfV SubbWatri^ Bfkshitdf wild Is fe^beted; bdtf ffdU&BdtfWA’fi# Mr Siil^afachiifr^ xrtitr is'iibti5' respect6d'^ut ¥feH^Wed3tl)-ddyf Myipdtpb^’*ViiiW'i^ td su^dkt^y^'ftilB^^idihbdi !ajftd the validity of these two theorists. *i?f%8W§ &i, thing for granted, till we have unlocked all sources of knowledge and applied all tests, traditional, historical and rational; and think about the forms and features of our Ragas and recover them from the living traditions and new sources of knowledge, if the thoeries we now profess prove to be inadequate or mistaken. (1) The first source is a comparative study of the northern system with ours : the northern system inoludes those of Bengal, Orissa and Maharashtra, where many of our Ragas are still being sung in almost the same form, though without any Mela system. (Viz: Salanganata in Orissa, Kedara Nata, Gaulipantu and Kamalamanohaii in Bengal and Bhupaia in Benares ; some of the uncommon Ragas of Tyagaraja are derived from the Maharashtrian sources though the various mutts of Tanjore). (2) The second source is what I have called the ‘Textual tradition embodying contemporary records of the Ragas as sung in various parts of the country, from the time of Sarngadeva downwards. (3) The third source are those traditions of the art that have not been studied so far: Subbarama Dikshitar’s tradition for Dikshitar and the Umayalpuram—YValajapet for Tyagaraja are exceedingly valuable ; but they don’t exhaust all our traditions. I propose to draw your attention to-day to that of the late Veena Dhanammal of fragrant memory about the purity and superior quality of which you were ail * Lectures delivered afc the Madras Music Academy on 15 & 16— 9—’50. PARTS ^.IVjfMaaADA O10 SANK ARABII ARANA 0 JA«*TfO* 5THT 89 so enthusiastic when she passed away, and that of the late Mr. S. Tirumalaebarry of Saidapet, both of whom had their music from Sattanur Panchanadam Iyer, Kekkarai Muthu Iyer and other celebrities of another age. ,And I talk to you as a student of the art, preoccupied not only with the understanding and preservation of the aft, but also in its development. * ■TicJ Mi H v'f; t 11) „ ’/ f |i| !.t pj 11 ' f ■ j | I ' / ^ 0.jf "J £ 0 ,1 ""■{'jtII' "I »'# 'j" Elsewhere I had compared the northern and southern traditions to two streams flowing down from Siva’s head; and said, they were born together, grew up together, enriched each other in the course of ages and constituted two facets of the same eternal Truth;* and that the One was an unwritten commentary ota the other. Before starting on our subject to-day—Sankarabharana— I would like to prelude it with a brief examination bf the relation between the two systems with reference to a few Ragas which. fortunately have already been discussed by the Music P Academy—Ragas employing two Ma-g ; the relevancy of the procedure would be repealed, when in the course of these talks, we discuss other Ragas and the two fold division of the Molas and when we examine the Hindusthani equivalent of Sankarabharana. / ,;flt r ± A ,«£) ,*& ,«M '.A . s f c a * ! , n d Q « < f : i t f i ggf The Raga was a complete musical picture or tone-poem respi ting frpw specific modes of employing the Swara and other materials ; it was exquisitely burdened with human moods in the songs of the composers; it was abstract and grand like architecture and decorative like sclupture in forms like Alapa, Kataka and Thaya. To these tone-poems we have given specific names by which we know, recognise arid remember them. When I equate dertain northern Ragas with southern ones, I mean just the melodic similarity’1'^ identity established-by the component factors of the Raga like swara etc.;! and not any acoustical measurement of tbe tones in a laboratory, t i In so doing I only extend thp procedure adopted by ^'Pandit Bhafe- kande, who said Bagesri corresponded to Sriranjani, B h o o p to Mohanam, Yaman to Kalyani, etc. It was precisely in this way that many northern Ragas came to be adopted into the southern system and vice versa, in the course of the eeniuriesm This was how Tyaga raja and Dikshiiar enriched our system. Tbe following is a list of northern Ragas in the southern system : Vasanta, Manji, Manirangu, Huaeni, jKafi (Suddhaand Misra), Brindavani, i Darbar, ? Nayaki, Sahana, Surati, Atana, Jujawanti, Kamas, Begada, Devagandhari, Pantuvarali, Kalyani, Hamir, Saranga, Paraj,‘ Bhairava, Behag, Kanada, Jin jot k-* well known ; and Purvi, Marsi,* Malavapanehama, SO THE JOURNAL O I TIKE MADRAS MUSIC ACADEMY [(VOL* X’x Mai-gaddii, ft&mafcafi, Gauri and Mahttri—less wuSll krtwwn. If we J add TyagarajkVandDikshitar’a additions which are to be specialty studied # e £et!a total above forty. V I1 meb»usri«»K« PARTS 1-1V] SANKARABHARANA / 93 Ashtapadi ‘ Kuru Yadunandana ’ ; in the beautiful nuptial songs embodying feminine banter, etc. 2 ft* $$£>£? r \ *'-*■ >, i ■ A' *4- V- .v - ’ Vf % j ‘ • , B> •. r, t . . i ; -x /". Desya Todi was discussed by the Academy; one view favoured Suddha Ma and the other Prati Ma and a third both the Ma s ; but no conclusion was reached. In Dhanammal’s and Tirumalachari’s text both the Ma-s are employed. (Illustration by Srimatis Brinda and Mukta of the song * Kamalamba Sri ’ by Subbaroya Sastry.) Desya Todi as its name indicates is a reflex of one of the northern Todis ; it therefore employs not only both the Ma-s but also Kakaii Ni. Now why do these beautiful Ragas lose their most charming feature in present day music ? It is because of the misunderstanding of a theory that divides Ragas into two groups ; and everyone imagines that Ma 1 is untouchable for one group and Ma 2 for another. Consequently disaster has overtaken all ancient Ragas employing both the Ma-s, a few of which I have outlined above. You have now before you two alternatives as to what you should do ; either make your conception of the Suddha and Prati Ma groups, sufficiently elastic to be able to accomodate such Ragas ; or recognise the presence and coincidence of the two Ma-s in these and similar Rasas as Pundit Subbarama Dikshitar does. This is a tacit admission that these Ragas are much older than the melakarta scheme. After this lengthy but necessary preface, we shall discuss Sankarabharana now. Sankarabharana Sarngadeva calls this a ‘ Prakprasiddha Desi Raga ’; by ‘ Desi he explains that certain Grama Ragas had the apellation * Desi ’. Sankarabharana was therefore a Grama Raga. By calling it well known in the past, all that Sarngadeva meant was that in Kashmir where he was born and in Devagiri area where he lived in early 13th Century Sankarabharana was not well known though in other parts of the country and at other times, it was well known. : I By this verse Sarngadeva means that the alapa started with Ma-thus-Ma Ga Ma Pa Dha- Ni Pa Dha Ni Sa ; and that the mandra sanchara with muted and half muted nuances of sound as the voice IS 94 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXI swelled and ebbed in slow and fast tempo, with month closed or half closed (Mandraswaramudritah) was characteristic ; the term Chaya ,or * Kaku ’ meant an inflectipn,, modulation or stress and was of six different kinds : , (1) relating to swara it meant an illusive extension of a note to its higher or lower neighbour, pushing it to its Very limits short of touching the other note, so that Ni resembled Sa and Sa resembled Ni. (2), relating to Raga, it. meant faithfulness to the Grama raga from which Sankarabharana was derived. (3) relating to other Ragas it meant fugitive recollections or suggestions of other Ragas thus: a touch of Bilahari in Ga Pa Dha Sa Ni Sa t)ha Pa Ma Ga Ri in Sankarabharana ; or a touch of Yadukulakambho ji in Ri Pa Dba Pa Ma Ga Ga Ma Ga Ri Sa N i—or a touch of Kedara in Sa Ri Ga S a; or a touch of Saranga in Sa Dda P a ; all which meant that the prayogas were common. The real significance is that, like Sandal which enriched its bouquet by fragrance culled from almost every flower, Sankarabharana whose beauty was of an intricate kind, retained its individuality though other Ragas hovered around as a vague and intangible presence. (4) relating to voices, it meant the J Raga developed subtle new forma on the diverse timbres of male and female voices, (5) relating to instruments, it meant subtle new effects and forms the Raga assumed on different instruments on account of their diverse timbre and idiom : thus with an excess of Spburitas on the flute, with Gamakas and Sphuritas well balanced od the Nagaswara and with an excess of Gamakas on the Vina. ("6' relating to provinces, it meant differences in style and intonation, such as Kannada, Andhra and Kearala; it perhaps also meant the great Desi equivalent of Sankarabharana—the Raga Gauda Sarang. There was aJso the freer Desi manner of singing the old ragas—(it used to be said that Konerirajapuram Vaidyanatha Iyer’s Todi was Desi.) Of these various Chayas, some may be common to all the Ragas, but the Swara, Raga and Anyaraga Chayas, might have specially applied to Sankarabharana Bhavabhatta prescribes the Mudrita Gamaka not only to the Mandra but to all the registers ; Ahobala prescribes the Gamakas Kampita and Dalu, to which I shall refer later. Here are two sutras as 1 would call them from two ancient compositions, epitomising the Raga: 1. Ma Ga Ma Pa Dha Ni Sa. 2. Ma Ga Ri Sa Ni Sa Pa Dha Ni i Sa Ri, Ma Ga Ri Sa. Ahobala : Sa Ni Ma Pa Ma Ga Ri Sa. Tnlaja from the prelude of an 61d alapa : Sa Sa Ni Sa Dha Pa Ma Ga Ri Ga Ma Pa, Dhtf Ni p a r t s i -iv ] SANKARABHARANA 95 Sa Ni Dha, Ga Ga Ri Sa Sa Ri Sa Ni Dha Ni Sa. From Eduppu : Ni Ni Dha Ni Sa Ni Pa, Dha Pa Ga Pa Dha Sa Ni Sa Dha-Dha Ma Ga Ri Sa. From Sanchari: Sa Ni Pa Ma Ri Ga Ma Ri Sa-Sa Sa Dha Pa Ma Ga Ri Sa. Here are a few ornamental phrases selected from the songs of Tyagaraja, Dikshitar and others, which recur so often that they may be said to embody the vocabulary and idiom of the Raga : Ga Sa-Sa Dha Pa- Sa Dha Pa-Ga Dha Pa-Ri Dha Pa-Ma Dha Pa- Ri Ni- Sa Dha- Ni Pa- Dha Ma Pa Ga Ma Ri Ga Sa-Pa Sa and Sa Pa (in Aksharanurakte Avidya of the song Dakshinamurte)-Pa Ri-Ni Ri- Dha Ga Ri-Dha Ma Dha Ni Ri Ni Pa- Ri Ga Ma Dha Pa Ga Ri Sa- Ma Ni Dha Pa- Ma Sa-Ni Sa Dha (Vrishavaha of AkshayalingaJ-Ma Pa Dha Ni Sa (fast in Jaganmohana of Akshayafinga and Neepadam- bujamule of Sarojadalanetri)-Ga Ma Ri-Sa Ma Ga Ma-Ga Pa Ga Ma Ri Ga-Ga Ri Ma Ga Sa-Ma Ri Sa Ni-Pa Ga Ri Sa Ni-Ri Pa Ma Ga Ri Ga-Ga Ma Ri Pa Ga Ri Sa-Ri Pa-Pa Ri-Ga Sa Ri Ga Ma Pa- Pa Ga Ma Pa Dha Ni- Ni Pa Dha Ni Sa-Ga Ri Ma Ri Ga Ri Ma Pa Ga- Ma Ri Ga Pa Ma Pa Dha Ni Sa-Sa Pa Dha Ma Ga-Sa Dha Ni Pa Dha Ma Pa-Ma Ri Ga Ri Sa-Ri Ni Dha Ni Dha Pa-Pa Ga Ri Ga Ri Sa-Ma Pa Dha Ni Pa Ma Ga-Pa Dha Ni Dha Pa-Pa Ma Pa Ga Ma Ri Sa Ni-Ma Dha Dha Sa Ni Pa-Dha Pa Ga Ri Ni Sa Ga Ri Sa-Sa Sa-Pa Ma Ga Ri Sa etc. With these we shall make up a few phrases ending on specific notes (e.g.) Ri, Dha Ni Sa Ri-Sa Ri Ga Ri-Ri Ga Ri Ga Ri-Sa Ri Sa Ga Ei-Ma Ga Ri Ga Sa Ri-Ri Ga Ma Ma Ga Ri-Sa Ma Ga Ri Sa Dha Pa Ma Ga Ri-Sa Sa Ga Ri-Sa Ri Ri etc. Ga : Sa Dha Pa Ma Ga-Dha Pa Dha Pa Ma Ga- Dha Pa Pa Ma Ma Ga-Ga Ri Ma Ga Ga-Ma Pa Ga Ma Ri Ga-Ma Ga Ma Pa Ga Ma Ri Ga- Pa Ga Ma Ri Ga-Pa Ma Pa Ga Ma Ri Ga- Sa Ga Ri Ma Ga Pa Ma Dha Pa Ma Ga- Ma Dha Pa- Ma Ga- Ga Dha Pa Ma Ga- Ga Ri Pa Ma Ga- Ma Ga Ri Sa Ma Ga- Pa Ma Pa Ma Ma Ga Ga etc. In the same way we could improvise combinations ending on Ma, Pa, Dha, Ni and Sa all of which would constitute; the Raga angas—the basic vocabulary and idiom. With these we shall attempt something like sentences, with a beginning, middle and an end thus: Ma Ga Ma Pa Dha which initiates, but is inconclusive-—Sa Dha Ni Pa Ma Ga Ma whicb brings in a new qualifying clause and Ma Pa Dha Ni Sa which concludes; then more involved combinations like Sa Ma Ma Ga, Ma Pa Ga Ma Ri Ga—Ma P a ; and longer sentences etc. A whole Varna is made up of just two sentences thus: 96 THE JOURNAL OF *HE MADRAS MUSIC ACADEMY [VOL. XXI Pa Ma Ga Ri Ga, Ma Dha Pa Ma Ga Ri Sa Ni Sa Pa Ma Ga Ri Sa Ni, Sa Ma Ga Ma Pa Pa (Pa Ma Ga) Ma Pa Dha Ni Sa Sa, Ni Sa Ga Ri Sa Ni Dha Ni Sa Sa Sa Ni Dha Pa Dha Ni, Sa Dha Pa Ma Ga Ri Sa (Ni) All this is helpful in understanding the Raga and later in forms like Alapa. It may be noted in passing that Kaisiki Nishada finds occasional but emphatic employment in dance varnas in the Raga. Sthayavaghas are stylised swara passages in a gamaka setting. Of these Daln mentioned by Ahobala is the interplay of light and shade in which the gamaka glistens for a brief instant followed by the note as a faint shadow and known as Dal tan in the north. The classic examples for this are those occurring in * Ananda ’ of ‘ Aparokshani- tyabodhananda’ of Sri Dakshinamurte, also in ‘Sachitananda’ ocurring earlier and in such passages like Sa Ni (Sa) Dha (Ni) Pa Ma (Pa) Ga (Ma) Ri (Ga) Sa. Dikshitar uses this as a motive of rapture or ecstacy. This Dalu is an essential component of the Raga Sankara bharana. A series of similar prayogas sung with delicacy thus: Ga (ma) Ma (pa) Pa (ma) Ma (ga) or Ga (Ma) Ma (Pa) Pa (Dha) Dha (Ni)—Ri (Ga) Ga (ma) Ma (Pa) Pa (Dha)—Ga (Ma) Ma (pa) Ma (Ga) Ma (Pa)—is a motive of grace called Lavani and would be very appropriate in dainty graceful descriptions. These very units in patterns of three—Ni (ri) Ni—Ri (Ga) Ri—Ga (Ma) Ga—Ma (Dha) Pa—Ga Ri Sa following the billow like Sa Sa Ga, Ri Ma, Ga Pa, Ma Ga of Swraragasudha, would be the Tarangita. Bhairavi provides classic examples of the movement of water in a pot: Pa (Dha) Ma (Pa) Ga (ma) Ri (ea) - Pa Pa (Dha) Ma M (pa) Ga Ga (ma) Ri Ri (Ga)—Pa (Dha) Pa (Dha) Ma (Pa) Ma (pa) Ga (Ma) Ga (ma) Ri (ga) Ri (ga) and in threes Pa (Dba) Pa (dha) Pa (dha), Ma (pa) Ma (pa) Ma (p), Ga (ma) Ga (m) Ga (ma), Ri (ga) Ri (ga) Ri (ga) and in aroha Ma (pa) Ma (pa) Pa (dha) Pa (dha) etc. Sancharas employing Ma and Pa, are a special feature of Sankarabharana and provide a motive of appeal in ‘ Karunakari Kambukanthi’ ‘Dhinabandhu’ ‘Badari’ etc., and one of tearful ecstacy in the Tamil song describing Sita when she saw the anguliya. Sankarabharana is the proper medium for expressing such great joy and sorrow. The usage Pa Ri or Dha Ri or Dba Ga Ri would be a motive of command as in ‘Dasaratha’ while the swara structure of ‘Pala’ would be one of endearment. The continuous downward scaling of ‘Sa Ri Ni Sa Dha Ni Sa Pa Dha Ni Sa Dha Pa Ma Pa Dha Ma Pa Ga Ma Pa Ri Ga Ma Sa Ri Ga Ma Pa Dha Ni Sa’ would be Namanam and the PABTS 1-.W] SANKARABHARANA 97 upward scaling of * Dakshasikshana ’ would illustrate ullasitam as well as aksharadambara. Silence and weight are denoted by a gravita tion to Mandra Pa as in ‘Entabhara* and ‘Sadamauna’ ; graceful move ment in the pattern of ‘samaja’; the Ga-ma Ga-ma of Enduku would resemble the throb of the Damaru. And so on. I would just stress this point here, that there is little straight movement and that the Raga is all twists and bends and gaps and full of stylised decorations; and to call this the diatonic major scale, is to miss its rich epic content. Alapa This was really a kind of tonal architecture made up of tbe above materials in a design of heavenly length ; it was not unlike the epic flight of a great bird in three or four directions and courses. It may be likened to the sonata in that it had at least four distinct and con trasted movements, each with its own prelude and conclusion ; if one movement was forceful and manly, another was dainty and feminine; if one was slow, another was fast; in the middle it digressed to work in tbe chief notes of the Raga, as though they were gems, in a series of regulated passages called Sthayis—as the central theme in one kind and end theme in another. After this episodic digression, arrived the final movement and conclusion with sometimes a brief Tana passage thrown in. See the skeleton strucure indicated below ; 1st. Ayattam : From middle Ma to middle Ri, rise up to Tara Ma singing variegated sentences, pause on Tara Sa—this was the prelude. • *“ — * \7L »; 1st Ragavardhani or Eduppu: From Tara Ri to Tara Dha down to middle Sa, then up to Tara Sa. Eduppumuktayi or Vidari: From Tara Ni to Madhya Ri, then to Tara Ma pausing on Tara Sa. ■'» m ii\ & d(\ 2nd Ragavardhani ; From Tara Pa to Tara Dha, then to middle Sa. / 2nd Vidari: From Tara Sa to middle Ri, then up to Tara Ma, ending on Tara Sa. t Tara Sa Sthayi: i From Tara Sa to Tara Dha up and down singing 12 separate sancharas with the six swaras as central theme one after the other with a beautiful evasion of the higher note in aroha and the lower note in avaroha. iU Then Pa, Ri and Ga Sthayis, with swaras as end theme, i (Then final muktayi. K s« v d •, 98 THE JOURNAL OF^ THE MADRAS MUSIC ACADEMY [VOL. XXI -aii ^ ata^a was a^apa in tana stylo ; the Thaya was brief scttfptu- rusque fragment titfe an ornamental pillar or lotus. a* ni sa u 1 aibaaM of noiJ ihi.io7' u'Aiji- si; to afti-aP Gauda Sarang j(> c,,j, n The northern analogue of vSankarabharana was the Gauda variety of Suddha Sarang, Sarngadeva’S definition of tbe Gauda tiy pe is this : :na: 0© ?srr?r^ ^crr f.rirq; n m : l ^Fjckwtrf || Kallinatha explains that in this type of RagaS, th© swaras were densely ranged and were rich with appropriate gamakas in the three registers and had a continuous movement in all registers without being s'egmented and was specially beautiful on account of a grace called5 ,Jotiati’. Thfe was vowelising with the syllables Ha and Ou in Mandra" register by planting chin on chest and with effort generating a soft and attenuated sound, with K&iUpita Gamaka and fast. The Mudrita gamaka of which we spoke conveys a similar sense. You may take it that all ragas with Gaula as part of their names have this mandra sanchara^-Gaula, Kedaragaula, Narayana* gaula, Ritigaula etc, (Illustrations of Gauda Sarang.) odi aisSaneharas : Sa Ri Sa Ga Ri Ma Ga Sa Ri Sa Ga Ri Ma Ga Pa Ma2 Dha Pa Ni Dha Sa Sa Dha Ni Pa Dha Ma Pa Ga Ma Ri Ma Ga Pa Ri Sa. Sa Ri Ma Ga-Pa Ma2 Pa Dha Pa Ma Ga Ri Ga Ri Ma Ga, Pa Dha Dha Ma2 Pa, Ni Dha Ma2 Pa, Dha Pa Ma Ga Ri Ga Ri Ma Ga, Pa Ri Sa also; Pa Pa Sa-Pa Ni Dha Ni Sa-Ma Ga Pa Sa- Ma Pa Ni Sa Ri Sa-Ma Dha Pa Ri Sa-Dha Pa Ma Ga-Sa Dha Pa Ma Ga-Ma Pa Dha Ni Sa (fast) Dha Pa Ma Ga-Sa Pa Ma Ga-Ma Pa Sa Pa Ma Ga- Pa Ni Dha Sa-Nr Dha Ni Pa Ma Ga-Ga Ma Ga Pa-Ni Ma Dha Pa Ma Ga etc. f' no gaibuo Mandra Sanchara is characteristic ; the prati ma is ornamental, being the oscillating ma Of Sankarabharana stylised, as explained earlier. All textual authorities assign it to melas with the notes of Sankarabharana. Mulabaksh actually calls it Sankarabharana. no:! (Illustration of resemblances and common sancharas. Illustration of ‘ Manavyalakinchara ’ by Srimatis Brinda and Mukta,} The FABT3 I-IV ] TEXTUAL TRADITION 99 meaning of the song is: “ Won’t he listen to my secret desire ji entangled as I am in the jungle of Karmakanda and Samsara, won’t he, the ideal man, save me even as he saved the rish ist” The Raga has been given two names—Nalinakanti and Sambhu- kriya. Not only was Tyagaraja’s message secret, but also his Raga which was Gaudasarang which the saint had possibly heard from the Maratha Sadhus of Tanjore. I had talked about ghost ragas originating from the errors of scribes and printers. Nalinakanti and Sambhukriya would be first ghosts to be exorcised. AH along about the ag)atomy of Sankarabharana. Did it have a transcendental significance ? According to Somanatha, the Raga was Siva himself donning red silk, ashes on forehead and lotus garlands round the neck. He who chose the sacred peepul among trees and the Sama among Vedas was said to have chosen Sankarabharana among Ragas, to reveal himself. India has forgotten more music than other countries have created. The melodies of human composers like Jayadeva and Purandara have passed out of racial memory and are entombed in the silence of oblivion. But Sankarabharana, famous before Sarngadeva’s age (13th century), stands athwart the centuries, time less and eternal like the Himalaya or the Sanskrit language. I am sure you will all agree with Pundit Subbarama Dikshitar that according to the elders, Sankarabharana was the greatest among Ragife. fiumT edt i« ango? ni 1 ■■■.>. * v J A r 'k&iii ni ftfrf ftt rf et \r *.-» 4w*tv**'ir 4 ♦' - -t i i ••*£* -nYt CARNATIC RAGAS AND THE TEXTUAL TRADITION* W t Oii-J rj<;f! ant;--' ‘Wfr £»»« »*' Srbri : : H o Sri K. V. Ramachandran The Jatis df Bharata wefe what we might consider the ancient archtypes of RagaS. The general impression that they were primitive and crude and bound by too many rules is incorrect; they repre sented the last word in sophisticated artistry and gave shape to unearthly types of beauty in sound ; the vitality and magic of some of our great Ragas and we may presume that of the ancient Grama and-Bhasha Ragas, were in no small measure due to these. From them arose in.the first cycle the Grama,Ragas classified as Suddha, Bhinna and Gauda, etc., opt of which a few named Kaisikas were * Lecture delivered at the Madras Music Academy, on 16-9-50. ' ( r: 100 THE JOURNAL OF THE MADRAS MUSIC ACADEMY {VOL. XXI set apart for intoning the Ramayana. From tbe Grama Ragas arose the Bhasha, Vibbasha and Antarabhasba named according to the degree of their resemblance to and chronological distance from the Grama Ragas. It was from the Grama and Bhasha ragas that Sambandhamurti and Sundaramurti chose musical settings for their hymns. Still later the Ragas came to be grouped as Raganga, Bha- shanga, Upanga and Kriyanga, all of which reflected the ancient Grama Ragas and Bhashas in greater or smaller measure; the Kriyanga was said to be emotionally expressive in a special way. Out of the Ragas listed by Sarngadeva (1210-1247 A.D.) some are yet to be found in the northern systems and others in the southern. An interpretation of Sarngadeva involves the collation of materials from all parts of India, and greater India and a lot of thinking and comparing; but he could be interpreted and made to yield valuable data. I had referred yesterday to Ramamatya (1550) who lived in Vijayanagar a few years before the battle of Talikota, Kallinatha who lived in the same area a little later, Pundarika Vitthala of th e ' 16th Century who lived in north Kamatak and southern Maharashtra, Somanatha who lived in the Godavary area earlier in the same ceutury and Ahobala of Hyderabad who lived in the early 17th century. Living as they did in the northern fringe of southern India and a bilingual and bimusical areas, these southern writers have des cribed some northern Ragas also. Govinda Dikshita, Venkatamakhi, Sahaji and Tulajaji lived in Tanjore in the I7th and 18th Centuries and theirs is a record of Ragas in vogue in the Tamil area. What makes the testimony of these writers more valuable is that they were actual persons who lived in different areas and periods and their accounts are authentic contemporary descriptions of Ragas. Very often they disagree, but such divergences follow from the fact that they belonged to different places and times. Herewith a few examples to illustrate the utility of their accounts. I. Sarngadeva mentions a few Ragas under the name Rama- kriya ; of these Natyaramkriya is represented by our Nadaramakriya aud Ramkali of the north ; Bahuliramkriya by a Vibhas in the north and a Ramakali in the south in which Bubbarama Dikshitar has a song; Chindaramakriya by Sindhuramakriya described by Sahaji, Tulajaji and Subbarama Dikshitar ; there is also a Suddharamakriya described by most writers. . . , .t oi 5 , ... . *■" 2. When Lochanakavi of the I4th Century refers to the Raga Desakshi of the Ashtapadi beginning ‘ Stanavinihitamapi ’ which was absent in his age and place we get additional light that though to-day lJfrRm?J£V>rM5[(IA0A OIt»K \TEfA O A m JW TI<9» JAStJIOOl. HHT m i idiat pM M ci^p'N hA«^«di)haBia>se BiiMmMa Mtfm*m&ueima&tt ©tojfc>|&H*iitHRiiHp4*8^c1’^ * & W .B1 nmmrrKT j aaroaff. *' nPipE f s a S v S r .r » tiai8‘!,e,;,.j t e nfi5 «,i..».,d ».. mWfA&afiwtm i widwltn® vkribwMift v«f(the 9 p M - * I7J^^ * # a e M o r fa fcelpftihijv a SS^^fieWfcyb^fWv RWfi (PhWNS**)*v ^imFarabfciamd qhayataf^ugin^£$ftrefe9ggfH ^uby jt^^tufttitoadttiwn, Iwrtrrfomtfcfe nine ( ) tb ^ |f?^uWeny i s ^ o y ^ >| r,^ a g ^ ifollo^>»^b(y owf muakiiaiw Clfay&Mm-Wk**tuHhatfe ¥ Wffcft) r*h*f «*• tdistci* QhittinRahu .Naidu 'm w bP $ W i An^labhairartdd jfrflgemtuoe U to v to fm .sfcfcamMab. $ eY ft^^FfeM >« faSlHfJr! •fltfcwfcybobut nofci the nine °*tjhfp .% J jjS $ ^ uF M I ttliod B ^ m S h a d ja and ttbiorm §Oko»H^mm W ^ ari^ ^ ^ aH^|8^ 5l^ Je^ ifV^ B ^ QN*WwWl* ©wffca* j£Q2 THE JO CRN A L OF THE MADRAS MFSIC ACADEMY ' fY O H -H 'X l panehawaiaw recognised birt not Purna GMJdh&rvPurna Nishadam, Poor»» JbftQta «btriS uddha Dhanyaai; Suddha 1 >es!r Suddha Saveri and Suddha Vasanta are real Ragas described byQb«te*tualatibho- rities but not the forty and odd- nan^sbegiwipgARtfcbiSuddfca-Suddha dingla, Suddha Navaneetam^dwW^ Nsebwnb&f?, ^uddt#^ttian^ii>i Suddha Madhyamam, »a»es teginwipg with Kaeafit* only one is genuine-VaaaqfetyWWt ,Tfa rnqstfuH nyjnftTOegi^W aaUagas-NavM ^h^^^kha^^^ir^y^^tT^riya, .Nasikahhushani, Dehali, Abhiru. K a lg a d ^ .^ ^ .^ a d ^ ,^ . , is the process by w h i ^ , ^ ^ ^ ^ ^ thousand ragas. Unfortunately this is exactly the.list of Mela and W tie ^ ^ “feols, ficoWegest, universities andds tftk j>rbftksl6ttiii ifididcia hs andkdl^f)'o«eY^.'8 ' ‘ 'T 7 adi afab oi noiiiaoq a m m & aw trotiiaoqiaoo- berm s! 'Wi in sort bos .^ 4 d lr «»fe«w^ihay#<4)bifdtr- Singalaeba^i t4^ ,first,editd*- ^ '^jiagaraja’s:aoogti about* U880,.forty y w ^ ftfter i ^ 5 fa 3 W g f/d' t^e ^prnprs^ivwhQ; afe* to** fpnthe,names of 4 p ^ y a !rR^ga^ gay^h* hte first pubheafcidn thus* ^ntanerchir^^a8.wat|jy^noi^;MKld^t>la.Hhr,iksiinbodU'I)atid« mupettunura-Purnaebandrika; Nagttaiontu^gfH^fftbc; Niravadhi- Dhirasankarabharaqajm ; ^Nei^uoehi-Rarl Kmrtbodii nHM«k«|e4obl> mnan- v«M>«4i«-u cvgiA U iiiU U lItl t/VVt JL %JM aVCU 111 LIt?AU W f H IO Wf UI lV ma'ni ^rb&i *%hl$A aip^ai'ently Blr. Siqgalachari dr„v —r -— Apifr a Ragas in his subsequent publications. This work rebembles the Nadi Granthas of astrology and contains t^eM&la and aroli and avaroh* of ivar three * fru rtdred Ra^bs? fMtn Wh Xflf*fbf k^'“ were expected w> ehobs* ***tPbh*y* rtfoufhP ^ P f f r o ^ ^ f ^ t f h e Sbhgs; Nothing is known about ^be hutftor. wfttfre^'-ftved4hdvWWeri?/tJtd’J8tf Raraaintya tand -oth*^ wtttathl ^ u lh b r fl^ 9I^ha f J&T0 'Jf/tv ] Y M 3 (J A O A OI r n®X'W8M» TRAHnCTMN iAKaUOt HHT ifilj su g g e st he following ehife to locate stu tS me d ThelRagw BfeR a g* <(sakne tO‘b& adopfed iabhk ©*rriat?ic ays*em intihGix&t (garter oftbc itffch eenfcwry'i the first songs-being the Javali of Bbairiniapurri Shbhapoyar beginning ‘indnmukhi’ and ibneiiir twoby GnpatakriehniL Bhatati-^Ml ^within iK#^^fiaie P'AHTSiJ-fljv] YMSKIAOA aH T welhWhatJ theymeanfc. nJt mot4tn ply fcn$* ■ • v 7 ~ litat TWraiHM. QHM9tt ittFT ^iMtflFQOt snw 3|$| won m a H n v erft ■tea? til ' ef snOs? rjfft liiiibs &wim »ii4-'k) jruui&ff&H jwj$«¥ efsttia « tfo bszstd dom mo. bemaolNtee — t • J w w & p m s -fSS m s m / w s p w s r ,«,»» dtuse aeuejxid ,gni(M9in Mb aeaof brow oifo ,i§D#f 'e Botuih-i&ffO!) ■*'&x#iaa9 s ii lo ttro rrajbst jsgaH edt ‘to ftmmgm sno iar^ a t neats'! qei ° ° X ^ & m ab &di »*» gitv»9fc ¥d ltoU iffiji« 9 HiHi«fl snh«qmo?» ttf 08 agaH odt o*i neiaif eTObned} blaoife 00 Y .sJoiid odi i*« y{no jfool oj *mmtm ty m& th# mm timmmtpmMiiti# nomenclature. ( j y te 3<*ff4f4H«Pffl iJ&aUfer §Nfcr in 1931 suspected foul play with reference to the names of _ ^ ^itapavadi to „ JWln£T vd agfioe *iw# a*f vatar burst, out that our Raeas wofT j m ysn eaf .eaii 09, bit* jflsno kartas. zl am neither en-T fro ■3lrtr()j jtmaa ais JI£S&Ol?&ai i10 ov™ evgUj’jjipa 'ir5M^iiXT)lHoo .Yy1?! V u7Y rW orse; he also |uegeafeaih|kt J Nada Tamitn IssJMpfbe ^siSsk w w IfW t CTl jmar. ^ra&r f^Icas oortewrai fnonifw aeowm Jnoismb owf ei(goIai*s emae saw -iPHrnRpf nrf fif*un erft bms firfoia'/A. bna erfaoiA edf ^ to adapt the song to the theo ry . In faet the Marions Ragas now catalogued are each based cm a single Vakra Sanchara of the same Raga j tB * W a W « ' * * Tan. constitutes a Raga, the word Rg,ga loses all meaning, because each represents just one segment of tbe Raga taken out of its context. So in comparing Raga» yeuiwifihttOt be atflertfc see the dome if yon look only at the bricks. Yon should therefore listen to the Raga ahd 'co We &eltiSi&miom of |g& dk^ibtp^f^aifiti^ k'& B& m t. shwdd be>s©«* Httit^btyilidW^hb menibe& n*fcd£) .^ntsbfiemon lo aooiRQ sdJ t>t oanMalvf dli« /sij Jool b^toegsus iCGI ni }uujit.v And.it is not as if tbe present theory suits the songs pefiecTiy. iaoix^ y; ni »je tiRdraaeu?.!vr 4QHqMYiml^asERV4MR3WBnD sfifeM edit Take the songs ! Sogasu , suda: and ‘ Orajuppchu said to be in taaedaTfllUiBgmsbHL” swd b o o« idntol mflysq«)s.4» »iU ie Kannada Gaula. (Illustration of tbe two songs by Srimati B.rinda. J ftfileM ent nsdt.ianfp ifoton. w jv, hsur/I ;u5 tartt JifoJanio ia)ar rfie swaras employed are qmte.dmerent and so are the Ragas ; bow soi, iq laor}n%yrdktoq yLib ,‘ui.f ion lean art) tailJisa ' P 1, .afttoa* could both be Kannada Gaula ? , So the teachers begin to file on the m?1 aoiajafcane/ .J TT.Wl .bmpT vTC ..MgEZrailJ lo no naan Ga and > i of the first song to coincide with those of tbe second. How lo /aadbniS2AveIi dlrw BmoOTwaaTr jiaoa eof lo abaJT a rtf baiaiipo couldijae. same song, have two or, more names as in Karnataka Bihag Vtr4iirm 7s^uayg osla. ail „e^Tm OTuil J M i aw AfnTtTT and Harikambou. Mayuradhwam and Andohfca, N^linaksgnti and ^iiipnOo.srtife® $ efm yaa la JaflT^.i7T(f!ntTft~atT IrKim;mapmL p t e Jkr fpm m iw b w w the same catalogue two different names Without reference to tbe Rag^ and purely by the Aroaha and Avaroha and the mela. In Jfan^u- kainnatiilh,ra^ording to tlheot^p Bha, I Efeowtek ckeut while atethally Bha 2 ooomk m\6 f tb s •scwig return hies t EMat’edufcbwditprwham stf Kimnavali the Wbble Sanchera has to he ttltete isw nrtf jmi.finaecr ijtfa ajmqer -j. v-;> xL-ra apn^ups? 7«jq.vjrr barn editors. Then , it was transferred to Narada who was.supt m ‘m aftdejrefv « bafiipa ail « bclT, Js vjtth kISTIo MueT- *txirr«P do nave given I yagarja a book called Swararnava : there is no neea to seek this supernatural- fnierverition when the textual tradition is abie to give ps all the materials on: «*d the Hindusfehani/ dls^ariaBlfetmn dad: other tradi^n» iaith» piw^ie4^ii^P it is seriously said that Nanada was responsible foe these truncated G aulipante, yasaata’, Yarourm and I)e«yft; Tddi, ifc.(»rtainIy. ido«stt^ eeMfeofc m usioal v?isdom on this Naradafg: part /.even i a Narada. cannot icam wetpi traditions* f> A ad heie ifciis^ an exam ple o f gro«» distortion of iRagas idue to ignorance,m HeFetadithiwdir *serda of tongs reseoihh ing, Pafcham Subrainanya iAiyar’si glfihwdkalf«BB9!,/i!s*GaFbhi|)Uii% ‘ Rrnvimmsir* hfavA Tvhaaraiii'ii 1 Pr»n».n«.fch 1 Ipoor. in rurti iVnm the Maharashtrian area,/< An examination ©nthe music of that area mighi reveal other affinities: in his backgtourid, we should notforge* thwslfamitha element so nrominent at the time. aid* #od fahieiil aciiahX ,pui»T iviv'r- ■V .4 : r,n„ fviirt'nimiTn*; acam t-ii*.ttahnla imiinriiiriifl 'UiiidvilH. odT fl ) §aidiv,aa 10 hwqevvuM bdhao eoiihj ou saw oieds bsfeia ^ed< yioJu io ooktihsia o n m w t e d t hue pwiat idi ni J s d 4 o J i l ^ f «8ar8bJMj aleqpO eyvnR, iluod* ftedf etadw^iw fneuveiq «f^Bi4aiiaN Io atnphueoaeh isd i mmti Oif eeaos $utv*’H « ^ b«* sied i 4a$m I ,ppial iviO ai w oM Io egalJiv eiij oi gaivii etsw baa.io4*»oa#»ied4 wiw aat« sJeiifcii ierii am bio# y;a«lT .mod# #am • * » * jMretowq » 1 t r t M *r « » . »U- *u/i. h* fe«* ld« , . ,, , f- 2 n i4 m p f l a i d u L exf.t a s® ! to is j w u p « « a versed m .Sastras ^na m Sanskrit and Telugu literature. He was .-■/ j r •■■Ti iv'-v.'. • -.goi'iw sfasi.,,-: rau? $jes t>j tv also a rasajna.an atmatattva-yetta, a great musician ana a composer of a very hi^h Order. He was the first to show how to develop a faga in its proper sequence and to draw complete and beautiful pictures of all the rakti ragas of his days. Thus he started a new chapter in the development and progress of Carnatic music. * ^ 8idt iaea oi cwi 1 Though Kaheftrajn* occupies such safe outstanding position among Oarnatic BHMHcians, we have no* k e e n able «o far to know much about bivlife history. Bubbarama Dikshitar, the ahtter of Sangita Samara* day® Fradarsan* stated that Kshetrajna was a Telugu brahmin aed lived in Mttvv&pun. No details of this place were given. The lata j Kirtanacharya C. R. Srinivasa; Ayyangar Stated that Muwapuri was .a North Arcot. Later, Prof. P. &ambamurtht stated in his books that-Mnvvapuri was in Candragiri Taiuq, Ghittoor District. Srinivasa Ayyangar mentioned the name of tbe God,: to whom the padams were dedicated* in three differootwwya- Moov* Gopala^ Muvva Gopala and Jfdwa Gopala. Nearly twenty seven years back the late Vesuri Pra bhakara Sastry stated in an article in Rharati that Kshetrajna lived in Muvva, a village in the Divi Taluq, Krishna District but this was not taken notice of by text book writers on music. I wanted to investigate into the matter and I give below the results of my en quiry, briefly. (1) The Revenue authorities of Candragiri were approached and they stated that there was no place called Muwapuri or anything like that in the taluq and that there was no tradition or story prevalent anywhere there about Muvva Gopala padams. (2) Having come to know that the descendents of Kshetrajna were living in the village of Movva in Divi Taluq, I went there and met them. They told me that Kshetrajna was their ancestor and * Paper Read at the Academy on 80th Sep. ’50. e t rmrrsTMyj rutiUAOk oie w k u h b t h a jn m e rm jahsvoi star ill gave roe ail j account ofw bathad been coming down as tradition in thdir.fanti lyabout Eshetrajoa. hub &dd U mmv.^ >vU (3) A mile and a half from Movva is Ttbcipu^i, the Famous oenJbre ef Bbarata .Natyain ihe Andhra. The exponents of Bharata Naty* in Eucipudi also state thati Kshetrajna ■ lived in Movva and that hie padams a r e sung and tendered in abhinaya by them even todaya* ®l.qrn?d imawaslaqoD edtf ol iacw ©H .sgaifiv two aid ot a^TO'ths'pada* beghming9ilh mbfr**b rd beloaitta fnoJ **_i>P88 bne e .two weidl tmm&k gcufov erfi ind vhf md vino I W ' l " P 8 nsd“ '’88a,!“u *a demisetu-vamtaro ivela" tbe name Muvva Gapala is mentioned in the anupallavi but in. tbe W o 9 y ^ » ¥ n # , m m b i n ^ d | W N tbe m m e 88 MiVVft htrrate .a^fib wel ® *>1 fynid balgpiTta aflfntlsdeH ‘\bnim ■fivebale^ Maraktdilo nan»u-Mervva Gopaluda ”i From this it is clear bhat Muvva and Mavra are the two forms of the name of the villages bcgnadfo fonanewia eniirtb KaAsapinti aid'E «|d*ppQJ po Sta&p^j , (o) In the Village which as now called Movva there is a tempi /iflWdi&ijlniQa ant-35 feoia7*fa, 'iM.taoii a of Gotoalaswamy. I found m that temple, .engraved on the hack H a number of .^utlava Vigrahams.’ the.letters Mayva. ”fThis showi that jp tb® days*whop these idols were moulded, tbe current name at Me village was It is therefore clear that (what was once Mw eio& jMuaioa, ■, ~ ,, , poos avva has Been called Movva. And from the padam quoted above Muvva and Mavva are one and the same and hence the name W tbe village mdst have been gradually changed from Muvva mind.” Kshetrajna struggled hard for a few days, stayed Away in the temple ih meditation without food or sleep and atlastGopaladeva blessed him with His Dars&na and Kshetrajna began to compose _ v Y — soon after and visited several Kshetras and nothing more was ©iff seoaii ini# pmss &dt .bn# eso ft§ &vr*jN: fen# «vv»iM ; As already stated, J was at Muvva reeently and the decen dents of Kshetrajna gave me the following account which had been hapdftd to them by tradition. “ Tbe temple of Gopalaswami had been v?ryroJd. It was repoyatecj an^ rebuiit in tbe form in which we see it now. Between Movva and Kucipudi there was a subarb “ Sanempadu” alias ‘Sanipeta where anumber ofdeva-dasis Jived. disappeared pearly one Wdrqd,years, b *e|, M»WWT it are found underground ^ p; bevrl Btrjei Tbe original jfapa Varadayya. He was illiterate and was tending cattle. He,was a mopdha bhakta of tbe God Gopala of the village and Was frequenting the temple. He loved a youn| deva-dasi gM-some say k' milk maid-who was alW> a devotee of tbe God, She refused him, stating that be was illete- rat®. Ho then prayed tb Gopalad#va I persistently and intensely for a number «f days and all ©ft a' sudden tbe lim ne gnwse blessed him and be? broke out into SOng in padams in praise of Muvva Gopala. He became a great bhakta and wak entirely a different man. His attitudes towards ! 4»feeHyo«mg woman changed, i ®oth ______ M T B irrijy] YMSdAOA O IB U M K ftM ffcM j**T SO JAW EUOl. 3HT became bfaafcfcafc A«f/bag»® [fceiJ4ingiitctg^$ll©r^ ' fey feleam ®be:Yibage iiowtyvKfegan toayecoghJee Varadfeyyg’* 'gmtnBsdi dome tied* alter Mabadp,yy& left fdr Tanjore ami Was ldbwtf fniileri •ovnral Ksbctrae atndmrigdfe prefeeof The Wari#u« * God*;1 'Mb was called Kshetrajna. He did not return to Muvva. was known oy^pjg} *TVf,M enayon iramnibaibneq anaett " enrfef1™ thepft dia'efents te TWO,sB s^i _ r^a»i ,of country, which 1 b m ° s W niW afford cfeaf evidep' lemioJ.D fellow ., 1 afluaif l. .abm/fjlfiJ jj luffed organ b sjlsbneaen oimmfll During this peno.1 of Varada™ the.vilUjps around and p a r t i c ^ M ^ ^ n y gfetlMfrt 1m tiJ tx m learning inusic, and danein^ i n ^ e r a . among them must SSjivoqen feiM ? and alankara sast jajjaaoiT a m te m grown with 1 J4 THE JOURNAL OF TH S MAD8 A 8 MUSIC ACADEMY fVDBr. I yqara jftAfhtefedkflMWCjaiMto of.fhe gifted girls. With it ig worthwhile cotamihistftheoenieats of some of hi»ipada*i8 in the flo w in g ord«r.g ■ I giye below padttrttafter padaih and state stfcen and thfi^thoWrl intorpTat .them to) farm a eontiriumis story ntf >kw avvt/M ot m nlei ion" bib ©U .»ni*Tfeds/l belleo saw Nanne pendladusumi nayana Muvva Gdpkla ' n AaaMfMnuilMfiiknll' •! odaralarluga ; han-fa nuyffijfrffftri "’Nlahne " ,» 7 , ai airfT —aw bm trvm if !i>lrf|*<> aiH , f ■ jjdalacitioq 9tiKfMM|fcif SST no amSSS.sniauaPH^ JS) t , z A m & a Tehyanaiti cmnanade, temnci Muvva Gopala , ,fno av/oM Alaruviltuni keli nannalavatu cegina . sami ly Nanne ” ©TOWLdlQ# Jaab-eveb a JvijagotKsv a tTtiw siamiim wm. ©ii fo, ln f t ? Pada“l a youngg.rl entreats her lover to marry bgr w tf T » *!H .t t o h w * * * *% *#> » would not make an exorbitant dptp^ncj. o f,> W , ;the %£* B& 4 Varalu ’ 4-Varahalu ’—gold coins current during that period. The irttimadfes fche^ Wild i^iiie they w^elyoung^Wow she was iiivited t% hfer house, 'ho^ iA^ Wtl caressed and kissed Wy him, how he promised her life-Bartiiet Arid1ho# iSteheely they loved each other*are all detailed -0fl0 81 ^ ddi 1 baa ndm Sasig emr.e toiMBt m& Stmo-Jt ^AhSfhffg^^a-dWiM it ^BlatbMiry lo demapd of fWe Wrst (over dfA i^ifl,^hcr nof‘aghfa consklerabie amount of mopey, trailed'14* Kahirerikapit Katnam.’ A reference was made to this custom tits T infer thaf the padam, indicates what happened between Varadayya and his love when they came df age 'Beth of them determirfed to be fife-partners. But the oftbodW# sbbflty nWt fecb^tiise, *norToferafe sjucfj partnership, i tf hfe af&dp seated* 0ieir Tove might be. *yWra., &w6s ju ovgniizwtpttStm , aecoraing to vetnc rtgnts ancr Banatana Dharma. So there must have ,1 f^ otiittg^ o Tadkkislfewidl^ the state of mind* and /torment expert-. enced'by ther$ the-Suspertse and l e t ehsioh oi their p|i^W^ ^ woj|^j Taruniro nenendaka Jivamu battuka taiiyunde namma! fdm uiiJB S aF ^ iT^ *td* m i n m "WftmWill M lT f 'b“ bm>™ Enni ! ndmtffci noeina pliala miyyaka prwena? * "Pinma mokka prodrlurake polio povona.l’ ™ l»na Tinnaga mivanti punyasatula rdivena vvardha mumaa? rjdevudainaOT^garuna lhdaka poyina ?l*4!t,aru ” diiw nwoia svarf ia«m oonctniibpoB eiH betnTSBpca o « * 5 ° ) 7 H C O A 0 4 'HZ'JM g,A J A W M H H a m I I S - i m grahac&ra mifcanaina cakka Tt gakunduna f I Dinata j«ci>l yievj w«kf-yuin* difcku gaka *; ^oj*i*iaift ^ta MO bolMpd*Hbuimaia m iifk w aiam M io feuusesayak*' poyinat saw b Punf nenu jmwida jesinattf poyina 1 ted * bit* tiW£ dilw bad *ij Bebamiini Q&i ctegTol o* efdaafi %&» Tktvt-* gcKamuni to igudi nayapadi Ll«»iUo» kapnmoMi Jefena fwlt ef Panrarul&duktwid uru f Stiw m ii pagavrfririi gudihals won f ' Ramamdn Muvva Oopalaudwidw > actinia wfckti maninatv ad bim 8l«hwliitti taannetina devdda; likmaiamonarinoina ?aaw ad isrft fftafea-aasi girl »aS pining bn aaao ^A ^ tU ^'IK IU iW ffifeg' Ma "icKSviika1 t o s u n ' u r i m ? speaking oru hfeV^^iraha ’ —tier mind in aiHiotii)n-ltl.us 2?:'$j*i£ .LLsWiL j- d - itii ■ fc._ilMj.aJ SW.lAm o *’ boKlICJtLtO jabjtM ./ ous onenngs to uoas ana me niessihgs oi gooa women iree you reave » some gb'd ijp SfW "^ '^ ^ kind to me 2 Would not the pTanc^'iW a’m M f i T M cV W U kW mmj,9 jsfam^n w „ ^ lf ? witj ’s -.hi r ^ v«iu T i 3i pirn am wsvois S r a r a p a # w x n r m $ & l , ftm »n W , «n ,o m oney W few!- ™ , n. JW dall these troubles join hands with Kama—theK a m a -fh e God ft& jg of feffHLove— H and worry me endlessly ? The ignofianfc 'might gossip much but wall hi !:Godiijdia.my^'ertenHesifi(Qfe-my g^-ad-’lady b Would Mfavva Gopaks abstain from eoaamig feare iH®-day 4i Wtrald rrey kind ford rttgtec*7m®litite ihfe-i&IV hig iaefa-aveb erli to iflHWWio od1 bedkrsaeb a il j a-• j . . aipi.Wuow b-jow A lady friend who intervened on her behalf gives a vivid descrip tion of the passion* Wf( ^u«eday^a«t»v the folkywibf padara. nben afflfrtisi wmsJtio ubrdaqoD avvuM s vital) t . • r, , . yjoi.upsbsi sitftiv inscnmsi ! oiinodu riV Intiro Varadumlci nipai nenta mohame Santatambatani veta juda jalaka yindu vatccitmf ' ^‘1f^ro ” „ , , •. "5 , •»ura'rJkrtewB**»«iw« wwot imu&mm&W Cekkita ceyi cercukonenu tirunavvu navvukonenu svaliT. , j : w p K ma The meaning p f baaandfered briefljnhbMS): — Oh! my friwa^byanidftf ya h»d)been iDterf>««!y ir) ldvewithijwtfL I was qt»hte to behr tbe sight ofibfctsoiti’owgiid returned*t ffle iwoawteted whethi*fc^h*tf hed^&{iteftfh*ed^ *ould ever corn© topassi. - Bm&id that Jag was unable to forget the intimacies he had with you, and that Ifctea* nottWoHh Uviugif h%Rii(ift^jm*TyoU>!i^e was exclaiming every now and (then!' wh^sin-djd loemmiit to ikeerve drift! fchie^^fle said he v?aa tiaabie tebeamy*i»r $ep#*atio»« w W i B a s»fl $ p i » ^ mh mo ,snj2lfi(K(8 oi feaioJ t i W A f Vs’ 8 t ^ a t e ^ Jud fwoai qrosog idgiur inalon^i eifT f ^JsadfawrT u 989»m vitow T b«a arvrfW lbhg Iftst ^fttea^yya fiielieiifiiinndsjto jhaveiAiHtliiBlteBeS as his parities inllifov iWeaphfctive of »H oonsequenees. Tbefollowing padaaa described the ecstacy of the deva-dasi girl tfheri dFarajdayya aent 6iw U„M v M A odi Mnmtoivtite erfi lo noil Celiya Muvva Gopaludu eittamu ranjilla nedu ftihwiitf* Virubtmiro ! a i „ W < Maruvakumi mata manakiadartki pula , . , j„rx uaanoaqvvaa tfvv/inuu/ mie/ioBUOiei 1790 BtiiJoJ Cerukuvilluae *atn celt ^ “ Pduva mjmtes simaa is««m tmridta& •• « ib » n» VnnMnO ■Pammma Mm,Sl<^$(,#FfbaUbnnv ! ij«b*'l „ KammavillumW, unensbcbaioa B'JvbuVl * 0auri ' ot:o*u>« nmnitmhm sVnjifek &at uonqmhuvjsUSl Kaluvala.eyyepa, « ^Vm^mSSiOt m » H»»>« The deva-ds^ exprthis^s^tiisti jny «nr he^ WraidnifiiiS ^ bHe sehfeiforiiife to-day. I-'-flW te te ^and ...... w i*aonsx*3«|r] tmkctaoa osEnrtc Kmtj&tkf&ii? '*<-> a*ic*u y.ra onabeounfc *>f which the deva-dasi girl exoeitotf pthegseffdatense.tavp^iar&nt - behaviour,! l(??4#nes8 internal harmony. An exact match to Shp surrendered wholeheartedly unto him, her mind ancfhody*,, She j 9 § o e f 9oJ p j J & s y ijj , , . 1 ; a(ooq ^aifcritTciea jsaw T nonW •o nave him alone . W-, * fjfefl v*D>.f noftf« She was an aecom .cei .M9WOB To. ue?aeo a no ,1*050 o n e 59 >3 •’#&$£ m v ment- w.of tambura Jf-.-v. and she^was cn.aupuuan,ac In the arts of love.." T? lL • £JP*i and on!? era MW.smso aan aaitoom ind f Jurthertheir ideals in life were pitched nigh ana the qualities of £m«w *•* 3701 ,0 t,0» •* Innuvrfj^atra^hSAhtakfldt gnitaktiqoiq to ^nopraa edT haaBhhififj^d^ +WMgnnamhlettWA 3ter*ul*ft& ■' lot 'pMaloiaua bne a w k A aidT hna uiu&t? turuuga m THE JOURNAL OP THE MADRAS MUSIC ACADEMY [W L. X»K great bhaktas of MbVvar Gopala. sg&artfeg^aftfena* enough o f this kind of Kfeafc.MMr«j4 Hdm usthava bad tfeatdesina to travel far and wide, worship the gods enshrined in the famous temples, p£;thgrJa«4 *pd piohablj^^s^ugih hixmH#f ^qfbars Jf(MiflF*^tfesd boa dJuof , so this Jadi f»i»; berfsHqittooaB There is evidence to show that Muvva Vamdayyaentered th# i P* Tanjore presided .over; by Ragunatba -Kayak, Ip an un- o$ h Jio^o 4varf x sm ^1 .fw's sti} beqqrdgiow bne e/vu M Je -- **■-* | w & s v wtfp’tfSjfW i ?? M nhiw f rOltlhr liqinel odt tii emit erfJ Ha gnidBJibsnr noiiilrlffW&fJ's Arad ay ye T er*tpiedIiHghuqaibA!fI dprba?« nothing W > r ^ r d <**»?!* 4*fifmfhb ftffVMrfPta padam that a few years after, Kshetrayy* ( ^ g q e ^ ^ h » v f t a c q q i^ this name already) composed more than four thousand padams in the durbars of TmfflWffik1 , i# Mtfk* ,&i» ,! a l i q o - 0 avvwM aiaqajT;. Vedukato nadacukonna vitatayude . . Sdumad" t.ralinundi yendonagaid yevat'S ft. “ “ XudtAoM Wn+ya Gopaludu fcijpa|algi SaviStWdl. w : Madhdra Tirdmalendrudu •“ * gurmndamani yenniS-a yimmanene “ °'"d* •B“ e,)*d Yfdrigo renduvela padamujipudencukommanina '! M Gad.m, nddane Wanna akiaiki aantosa minfltrta giM 1 ^ ed a k a 1" Alimira Tanjapuri- nelakonna Vijaya Eaghavnnl f»« VelayB mantj^tdA vemb&di ^gSm e podaganer ' bnj Calnva c&pparamuna ntmdaga cakkaga veyipadamulir00 « orfvT lJ>Tllb*j*ad» dinam ula k>nantw f ufealisi vinipiaden© v a fhViedbka M ^ ' From thiA ftfschartbat Kshctrayya composed aft tlie rCqtidst of fchdtltffce flhrbki-s the’following tmmber of pidams. “ ** bw*9*1 v ‘T f^ M oC period number of padams .•H .0 e.tet e»i «jt« mHm» wm ajrdjyeoiton -saw siriT .-mama# m t e s tirumala ’ 1«SM» 2,0$*' Tapjpre Vijayaragha™ e“ “ I,Of* Qblkgnda Padhusha Abdulla V ’’”' “ * Smln9u^ Kutubsha 1622-72 l.SOO in 46 davi ec n w 9on«tem w a .atHJtbs*? oatoadha* iOaor* ou at eiqaiar®n.T Total -? 4,500 i w>IkA frit bedsjnS *|i}“^bJsf«y hyafcfSfirS onO w m m ’r t M ■ H 'S ? # d A w though the grace of Wucva Gopala : Composing 1,600 ; R^pp? in 40 .d ,,aw « .» extrordmary feat anilonly mdieate^hat Kshetr.pL ft] Dt J&j^'U'V'Vdr (jOLi*iw wuu uyu i^i.u>iaiw/ v* ▼ n*d smmimzs mm T&af % o t F ms princes w^* bnT ^0[ bebnifocfnn bftjs bismdsiool&B aid o i Moded ad nod w titni trio at ed4l*NW eJlm^W Mbdl#lp4 in this eanneotion that &afceirayya, comp<^ed )a,>few, songs on Vijaysrsghaya and,, few -erstillanione Tupakula lyrisna., pechaps a,sirdar under the.Golkoftda Nawab. From the date^giyen a£pve I^ h p tr^ ji .f^p^d^Q ^ave first entered Tanjore Durbar somewhere about 1&30 A.D., in the last days of the reign o f Raghunadha kayak. He must have been therefore hpp abwfeiibft b©gjpE<*iig ot^hetsevseoteehth c^iftuigrifi leiltedW padams collected and print SlM .^h^trayiy«.y^it#rt ^igbhe^.sacredehranira. Hmobmposed padftW 9P e^ch 9iiY|h^g9d^tb9 ttumberof padams generally varying thp mtmebtfgth* :/pfwt*giilMbg«f /isimsri* tipnff}; W& pafjan^shetrayy^ identified the,god with; Mu wvwCktpala anfi thus retained th®. Muvva Gopala mudra invariably.’cow }89Ts,tai bru Among thc sac^d pkccfe *Mted‘fe? ‘KshetrWyyafwCrC"Varahti£ Gidamba^afe, KadapA, Kahc/^;HCmhdri ^du^^;PMl^ik;^in^hikltt; iwavan«r( #irstifeMn’, m d m ti , ; '&&& few other unidentified places. lith r OT*.li|yr c , nola’isv -J'i.'.• :iT * »«fo t m * w w p i * aspects that .ffalasimurtt may be UMlakamarfci, i as there was a pada composer at the NawablifMtotorb'^y ' natad ‘ ■ GhSfafcamSttf Gurijala Rangasayin. 122 THE JOURNAL OF TH® MADRAS MUSIC ACADEMY' XEI *' *af A scrutiny of the number of padams Composed o» -each *bf the god* of these sacred places bringsout a very significant fac^viz, that whereas the number of compositions on any gpd did not those composed on Varadarajaswami of Kanci were moyefban fifteen in number. This was noticed by a few critics like tbe late C. R. Srinivasa Ayyengar but they left fcjae fact there ajad wejely f©j$gf}$$$ that Kshetrayya was partial to K^pci Varada. 'that Kshetrayya was frequenting Kanci and was very much attached to the god and that he was sometimes spending *11 tbe night in contemplana^iop inside the temple is no doubt indicatecflby tradition. For instance there is the following story. v One night, the Pujaris of Varadaraja finished the usual worship, brought the Goddess from her chamber below, into tbe chamber of tbe God Varadaraja, sang the traditional songs, put them in bed, locked ithb chamboi* and left the temple. They did not potice that Kshetrayya was inside the temple in contemplation and that he was locked in. Kshetrayya was in a great reverie over the mystical significance of the meeting of the Father and the Mother of tbe Universe and all that ft Suggested. He woke up from that rare* expl&kence early in ^ morning, when he beheld to his astonishment and unbounded joy, Divine Mother in human form coming out of the bed chamber of the Lordand Kshetray^a inamediatelyfburst' forth into torig describing his extraordinary vision. The finft two lines of the padam are rsi~ ! * £ w i n g tiw i a g a i^ y! i avnbdwd Vr i j ir • v' i * ii I inti OTojns” fm sifle 3 ^ ., 1 agakada raa Va^?M®lr®panucu *« u Whether this *storyis true oP ftOt rematoed that Kshetrayya dedicated rather a large numbe^ p ^ p a d ^ V*i;adaraj* and that he did not do so in the case of any qthqr .god. 4 MiJiinq t>a* bsioeilon 8m *b*q*r9irfYffO'Pr b98o A» I /w«y thaikmg Witbiri my mind ibfc j^bahle reasdn IftM fact it struck me that bis name Was Vatadbyyafthe same as that of Kanci Varadarajaswamyj and that I might serutinise the padatns which were dedicated to that diety arid find Out - if anything of interest would" emerge; «Ii wrote» dowh Alf sbch paedhtws f bpimJsfy* r^*d them pptt and swrrfngefli them m iskfi* erd*r of sequence and fqun^ that they gave * contiguous ,Mgry. pf /th* life of Ksbetrayy* narrating the events just before and after bin leaving Muyya. avTW» ‘ '• ^ *" 1 >St ’ ~ *** .B'joelq beSiJnebinn *radio wef ♦There is another version of this story connecting thi§ padam ,with Vijiaraghava Nayaka’s queen, whom Kshetrayya happened to see while she w«» comi*g.'Oub,of:.heche4 nhftmber.;. fe:t»5 sdi- to wao$BX#a ahfeq « m v eaarf# FAETS T‘iv] YMaaADA KSHETKAJN& 123 formed a continuation of the story of his life at Muvva which I have already narrated. < ifUMaimUod It must be borne in mind that these padams were meant to be lakshyas or examples of the types of Nayakistrtentioned in elankari stssiraai Hhe aiowed object of Kshetrayya? was to illustrate in padhmaMtie varioiia lakshanas of nayakis, dutk, sakhiS and nayakas given by Bhanudatta in his Rasamanjari. So theilife story haye.to.be- drawn.o^ $ft the padams .in an indirect way. only as a suggestion sometimes cleared-son^tW * t&dt gniyae 7 you desire seems to fee ifeVer satisfied. Oh KanciVarada! how can you start to-night t» si oh-i? «i; itollol ii*dT *!*> tfM n h J a »d . (4) Varadayya left Muvva and in the following padam his beloved narrates to her maid the parting scene. ' Enni talacu konduna mma et I * marapu vaccu ram m a! ,> s )aa€ Kannero! cakfeani na devudaina Kanci Varaduni gupamulu “ Enni ” ad j Mannana eesi yeppatikrdaya mam va vaddani ^driinul&rittteu Tinnaga nuriki botmcu rianne tirigi tirigi cueina vaga I VWI&blrudu Gbpaludagu Kanci Varadujdu cesina maccika m lutfiyyeb ode? to etuetffcfej .fal tftftaPl.. gtttw iaa««ni aid begnag eyad &?o/ .bid \ " ‘‘ How pan I fptgetthe many acts of love^ustures and kindnesses shown by my lord Kanci Varada ? While he was just starting out on his jourpe|, he touched my feet, asked me pever to forget our love, and was looking at me till I was out of sight. avoitisshi) evtii Aetuav wuaa epoi * Softhearted had no mind to leave me. He over whelmed me with his loving glances ^ he pressed his eyes on ;my heart and could hardly lift up his face. My lord Kanci Varadat gently touched, . . ,me , and finally addressed dw w w r me aw4e« thus "Oh » ‘ girl! : you are still young aftd yo\i fi&ay not be able to bear this;sepajgfjaptake heart.” Aun>j5£u:ifM ¥ oil! f>m _av miio'f euojlof odt add kffrt -<1 (5) The following padam describes the feelings of his mfeftea? after Varadayya left Muvva. ‘ .»» < r* j . mw tm% ftsstjno ©t jus beaa* m .w a w ia o ^ r , ■ Eccota nunnado celiya vademanucunnado ? ri w tewrr Viccala vidiganu verapintaina lekad gm soltoi ® Mucofta laductt Muvva Gopa|udu t -f* Eccota ” me In fennb.mma mloq Hnoi > *.*— / Balaro 1 Muvva GopalUdaina V a& M * ««*«' *« Eccota ” ahaiaV ionaJI elhiw Mfcnoi yna #19% varadayya s beldved was love-striken and narrates to her maid ^ iy»riqu& Ifttfeiacts of love and affection that formed the fcnitfne of ,' 0h TO !!&W whefe *S Varadudu is aud what he is thinking of! ’ Then follow the various details pf acts of love and affection. bevofwi s?iv ■' ' froffoil< ft nr beta *yv«M fief «7/abai«/' (t) (6) Some time after Varadayya had left Muvva information about him was probably obtained by his mistress. She may have sent a confident to him and the messenger may have returned with some information. / / ? > la tna > ,, In tbe following padam the mistress seems to greet eagerly the messenger. Kanei Varadunito pondu Kaddo ledo t Vancana Muvva Gopalu Vafadudaina cakkanl K ' “ Kanci ” Nivu daeaka telpare nilaveni allavani Bhavamu jucepatla pati yainatlu mati docine f )M Kanci’’ . . . ill _ “ Oh maid ! please let me know without holding any facts, whether I can or not have tbe pleasure of meeting the deceitful Varada my beautiful lord. You must have gauged his manner well, please let me khow whether it struck you that he would continue to be my love15.jii.jfl*. j«ai tV9 I hn$M hwl nwoife (7) The following padam gives the reply of the maid. \°l ***** Vaooe manaso K&ni manaso vanita nive telusukove Atcata Kanci Varadudadina mataiidigo etc., ®he gist of the padam is th is: 9m bamst&tmr “ I repeat to you the words which Kanci Varada spoke to me ISj^ei^JYdu better inform them yourself, whether he was of a mind M|o’i ,pW nirJ,9UoiW v ' " ''.jimd I showed him the tokens you gave me? the wedding ring and the love-letter he Wrote to yoti. He saw them, his eyes were wet and he was very much disturbed. Finally he asked me to entreat you never to forget him". ibav a^ilea o (8) The following padaih tells us what happened next. i . > j, v Ooriki poka nenindundedi mera Varijaksulara ! Kanci Varadudu na keduru cudagane etc. Th^ mistress says to her maids, “ Oh my maids I should not tarry here any longer while Kanci Varada is expecting me there. y. , I saw Varada in nay dream. J must go to Kanoi and see Varada. Forebodings are not encouraging. Anyhow I have no pleasure in *ARTS- ’1-iv] *>r ItSHR'PRA.TNA staying here, away from my lord. I mi joyed hie love for many years. I must 'go.’* n« E *®w ***«**««* ®0* It shonld be observed that according to this padam Varadayya was in Kanci at this time. Perhaps Varadayya left Muvva and Went to Kanci and stayed there for some time. The following padam narrates whab happened when the lovers met again. 'yv'Cakkani daya galuda yidi nijaga Cevandi Linga ! g Yikkadiki vaccinademo heccu Kanci Varada ! “Cqkka” Celikada ninuanda vacciti Cevandi Linga ! ‘ ‘ dmsAndufcemi yevarillidi yarura! Kanci Varada ! “ Cakka” s eviKani vennka t»rkaninOegani Cevandi L ingi! ,r Yunikato maUamekanmiytmdanm Kamci Varada f “Cakka” Evvado i padakatiatilo aavvedi Cevandi Linga I • Movva Gopalwdu gaka marevvaru Kanci Varada i n ' rr.rnT'W'mfrm wm a 8reat patrpn of sangita and sahitya, natya and abhinaya. He was a great rasika. He had for bis cam panion both in and out ofgcoprt a very accomplished poetess called Ranga- jamma. There were also two other poetesses-Cbandrarekha and Krisnajamma. Also., there were poets of great,,,ability-KaJayya, Venkatapati and others.-who .dedicated a number of poetical works to Vijayaraghava. Vijayaraghava patronised in particular, eopapo sers of amorous padams and Yakshaganas. v^tiibajaliY In such an atmosphere pf literary activity and Sringara, Kshet rayya composed -his marvellous padaps which excelled all such compositions in style, content, and music #»4,¥i#*yaeagfcava’8 estimate, of Kshetrayya’s greatness knew no bounds. Such being the case the other poets felt extremely jealous of KsMfcrayya and envied his position. Oho day . they seemed to have made gold to ask Vijayaraghavathue “ Oh Maharaja ! Why are you so fond of Kshetrayya whose compositions are full of colloquial expressions Era, Rara, Pora, etc., which are condemned by traditional poets and are against the rules of grammar ? Why do you honour him so much ? "W '.ebxawriii!# -ti'Jbods mnmsh |ffw «W av Vijayaraghava informed Kshetrayya bf this In confidence, ^lieni Kshetrayya composed the song “ Vadaraka pove vadela VaecinV* in Kambhoji raga-pallavi, anupallari, two oaranams and half of the third earana and left out two lines in the last carana and threw out a challenge to tbe poets of the durbar to complete the padam by adding the last two lines and went on a pilgrimage to SetuA" Vijaya raghava informed the poets in the durbar of what happened and asked them to complete the padam. oaofilva lamofftf f It took sometime for Kshetrayya to return to Tcnjpi^. But tlie jmets were* unable to complete the padams. As soon as they hear that Kshetrayya returned % Tanjore, they met him. beggecfhim to complete the padam which he did extempore in their presence. The poets, thereupon, praised Kshetrayya highly and went to the durbar and Apologised tb'Vijayaraghava ftfr their previous attitude and e8ftatfcfthVi.hu >lt evadteam ^ vkvioj? t§JU M'tmy ilou.v oi eOsnoiJobfia eiri V> cnobsjw &ai bfti&iu Long before this time, Varadayya had been known as Kshetrayya, his original name being forgotteu. So, in all records we find him called Kshetrayya pr Kshetrajna. In the Andhra country he was known as Kshetrayya and in the south of the Madras state, in tihe Tatnil-lahd in particular, he was known as Kshetrajna, Subbar&ma Dikshitar referred to him as Kshetrajna. As defined jn the thirteenth PART I-IV] KSHETRAJWA 129 chapter of Bhagavat Gita, Kshetrajna connotes a great person of adhyatMib enaif^rice. dVfbAti* pWbatdyKshetrayya &uch an eminence. HATIH82IK1 One thing perhaps needs an explanation. Though a great many of the compositions of Kshetrayya were dedicated to the diety Muvva Gopala, he composed a f&# paftarhsVifh Vijayaraghava Mudra. How can an eminent person- a Kshetrayya, associate.^it^.Vjjay^'^hava Vitaraya—and compose padams on him ? Historians depict a sad picture of the moral side of Vijayaraghava that he had mapy wives and moie concubines and that he was. deserted by the bujfc) of generals and troops because Vijayaraghava had ravished the wives and daughters of his officers That Kshetrayya was frequenting the durbar of such a king and being patronised by him does not reflect well on him (Kshetrayya) no doubt. But from the fact that almost, padams were dedicated to the god Muvva Gopala and that JKshetrayya was spending most,of his time in pilgrimage to sacred plapffe we may infer that he gradually got out of this ha'it of frequenting w m durbar and spent many years ol his later life entirely iii some sacred shrine or other in complete oblivion; He must have become a great Bhakti and left his mortal remains somewhere, sometitoe, no one knowing anything stout it—A fitting aPd apptopriate end for a grCAt soul like him. \ 100JH ;0to beaoqoioo agnos asorft f*dt -mala p a t i .Jftaflstefeta arrff m oil « a I -ruth*A gnol m tiririK I fraswaridtnM yd 4oalieq ni ai We *u»v M l won*i dwirfw tqhaadoaM iaq IrtrfuX fittiO lij! t O KfisttJ’Bti-* *7 3 lS S K « * SAaiW AS OB SRI MUTHCSWAMlmtriba DIKSHITAR .emmrnme . __ aKs*Q{.J ftiJJ { J | ) M SltO y^tiBtn i*m% a t a ‘ ^ aoobwoqmo* «ttTo B o r , P . Sam p«icBt. woH .sibuM **«si®e'i*T*rrr * , * AnMfdaia.JW two ••’•< £ & *IB an interesting Telugu manuscript © .N o. 2536 in t o M adhu Government Oriental Manuscripts Library wh.ch gtves at the Sanstit sahityaa composed by tbe great — " ’s i t ” toftsb’itlir; t o snipe W W t f W i W * * he8e sah,tva8 beat furnished at the top. As some of the$e sorigs are available in both ftf&dh notation and staff notation, it is easy to sing these Sanskrit sahityas. A few Telugu sahityas composed to similar tunes are also given after the Sanskrit sahitvas. At the end pf the Manuscript we m the Statement : mmea emea my&'&K&em eM ie.M aid m #tm% ^asm bme xadinb , “ In the year 1533, in tbe month of Chitra (April—May) of the Nandana Samvatsara, these “ Jatis vara sahityamuluJ ,wexe written ai*d given to Mr. Brown (Brown doravariki) by Ruppayya Seshayya of Cnittoor.” .aoid eiJil luos From this statement, it is clear that these songs were composed by Muthuswami Dikshitar long before 1833. This Paper Manuscript which is now 118 years old is in perfect condition. The handwriting is neat and is like print. This writing reminds one of the writing in some of the note-books of the Walajapet collection. This Kuppayya Seshayya, as the family name indicates, evidently belonged to tbe family of Walajapet Venkataramana Bhagavatar, one of the illustrious disciples of Tyagaraja. The word Jatisvara simply means that the tune is of exotic origin. It is customary to refer to Englishmen as Jativallu. Besides these jatisvara sahityas, the Manuscript contains the following poetical works : Jam.ki Raghavamu Adi Lakshmi Vilasamu Ananda Sundari Chaturya lila vilasamu Sadananda Yogi Satakamu Kalahasti Satakamu Sivamukunda Satakamu «rtPT9c»pr]Yie.«a«wT*8 w mmmamm-imi mKSErmR *«* Sit -'•1 MS*. Brown referred to ia tbe statement wbov© is tbe illustrious author of; the Telugu Dictionary. He was the Collector of Krishna Distriot during the year 1828 and "'tow possibly the Colleeior of Chittoot District during the year 18®^. * t music from hfs younger brother Baloswamv Dikshitar. B alusam y Dikshitar learnt-European violin playing from the band master of Fort St. George, -Madras. He late* adapted the instrufment for playing Sout& Indi&n music. It was his p^O^Ohoy ini ¥i6lih play *that later on, at a critical moment of his life, got for him the appointment as Samsthana,Yi ?• roavaaiadS e^add n n an vatH .8 9. Pitavarnam onaje 10. Sakalasuravinuta adarnivaiM ®:n,u\# A* 11. Kancfcfeifraekatnram *** 12. SciSaakaravjara/ ... ixrinus c.doflaatnd an*J4 .4 13. Saiitatara pahimara (Thfl. 94 tcM * > I^aeha^i^jTft#^fc|h%p ^muai io eqyj iaiiaaafo yvaeii 2£. Rainajanardana v.an frigid . ^ i u y u n d ^ neewl&f dtefcarafche diiMMJl^^i^iffsiqoooo il . nlw oo * 1« ogjitfied 27. Pahi warn danaki afo eHl 28«j Diaabandho dayasindho baJaiJfrtiati s/it him beftiiiiui heavy classical type of music, writes such light pieces, they cannot be lightly brushed aside. Light music has its D#n place in the cultural heritage of a country. It occupies a position intermediate between classical music and folk music. It appeals to the classes and Blasses, the initiated and the uninitiated. Tbe last ettugada svaras of the Bilahari raga—Adi tala varna oi Vina Kuppayyar and the Sankara- bharana raga— 4ta tala varna of Swati Tirunal also may be usefully studied and analysed in this connection* a < : The Sanskrit sahityas of Muthuswamy Dikshitar given In the Manuscript ;ak*e>reproduced lwlov>‘—ntwy.«sa>.« wVj .sjjnos -ive ton sisw aihum edugutulJ add ^nivsd II a ,VtW {AstjO : uworni ■ yfdfteb m -id nr quicheM .«Ua»aiM &>! tda mii% »oH*ion i naeqot to nueqaioS to! %kmm ih d m tM t aga®* spoon Mum&ddmmSsnM iti an* aatnti.i tt* »*ttiP AMiidt^Sd imawsssfduM vd ‘ * If , —*? wmm mtuiiimw as® anola m fc i &dt *s% .1 Mad tt»A 9$ i d* W |«W '{+W.*W* SW II wlulria ililsB .8 &Ai>qu(A ... odbaia «{*(> odhiiijdsaill t matJwmd'MurmR .S ^rurUNtJ'fatfev g ^ adibnnv «n*acl«maH -ft bus m o od ? ■ add ,oi&um diigii lo riactatd 8 a-A aid tol r ^ tj ^ jpdil •raaoqiaoc s neriW PARTS I-IV] SAHITYA8 OF MTJTHtTSWAMI DIKSHITAR 135 5 p w 6 vvV ' (Pribted aha ^elt-known) b#jJ 4W*A o iW l »ylt«T» u> ill*4' 7 sKfo^srns 3% \ wm9t «*i* * ! $ $ $ N mk . $ m m i e?m ibigftA sr,! ' ^ ‘gjrw ^i ^ Tw^ ’ T*' *♦*!! J'.^r,, rf-ns.ioerja sidi^antk .eeuejhiui Oil- pft . oafte oJ iievig t* o -foi.uifo F f d T O 3 P W d IwttiniMflMtei itHX mM ^ As»iuiMi**m*.a< ffe#RTlSWR^ ^1% > qft% ^mr% 11 \ 0 • ** idufv lo vmrewfr ^wjtW'70(10 ni? w ,>(fs y(j&. $sfawi&^^.;sf¥r ■<> r^-o^i ,»*W m ^ftwM ig$;* < W r n m T O 'r d dold-w mrnm lneim*U*a I*u*o» 10 f^cPf ^.(Nttt) 7 « ,»mi) 9&i ^a^qi?r^9f3& mftmd) \b n if 1MN% Idj'V^nXjV) m srrl| , }'/• % ’T%t',, wrijlMtdo.nto V> w o I W P R : || jjmto&hau iirm 12 m iflfli i JJi^ftlfrErfif \\ry iri Hi ^ *m rud ftmr( ^ Ai ;u J™d Hw _!^d * qo^4^ipj* f e i k gfiar 1 ’ twM '*!*,? 1 ^ f^Rrr^ frtTr?rwRFs ipr oib«iH erf.) )i?f') ■)■?*(! iyy^MgmLeal a)o« ol ?o 8woffe »rf) bhA »)*j>.t -Hda* lo noiifcd$» $ ! U ^hoi^u-frf b-UKiusi edi ni erf*J nue ': alA * T he -««4l **W*i here, though Swaras for the further portion are given. m M m o r a m i ’W'.'t r VILTNAMESE MUSIC* A Festival of Recreated Vietnamese Mwsic. j! FJ®ai» :Wi.Mnonx 5 i¥■■ ■ ': < *' ?r Fi' ■■ ■ (a v Director of Radio On the 16th of July, Radio France-Asia had organised a festival of recreated Vietnamese music, in the theatre Nguyen-van-Hao, similar to that which, the previous yesit, had achieved a success that the unanimity of the Press had much wished to accord. Quite independent of the diverse lliterprefatiohs given by Messrs. Minh Trang, Minh Dien arid Minh Ngnc, this festival afforded a retrospective view of the Vietnamese music, in the course of which it was given to the spectators arid the audience, singe.this spectacle was retransmitted by‘Widib France-Asia, to mark ihe evolution of Vietnamese musical art «tn 1 in JT5M (rt*-, 1 And this allows us to note the important part that the Radio can take in the musical knowledge and the evolution of public taste. * Ft out FRANCE ASIE-, No 52,' July" 1950. English Y enkw : Mr. Ama ietidu airfhifc W k & W tY -Ar&ttthadu SSkh'itr <56s#'«itih' ,; .nevrs *** noilioq ikmnrfi orfe lof sunawHrf^uorit .oiorf PARTS 4 P F $ ] V MSI a ADA !:VIffNl«n'tfl«l0'vU*f«im SUIT J t f j s i t l t i i i * commonplace to Ss*y! that th© Vietnamese public love music. Whey seem, however, to love it riot as an “ accomplishment ”, like dancing, painting and fencing—as the programme-officials Call il^bp* spiritual necessity. Muon oifmH e«T lo It is well to specify that this Sentiment has much developed lit the young generation, which was fed in great part by Western music ca lled lig h t Also one must not be surprised if the new Vietnamese music, sg^ - a /fiW: exceptions,..baa. be«0 above <£41 preoccupied sp .to now with, this charactermost of tbe works are songs a»d, principally, m«sic oaearM* fpcjdanfte. lierivtto yiilanp edJ toi /Iqatie fon ess Our initial discourse, what can he tbe part of the Ritdib in this direction ? Two possibilities are offered : either the one. whose influence nobody can deny,' follows tho general current, or rather, to the contrary, ceaselessly seeking an improvement, it may be a vanguard in order to ameliorate all the resources o f Vietnamese music, putting at its disposal the orchestral executions and tbe oOtepletest harmonisations, n bentftbl no-nf sad * tol .eseooiq ^>nf: Rightly understood, it is not a matter of brutal choice. And the role of thb Radio cannot be reduced to one or the other" alternative. For if unfortdnately it would like to ckrry Only the second one, the contact with the large public which listens to it would rapidly cease, and the evolution’that it would have fixed as its objective, would be rbnderaddipfpossihleyevilo %t9V aeod gmved yiatsm ,noiiaW afl} lo feos ioa The new music, when it trnows how to preserve its originality and reject the lightness of Western themes, can produce very beautiful works. It has proved so. This leads us to say that it is on the right way. It is probable that, among the numerous composers who have already been charged, several will come out with new musical phrases ; they will know how to evoke the wind in the rice field, the cackle of the tops of interlocked coco-trees, the slow plash of the buffalows labouring in the flooded rice-fields and the movement of the clock of the Sampan, singing to the rythm of its hand. The Vietnamese Folklore has already rendered all that with such magnificence and wealth! Why can the new Vietnamese music depending on it and bringing about the concurrence of modern orchestration, not create a new musical art in its turn ? 26 13% THE JOURNAL OF THE MADRAS MUSIC ACADEMY | [YQL. XXI Already tier© are numerous: musicians, inFraneey others! are joining them everyday ?>i» twder to perfeot themselves in eofieentiom c .fufmw.i^iaw ©Oita W7M9 ic 'Mnoi . wwouuii/ 'itaftr^jS^ .«♦,*»• th,‘ m t X M K P j * ° » in * * f a hours w.*its for it and it. He qtjtices and loggs tlw, 80nf illn feirfs P tt'H Jtoa'wwfc« » M p f a m , e S b s * . rythmic tune makes him quiver. ,v„5 ^ The principle of Pemsian music consists m th e .m B ^ Q ft^ ft musical, phrase corresponding^ tip?, repetition of ft movement; a natural and f ^ i a r gesture,, ^ n d fJsa ? iune to w^fh hq gives it* groper ry th m ,T b e women, the mortar rn%?“1o W^s™P5iPW!»l>. Pflrf*1 S o ffiW - /'!# jR fe ‘xfcttt.f'tt strong corresponding to the pestle which descends and a feable Hv ■*.■■;<<; fry. t%b m-.y- m*kmg ®k*%M 'be % w t T b fe l > Uy rbe xmhxi$ i# ^ .? tiMxmtst *Btd th® rk&sttre is <>i ..-vSPPSSSWk. • *!•« ,»Kr ■>/>> hji i#f, u 4*ii ;. J ' /’ • • ^, , m.j? iSi.tt .-v: H, *»*v j. jr ’ -tkr&e t, ^ n v ' ' t ‘^ \ w iijUSIf'* 'Sf - w - if .r . -.. , “ - .. i ... , , ;ii, Mi. his** «*&* m ,h< TJSfe' ft i '■■■ Q:$ % &$$* mm\ 1$ j § V#»m *3P9 .*w W M . "h«y is flii A r? / i,, { f ' ' ;■" ' ; ^ i«$Ki ■ , « *J| * Ik i^ft; i f%i'*hrt'! />'< tt -1 ’><’^ 4 / *«#** - <;'i-b'-J t*« ^ ,.'.'*;$ls "V A; 4$ v . . . S'tfefc „ * tk J U w m .. th*' a ii* Hb$ 'ft f5 «r?c J % jK tzjiUr#** %\ i y i * 1'i * oisjM aaaatAiSTai'/ *»**,& *ty*«v* ' i:*X' ?., Mi *» f I « <■>;‘ tjw 'jTuail*-*, .. '.-A . PABTS;J«Tp] YMSKIAOTH® MUSIC OF. THE PEMSIAMS JfiRiiT-be yibratihg Wades are used inseveral . tjfumpefc made of buffalow’s horn, with lateral opening; the w im t 4 $ h y M W t o m m : gicf d,1 fiO Jmatinsqcaooos m k Aiw«»Vir»V!i sit .tswodsil fftfa in a m u lt .aid oeidit) xie nO ate nsdvr—p l ^ # IP H ie# em o a ddiw .beqobv l-lie .Sos^iw utilize three, seven, nine W .jw fc w w fc %>^«AW 4.,tb9<&faM.'!ihS SwHV : enoil.idiv bn* ^^PW y^W R ^e. tegendeext^n.rtfi.^riSftflftbW^W- ments of music. Thus it is tlie uioon whphasj, tWJgWi; Wtt, idle use of the fyamboat (in Pemsi the moon represents thp figure of a ^ a n blowing in a Komboat ). It is Dsn, grandson, of the £up* who ,|icgt (pte.y^tt^ . K«w q \ it is,for ,f he deatfi of J%K*in % that*hey ! * # R e n te d d.ay and flight, tfie flerqgone $ ZqmM ¥ai”*ih9m *> fall on ft big fiat Stone which vibrated with musical sounds ; she toeing, apd p W the Tmng. The prigin of the gongs ,b mb kwH.*- Wllh they sho^qt ilftith %, C^pfShow but missed. The. M ar. udiile escaping, raised\,byg Id^ksqjf eaity. with ids powerful paws; this earth served to create, Ihfr go*g+l-«r . .^^beyer. the traditional explanations might be, it seems that the mere presence of big varieties of bam bops, where the wind plays, sufficient to explain the invention of wbistki [ f e f . ! , / # . , # “ W ‘ piW o which ^onsfitpte the material for ^ p ic a l instruments o f t ^ 1 W | '•fftgfiOOOlT O 19via , elditoelie.11309 li eq The programme of traditional ^unes-and there are n plWyed1 OH 'Appropriate instruments m tunes of rejoicing, oaarousal, Sfooompanitnewt fwith dbnbeKf of war (Sbdang)v:of burial, f With the they give the tuwe of The Hm iehieh lays, of The €ocbat dmvn, Of The efthe NHe:.rn t also accotbpamWthe aneiem* legend**? songs. On the Bare, we hear the tune of The Deer which (foes to- drink at ihe,stream,tdiThe Frog m the tie* field. etc. ? On the Kombodtlthey have tunes for drinking, tunos for dancing, and aooompaniments for songsi Kowao, Bare ami Tdntntf sometimes harmonise, but the orchestra is very poor. It is tht gong# ffhieh afford the ridbest combinations, smothering a veritable concert. fi a* nil aA .soiUHuurl Ori two gorigs they sing of the wine disWlled(bhtfl^iHd&; withdrifms as accompaniment. On thr& gbngsj one big and twB tune of the labourer, the accidents ai^ sdftg/ 'With Ibfff gOfc&fe t'Titrk hungry, etc On six (three big, three small)": aflf tlie prbieedirig^trhes are de veloped, with some hew^yfhmk lddBd, on affestirdf W ^ lfr "when pj vibrations * passes on an,! ftbftiit"Silt tfWf&' thd irtipnlsion '"tit tfce graVe tones le ad in g and =.ippnfttng the httfidfcW rf cdtuabite: ,ilT >isum W O m * & m smijgil jfdi rtoom ^ ii isaiec£ tit) tnwlfetff^. adi t o s e n since ever. It is an aspect of the complex traditionalist; When six Whmen pound the rice, in rythm, in order to make th. flour ferment, plane itig their imtnefiLe pestles in the 'hbtifti*! : "rHk&d &Dftl5f hard wood which resotind like hrdss cannon, or when sii fhen Beat In measure their great powerful gongs, for the jO? of t hie drfttkfers df beer made ont of fermented rice, the one and the other represent a moment of therr traditional life, oheyihg the rythm 'fixed fey the customs of generations. * ^ ® i^ lo eo««w*j *»fii m m a Ji tyl is desired fixism exclude< all innovation; it prevents the progress of science and arts. However, t he Pemsian is educable and - .U______.iam;- ,_A:i • lo rv... ■_ >4LU 'JK>IW*SL v.'", gi ' (oil duo ■ Miaai m aas/li, adnPvni.onoir «J0Vj ) l : OXg'II'M $fTO $p JHtttT #-&t I?)|*J2 IPJPP jSf? jpjjfe «PIJO nic m |n S2p;' ' J-’ 't '••. ■. THE MUSIC OF ASSAM '\caarit oi vorfs It,?; M*( ui$ ho 7 o>-. m;biiiin stand ogti boys dird jj^g 4cof> fo‘»e6<> -.h#«>‘,*'; 00 i ^ It is not possible .to speak about tbe music pf the Sankari age of Assam without a proper reference to the greatest reformer-priest, of the province, Mahapurusha Sri Sankaradev and his worthy disciple Sri Madhavadev. It wilt be better for to have first some knowledge about the time, itp .influences and the varipus factors that led the genius of these.reformer-pripsts of the province to evolve this art of music in the Sankari of this province.; . v * Mahapurusha Sri Sankaradev, greatest Vaisnavite reformer- priest of Assam, was born in the year of 1449 A.D. and died in the year 1568, with a span of life which exceecittxl the eenturv bV 19 years. ■nirom history, . 1 tJrtO;. we >• come I ;• to know that UJj constant V.iiikii'. ii warfares> tv * Among • the . i ruling princes with petty chiefs were going on at the Utild of hi& birth. On the moral and spiritual side too the country And people at largeWere made to suffer much. In the name of religion pet^fe ftMig. Fhery smt of crime and corruption It was at this ffme, iti the family of a “ Siromohi Bbuyan, i. e. the head of the petty ruling clans known as the “ Bara Bhujtaws^ Mahrapdrusha Sri 8fthk**Adevs was Hborn. Bern as an aristocrat, he gave up tbe pnth of case and luxury And lW$U upon himself the task of eradicating the evils of the country AWd44iatnpion the cause of the poor, the neglected and the oppressed. By ftls bieaf foiWght And'ttistirtetiVe knowledge; he found out the ttub bftwses5 bf thb tnalAtfy that bad begun to eat into the vitals of his country. So he began to formulate various mea«s of educat ing the *gerieirAli!^e o ^ and tried to instruct them as to how best they could practice and realise the true aim and object of life. Himself Ari erudite ‘Scholar itt Sanskrit, he had Also the experience of a wide travel throughout the whole of the North and South df India for a period of more thAn fourteen years. His foremost task was, therefore, to translate into tbe language of the province tbe main principles And teachings of the famous Bindti Sastras, so that even a lay man could undetWAhd his truth and spirit of the same and thnss have them utilised in his life. He emphasised the dootrin® of uni vers Aik) vec, his teaching! may foe illustrated by his I l l ( - ggfctj THE JOURNAL OP THE M4OF.AS MUSIC ACADEMY [VOL. XXI sayings such as jpe* z \ m sftw meaning : “ In the sblfl of &io’ > s there lies the God Ram, so you should all show respect to them.” The broad-based dectTui© >of/hi^j faith and the humanitarian v# oivauo ui uuuMiiJg a ouuiiu aiuu JJ0<1<0<01 ui ouuivtj 111 a inhabited by so many different clans and tribes each with its varied interest and outlook n life, made him realise sooner tlie necessity of creating a bond of friendship and fi>ve through equal partnership and ep-operalion in the domain of religion; ■ . d’hus we find that among1 his chief dl^cipieg hnoWfi as fhe “ Atas * i.STt?-) people from various castes, sects and religions such ks Brahmins, Sudras, Mahomedans, tribals and hill tribes were included, apd all of them had fieen entrusted with the mission of propagating the principles of faith and love for God and frdld^^eSfifpl^ u] m *-*Q Through his great ability, foresight and forbearance be ^amc out.shining over his antagonists in all the debates and difficulties _ , , , _ . . ,. qf Ins life. In the long rung h^ was even able to wi^i admiration high praise from them and their co-operation i.i his w o r td ^ It was thrqugh his efforts that Assamese literature, music, painting, sculpture, social reformation, village, organisation and the like attained a height of glory and efficiency that has been keptj up all these five hundred years. To sum up briefly,; it may rightly be that Assam is Sri Sankaradev and Sri Sankaradev is Assam. # ; . t For some time past a great deal of controversy had been raging in the local papers, periodicals, magazines and books, about the signi ficance of tbe term >“ Borgitjp apeciegflf song of age)-and the actual form and the style of aiugjflg these songs. Han,ce- foeth my present discussion will be in the light of the above mentioned controversy so as to find oqt and thr©F fight P« the trqe spiril;ftnd nature of this art. 1 shall also try to give information about the other related branches of (the art namely, the dance, Ahkia-Nat (drama) aud instrumental, mysie q£ blooo vsdi Oqe section of the people maintains th»,fey these 'Borgite are a form of the present day Hinflustham music of Jtfprthe«rn India,i.and do correspond with that o f the, Dhrupod ” and *-• Baragapa ” sung by the Northern Indian “ Qstade r (musieians). So they have tried to render these gits iatp;notations using tfie presenkday form of the elfciftdfjhbani Ragas and/Tslaajm j thefBP^bnn blwoo n-sm vn! » aev t The otbersection maintains that these git* represent a different type bf musi© and sb should be kept in tact and m those very forms in which they are to be found executed in the Jfawifrhars, ^prayerftalte}«J ebketviisg* Itithfujly all Kitingdetail*) •§* theea- raga), %alak, and styles that has been found there and are handed downfor fli.e hundred years, they ev e» argue * that vra ■ have na sight (to. rbeiag t&ttr% change into the system of a music so sold**' t»h .1J©8 These songs are of two types the Borgits and the Ankiagits. he ferrtief^ePtteriiry Waneitedraeans the Gbeat^sotigs'^^ara,- 5?atfht,9t8^* <*%6h^df t and Kirtanghosha sing, alpM^^he, prayers bearing, tbe glpf i^gf names and actions of God. ,mmh yftss monl gmafli^ed ae^naaei4! aiK THE JOURNAL Of/k«N* MAD BAA MW»C ACADEMY 3Tfld!Fh«f#6rdrfY Ghotfeas;’*;ittoaits’ jJbttnfptogdVfarift'a y e ll1® th«*B git© weie cwlfetirBo^tsiiainpI^ bttjRtse tfceybfcppeH to oofltajn *bin©'higtodw*adai value within them seeihato fcosrnjyi $NPt*fo otaPkp tsrotii.oJEtrfylkoagb aaoicauno* denythe g if t Wghme*if*^flftJue,iyafc ee»!o#i0P(«e^^lihe8Rigite^wittahowiua th*t tb«'Ankia-gita,i»pi*c»-Hy 6 t tlttritfjRasjAnb* ?Jye»ir j with them a great©!,digf»tj(pf> forro and 'N&w hxeoution 'uf> melodi®- st/ylp j«fc&'feeoutgt < bhfti*-'«*iqtefliot%MP "tototigtoaJB f ifeturolty the/qofsiftrfiwoBii iffisfe rt^R, SfcWP reason, these Ankia-gits were not termed Borgits ?, * As against tsbie, g i f W l j H wid in of Ragas and realisation through which a.f ,$?% % Supr^ipeSelf. ■iui| AiiaA #fli bn/s od t /i o wJ W ois H'snoa o n ^ d T - im VThtwii, naturally m l f?9fo£j|.q the, .ponplueiopthat both fait/the w ^th of thought that these gits, contain within them, asialao fat-fa* Bbh«^^iwa(^ltlH^-r^Nri J*® v(grt»% is a^ropriato.to tbem.xQ hna anoiiatoKpoJm X,a»ta ,*%nm ®f.1 f f l t a y -toSitf-W flle prayer sorfflMWl* sung f>v tfte devotees (Xiiirrtiveiv dr ifrdividimity wft hm a' ’*' Naiiu 'G h v * , »9^rayfeV'Housy? StfWIt'S ktaHsf fettipie inasii of oH, am oifi donfw af»^qiiidd odt to onil edi no hosoqm oo " aleydd/nfltj *' anaen!a%»ih8k4»tgHsfor» t h e J # rfe?3^d befe»©rtb«iSMiJ)lb? ^ 1be%dh ga ^ mU e,ffHfafa^#>»l!*8#ie dFl,tftk* *few u*i^«%iTn**w,i,pf pihpoghtfttg thoi^iil^of'Vhfehiittvisto i n . A t e k s w n as the ‘‘NhHtfpdrtMii-sfeot'’. Therefoi#tfte foW.iaa^gbhvaloefabhwhed 1 to ifrefo lil tfhiJVifearfeWp, a*' his© ©» perkxiiOal occask** ittsfehe NiHtf'QhhP■©*”& other rebgioua cohgpegatkmsi. >b Therefore itoihas© a «€ Ibo&agb*,1 laltholl 6 jffUskfWifch 6f th*&etfc*** *tofohffci;*doj)iM for ooadUetimg f*ay#f£ oesdt 'aaoniaoig- odt lot ojfooi .sgaos moil ;>;■*„ , it n i ac& W SftJf1" aofcgtsg^ipp^lI'w ie ^ w r-w jir fwarerrg* 6er>n 4f ,m i #i *f% qwft frffflR qrfrj ^ .. _ . . u . . . * m m m fCa^ '*rr% iC * m mmtwfit m qrqi gfa 1 ? t®F m m $f\ «TtB P BW F* ]) W m m r * * ? * ««» ^ *. > . w w r 91^ n> it w w w * In tbe South Indian Bhajana-^^iftfci also, third‘are special songs with which the God is awakened in the uKM-tting* 148 the joubnal o* W e HiAitoM vNMe academy fvbL. icii $ %) afipoR add igntil (i) ~i aa-idi fo niage -n* vedT lerragaV' erff (a). !«d /><>vis « sraae adf k> diqaisxa After the Chalanar Borgit, the “ fcilar Borgits ” are sung i.e. t le Borgits for placing’. An example of tins typpis given below ;•— *fa 5[r if t'ffg FT* faltf F.FiP m m im m & mvm* & f * fhi ]w ^ ^ IR7P ^ Jg rp : ^ m w m * ^ ,I5R|i1lfhip p>i« h',7- m i t® Ki - i i r o a « » ’Tf^loOT SMto ml««i Oi * j y » a After these Borgrtef fiwXffMIUlHiq of moramg tim e» sting. An aple of Bhatima is given below. 1. J ir f; j? t o $*r ftTsyp JTRT^T q#?f SM 'M W7h \}"p m liRrT 3*833#? 3 3 t i t c?fc5 ?1IJP* ft-y ?v®.H f t f arr% tit wm wm*m Mif rn *fc*if sg mfW-w.-jffc t m w =^5|| | jr* m,™ VR'k" w;« «,ifmT rfn** yf&rl FABTSoI.lv] la-ii'.' . i' THE MU8I0 OF-ASSAM 1&9 t o g r o m &—•: ■ ** ®* Tftf^K > t **** 3RT W ^cT?T t o t * T t * J T t T ^ JT|5R ^(^r ^c5RrT > I froi 3trrir Vi ^ errsrgr IP ? : V I ] frrrVrfrr w r 3 1 s f r r V 3j*Tf% TO3 5 f 3RTiV * R 'PfTRrf > [J The third item of the morning prayer is the “ Namkirtan ”. Ih this item a devotee sings the name of God which is called “Namdaka”, meaning ‘to call in the name of God’. After that some portions from “Nam and Sharan Chanda” together called “Jugal- patal” are to be sung collectively by the devotees. The word “ Jugalpatal ” means couplet of Patals. Dr. V. Raghavan suggests that the word patal may be derived from the word “ Pattala ”— Trf®; the word, he points out, means in Maithili literature a 1 9T(5^F«3RT55PT ’ i.e. works of a religious character; there are some works in Sanskrit dealing with the importance and .sanctity of particular sacred places having the name “ Pattala ” ; the name “ Pattala ” signifies here a work of religious glorification, e.g. “ Dwaraka Pattala ” by Bina B a i; and “ Ganga Pattala,” ; “ Gaya Pattala ” etc. are names found particularly in Bihar Mss. correspon. ding to the word ‘Mahatmya’ current in South India and other parts The word *f*Tc5 (double) is particularly used along with the word "1?^ because the “ Nam Chanda ” and the “Sharan Chanda” combine together to make a double Patal. The word “ Nam and Sharan . Chanda may therefore mean the metrical composition in which the glorification of the name—Nama (TO) of God and a supplication— Sarana (SIP1!) to it are found; these would thus be songs on Nama and Sharana Mahatmaya. After this some portions from “ Kirtanghosha ” are sung. Then a finishing touch is given to this with the “ Namkirtan” Sambaran Pranali by what is called “ Jayapath According to Dr. Raghavan this Jayapatha corresponds to the calling forth of what is called “ Pundareeka ” in South Indian Bhajana-tradition— “Namah Parvatee-pataye Hara Hara Mahadeva ”, “ Janaki-Jeevana smaranam—Je Je Ram ” and so on. • •#? « .V 1 > ■ - THE JOURNAL OP TH» MADRAS MUSIC ACADEMY (foL, In the fourth item :—After the five slokas of “ Nandi ” from the Bhagavatam, four slokas from the same book are daily to be continued in turn. But during some occasions and festivals, six slokas of Nandi from Gita and four more slokas from it, are to be continued in turn, every day. In th e fif th Prasanga-item of morning prayer, some religious books w r itte n by th e Vaishnava Saints are read. The morning session of t h e prayer ends a t about 9 a .m . The sixth Prasanga begins at about 4 p .m . and with it the after noon session begins. This after-noon session consists of the three Prasangas. (6) The Path (TJ). (7) The Namkirtan and (8) the Upadesh etc. In the sixth Prasanga which is called “ Path”, a Borgit or an Ankia git is sung in its original Raga and Tala. An example of the same is givenhere. rm-fr ^ dfanu If If m uprmi i h ffs: qfsr m frwft 11 g smoe «m G ; io-.Wi«flo enoi a '«» rA ; w >.i ’ PlSIW^'PiW * lo vH,rmm. i' dfiw anRseh ffi aitow ft . w «riis vnPicf *5 5RJI n m 3^ 9$ qrer if *y«i1 “ ;' m w epr m - tffer w im m » -»•** " ***«*» This session finishes at about 5 p . m . after the performance of the 7th and 8th Prasanga which consists of the Namkirtan and some renderings from Bhagavatam. The Night time session begins at about 7 p .m . This session consists of the six Prasangas namely the 9th, 10th, 11th, 12th, 13th, and I4tb Prasangas. In the ninth Prasanga which begins the night time session of the prayer, the recitations from ‘‘Gunmala” are done. In the tenth Prasanga “Lila malas” are sung. In the eleventh Prasanga a “Bha- tima” of the night time is sung. In the twelfth Prasanga which ia known as “Sevar-kirtan”, the “Gayans and the Bayans” i.e. the singers and the players sing before the “Guru-Asana”, i.e. the main altar, two Borgits in the ragas Now, Kalyan, Suhai and Kedar with the accompaniment of Khols and TalaS (cymbals). I - lv ] t W® MUSIC OF ASSAM ?l ¥ l the thirteenth Prasanga, after doing all the preleminaries as in the 3rd Prasanga Of the morning time up to the Jayapath, the “ByahiKirtan” is performed. 1 «$»*«$» In tlie fourteenth Prasanga i.e. the last of all, some books like Kir tan, Dasam, Bhagavatam or any other written by Sri Sankaradeva and Madhavadeva are read and explained to the devotees. Thus the whole series of prayers come to an end at about 9 p .m. Having found out the utility and uses of these gits, we will now turn towards the method or the system that is followed in performing these gits. These gits as we now find are sung under the following form or style : jmltd bus First of all a raga is Sung which is popularly called “ Rag-Tana.” In singing a raga the form of the “ Dhura ”* is shown first of all. The “ Dhura ” gives out the main outline of a raga. In the songs i.e. the gits, it may be called the refrain of the songs. It is written as “ Dhurung ”t of a raga or that of the gits. And is popularly called “ Dhura O jfl)-” ' «# osla m aJij* Next the portion of the “ Charan ” of the raga is sung, ft resembles more tbe Antara of the raga. but the “ Ojahs ’’ in “ OjapaJi dance” explain it to be a kind of invocation towards the raga. They explain that whenever this Charan portion of a raga happens to be sung, tbe raga is to appear automatically like a servant after it. Next to them, the “ Qhata ” i.e. a musical prelude with the accompaniment of the Khols and Tals is given out in the tala (timing) in which the particular git happens to be composed. Next the meaning and the religious purport of the git is explained before the devotees and the public. Then only the performance of tm dt !o aenu.j erfi lo vjtvtfonmn mii eVsilm oj labio In singing a raga syllables such as ft ft fft are used. The experts try to assign to these syllables high esoteric meaning‘ tbe rootsyllables USed in the singing of a raga are arr ?rr-^r-^r; 3R means “ Atm an” (Soul), “ N a ” meaning “ not perishable ” ; in order to know the imperishable so’ol, one should sing again and again the name of God through these ragas. Generally we come across the following three forms or styles in singing these gits. The main or the orthodox form is known as tbe “ Mu!” or “ Pttthar Sur.” sl* n*v * Dhiira^Dhruvii (?) (V. R.) (?) (V. R.) 162 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [YOL, XXI The second one is known as “ Bhangani Sur ” (probably from the Sanskrit root ‘Banj to break’ and refers to the break or change in the style of rendering in these Padas) and the third is known as “ Kholghali Sur.” The gits sung under the form of the “ Mul ” or “ Pathar Sur” are performed in the sixth Prasanga that begins in the after-noon session at about 4 p .m. ' In this form the Dhura and the Char an of the raga are sung one after another, Next the git is sung in that original raga and tala in which they had been composed 500 years back. The Dhura and the different padas of the git are always to be sung, following the strict rules and regulations of the particular ragas and talas. Under this form, though playing on Khols and talas are not allowed as an accompaniment with the gits, yet the singer is strictly to follow the inherent melody and rhythm as accurately as possible. Moreover only one man is allowed to sing in this style. I think the main purpose of adopting such a style was to make the devotees listen and realise calmly the tune and meaning of the gits as also to keep up the purity of the ragas and talas in tbeir original form. *• o.ft t . noiliotf :*•»/ Tbe second form or style of singing these gits is known as the “ Bhangani Sur.” > In this form the Dhura is to be sung in the original ragas and talas in which these gits happen to be composed, but after finishing the portion of the Dhrung of the git, a “ Ghata” is played and after that the different “ Pads” of the gits are allowed to be broken up in different ragas and talas. In the midst of the changes occasioned by the Ghataa, the descriptions of the ragas known as “ Ragamalitas ”, glory of some holy places or that ..of tbe preceptors are sung. . W arm ed t l?*'/ I think this form or style of interpretation was adopted in order to relieve the monotony of the tunes of these gits. For these gits in the Mul or Pathar Sur are more or less of a chanting type. On the.other hand the singer happens to have some sort of respite between the changes of the ragas and those of the Ghatas* This style is adopted on those periodical pecassions and festivals like “ Kirtans ”, “ Doubfestiyal ”, and in the regular night time Prasanga known as the twelfth Prasanga. -i , j* • ... , • ni The third form or style of interpretation for these gits is known as the V Kholghali ” system. In this style simple tunes from the various ragas and also the tunes of prayers from other sources are added along with those ornamental portions from the original talas. PARTS I-IV] THB MOSIC OF ASSAM bn I think this style was adopted tp please the general public with those simple tunes and talas on such gay occassions and merry festivals like the “ Bahag-Bihu ”, “ Magh-Bihu ” or in some religious congregation of socio-religious character. But now a days tlie people of the town >who have not got the Ipast idea about the character of these gits and how they are sung, are busy trying to dress them gorgeously with these cheaper and sentimental tunes available from the cinema, gramaphone etc, "jL* ’ These musical forms which those giants of philosophical thought built for us, that aesthetic spirit of music which was derived from a realisation of beauty they got from within, and made an instrument to purify our heart and mind has all been now rendered mechanical and mercenary and cheap. The humiliation and degradation to which man and art have gone down during this 20th Century are reflected in the present day character of these gits. In order to please and satisfy the cheap sentiments of the people at large, we have broken up that spirit of high devotion and purity of thought that these gits )iad been able to give us once. However inspite of all these changes and variations that these gits have undergone and suffered, we may find the relics of the old forms and styles of these gits in the Satras (Holy places) and its surrounding villages., ^ ^ ' , Fortunately most of the Satra organisations and the Nam Qhars happen to be ifi the rural areas and remote villages which are the less disturbed part of our society. Tbe farsighted policy of the Vaishnavite reformers of old of entrusting the whole art of the music of various types to the different sections of the people with a frame work of socio-religious dicta binding upon them, made it possible for them to keep intact the original forms and style of this art. I shall enumerate here briefly a rough sketch of this art of the music of the Sankari Age. The whole art of this Age may be sub divided into four groups the (1) Vocal Music (2) Instrumental Music (3) Dances and (4) the Dramas, known as the Ankia-Nats. Of the Vocal music we get the following (1) The Borgits (2) The Ankia Gits (4) Jugal-Patal (5) The Ghosa-Kirtan (6) The Totai- Abrittis and (7) lastly the singing of Namghosha and Kirtanghosha. Besides these we get some of the Raga-malitas i.e. raga descriptions which are sung after a raga is shown in its melodic form. Generally 3 0 ■ **'t' ■ '*** I«i .!<•-■ : , ,*■ .>. * 154 THE JOURNAL OF TOE MADRAS MUSIC ACADEMY (VOL. XXf #e have the following ragas sung along with the gits and found mentioned in the books* (l)Mahur (2) Kow (3) Kowri (4) Madhyali (5) Payar (6) Sreepayar (7) Tur (8) Chalengi (9) Dhupall (10) Belowar (II) Ahir (12 ) Bayu-Mandali (13) Shyam (14) Shyam Gara (15) Tur- Bhatili (16) Barari (17) Lalit (18) Bhatiali (19) Gouri (20) Basant (2 1) Kedar (22' Tur-Basant (23) Sree (24) Dhansri (25) Suhat (26) Sindhura (27) Kanada (28) Mahlar (29) Natmahlar (30) Bhupali (31) Kamod (32) Purvi (33) Malachi (34) Patmanjar? (35) Ramgiri (36) Gundagiri (37) Gunjari (38) Paharia (39) Kalyan (40) Manjuri (41).Chalani (42) Sarang (43) Meghamandali (44) Devamohan (45) Sree-Gandhakali (46) Marowar (47) Devajini (48) Akasmandali etc. Though the names of some of the ragas are to be found in the Hindusthani music of Northern India, yet some of the raga names are quite unknown and unaccounted for e.g. the following ragas will necessitate some sort of enquiry about them. ai b&tosftai m 1. Mahur 2. Kow 3. Madhyali 4. Kowri 5. Payar 6. Sree Payar 7. Tur 8. Chalengi 9. Dhupali 10. Belowar 11. Ahir 12. Shyamgada 13. Tur-Basant 14. Tur-Bhaliali 15. Malachi 13. Gundagiri 17. Ramgiri 18. Manjuri 19. Chalani 20. Devamohan 21. Sree-Gandbakali 22. Devagiri 23. Marowar 24. Meghamandali 25. Akasmandali and 26. BayumandalL We find that these gits, Bhatimas, Ghosha-Kirtans, dance, drama and playing on Khols ete., were divided and entrusted to the different families and groups of the people known as the Gayans, Bayans, Pathaks, Ojahs, Sutradhars, the Sbaymulia and (Udhasin bhakatss or Kewalia bhakatas). It was their duty and obligation to perform at the appointed days and hours and also on those periodical occassions those selected portions that they had been entrusted with by those Vaishnavite saints Instruments The main instruments that are played along with the music of the Sankari Age are the “ Khols ”, “ Mridanga “ Bhortals ” “ Manjari T al”, ‘‘ Nagara ” etc. These instruments are mainly used to keep up the time and so they are more or less of a rttythmic character. J ew mamas laoolf 10 The main talas i.e. time measure that uptil now have been found out and collected are the following ♦ Original writings can be found, only in the temple and are never brought out. They are written in barks (Sachipat). PARTS I^Vj » THE MUSIC OF ASSAM 155 Ekfcal-^ns, Padi-qtf, Math-HTJ, Bharamjoti-WTR, Barjoti- qfqi%, Khanjoti-gr;pff^ Barpetiajofci-qutf^njfa, Bar-bi- sam-qciqqq, Saru-bisam-?T^i%qtf, Pur-bisam-^i^M, Ar-bisam-^Hidqg, Oolota-bisam-aitorfqqq, Kharman-SWH, Rakta Tal-^^R5 -Rupak- Rupganjal-^M*ijW, Barganjal_3R...., 01otaganjal-^R5lJr...., Thak-Tal - Srqiwra, Brahmatal, Domani - ^HTTf*T, Tinimani - frTI»:reTf5T, Charimani-'qTR'trnq, Gologanja-n^R...., Pach-pravesh-qW Ash- tola 3TiqrTfo5r, Birup fqsq, Dowaj-^lqi3T, Charikhaniya Tal, Dashbari, Chutkala, Man-chowk-qR^W, Durpad Thela, Thukani, and Jhamal. These talas havegot three parts (divisions) for each one of them. The (1) " Mul Tal or Ga-man”. It is like the “ Tbeka” of the present day talas. (Theka means :—The matras of a tala in one round that comes again and again). (2) ‘ Ghats ’. These Ghats are used to finish every pada of a g it; so that a new pada may be commenced by the Gayan (Singer) with the Mul (original) talas. >4 (3) Chowk. This portion is played when the whole git is made to finish. There is also a portion called “ Thela ”, attached to the Tal. Again all these talas have got their separate “ Bhangis ”. These Bhangis are played on Khols accompanied by a dance movement with the tunes of some Borgits or Raga Malitas. Within these Bhangis again there are such portions called ** Mela ” , meaning spread out or. open. #if As regards the original or Mul tala, each tala is made up of two or four rounds called a “ Jhor or Jhap ”. An example of the tala Rupak when placed in the forms of matras and bars is given below. (1) Ga-Man Mul T a l: ^ ^ . 11 ^ w ll * H ai* fafr il ^ 3WII N * il fafr 11 M wm II to** mdiYi Uitjhiq* m if il fafa II ll to i ir m i li fa fr m II ^ SS II ss ss . 156 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXI Here we have got two pairs i.e. four founds of six matras each. Another form of the same tala current in a different Satra (religious monastary) is like this Mul T a l: mtakJ * ' ^ ZF& II ^ srar II \ m «TT^ II SS II SS SS i f tfrr Of these main talas we get some ornamental portions called “ Rang.” Generally the word means colour but here it will be different variations of beautiful type. «, Apart from these main tala we also come across some of the big rhythmical compositions known as the “ Dhemalis-fcRTfc*. ” We get as many as twelve kinds of these Dhemalis. They are:— Rag Dhemali-TRT STHTil?, Khat Prabesh-^Z JR3T, Bang Dhemali ’-W Chor Dheroali-RH ^6Tic5, Barpatia Dhemali-^CTr Na Dhemali-1! sRrfe, Ram Dhemali-^TH Bar Dhemali-^! Sl'WlcS, Ghosha Dhemali-^far Sfarfo, Guru Dhemali-5!? ^6Tfr5, and Deo Dhemali-’Mt ^JfT& if *•«**«> 9fil There is also a Dhemali called “ Ra^-Repani-Dhemali-W %i|Tfe.” This is used in a particular dance called “ Chali-Nas ^fe 6T^.” Some of the Dhemalis specially ‘Bar Dhehiali'’—^ ‘Ram Dhemali ’ ^ ‘ Ghosha Dhemali ’-‘Sffen- ^BTTc?, are regarded as very sacred. They are played only on important occasions of high religious festival that are marked out for their use. Beoause of its high spiritual value and religious importance, a single Dhemali can do away with four Prasangas i.e. items of prayers. It is told that the composition, words and the styles have got such hidden meanings within them that only an adept in the line can make them out. F4RT8 T-IV] THE MUSTC OF ASSAM 157 There are some principles and a process of worship for the remembrance and a realisation of the Self. Uptill now there is a strong belief that the last mentioned Dhemali, named Deo Dhemali when sung with the Meghmandali raga brings dangers to the performer and to those who happen to listen to them. Dhemalis i.e. the big rhythmical compositions are played with Khols and Tala (i.e. big cymbals weighing some 7 or 8 lbs.). About these Dhemalis, it is suggested to me by Dr. Raghavan that there might exist some sort of affinity of form and purpose between them and the “ Nirgit or Sushka Vadya,” described by Sage Bharata in his Natya Sastra; they may also in some way or other resemble the “ Pancha Vadya*’ to be found in the temples of the Malabar ooast. ;> ^ ! r bn* nr. *d.td-w These Dhemalis have got their own “ Ga-mans ” and different sancharas. .•» . <>.•.* >?vm^,*vii-> -j •»;{*.* ***.■* Regarding the Dhemalis there is a regular form as to how and when to play them, /tfvjh *t.romv -»*D o»fs .I05 'matt mr oadT Just before the beginning of a Dhemali, the Gayan i.e. the singer stands before the party of the Bayans i.e. players on Khols. The Bayans seated behind him (gayan) commences a portion of the play called “ Baha Ohahini *’ i.e. a Ohahini (a term applied to the portion of the play) played while sitting. After that, all the “ Bayans stand” up together acclaiming the name of God called *‘Hariddhwan^-^'ifffr.!? They sing some passages from “ Ghosh a *’ i.e. prayer with the accompaniment of the “ Thiya-Ohahini ” i.e. Chahini to be play ed up standing. After this the portion of the Dhemali begins. It is played by the Bayans and Gayans with the help of the Khols and the cymbals (big). Thus every Dhemali has got their different Chahinis. Besides these there is a very impoitant passage of rhythmic composition called “ Guru Ghat ” (& rhythmical composition played upon Khols). It is played before commencement of any auspicious function or form of worship. All sorts of prayers and works axe to be stopped while this portion remains at play. The devotees know and regard this as a sign of call to their prayers, f ' t : * eoo.ni The rendering of the play has got its four stages of development. The first portion is called the preamble of the composition, finishing with a “ Layani Ghat.” The second portion that conforms to the 31 158 THE JOURNAL OF TH® MADRAS MUSIC ACADEM\f yi[vOti. 3KSI Dhura and Charan of a raga. The third and the fourth parts ahe called thedifferent portions of the sancharas. \ a ban eoajs-idtnsraei As soon as the Layani Gbat of the preamble portion finishes, the Gayan (singer) gives out the Dbnra of t raga %itb tbe words Hari Rama-Ram, and goes on eontmoiag tbe same* along with the second part of the rhythmic composition (of the Guru Ghat) repeating it again and again. < $n?d%«ow - ■ In the Charan- =?p^ portion of the raga too, the same portion is continued and repeated. Only when the raga is brought to an end that the 2nd part of this rhythmic composition finishes along with it. Next tbe third and tbe fourth part of the composition known as the sancharas are played one after another and the whole process comes to an end with a last Ghat. The whole thing is accomplished by means of the Khols and the cymbals as is tlie case with other rhythmic compositions and talas i.e. time measure to.be played upon. .;.g[u«fn A ,,,,nk BikmedCI edl s*nrba«g*H Then we have got also the various rhythmical compositions for the “ Gayan-Bayan Nritya ” etc. jnniaod ed* anoled i« r t E.g. In the Sri Krishna dance, Chali nritya, Sutradhari nritya, Khala nritya etc. different varieties of composition are found to be adopted with those different kinds of daneMMO ad all " b» Sankaradeva himself who took a main part in that enactment of the phry itself, voled r.'my. «j avcbauijfnu^ H8 yd &a?L namaRukmini Haran Nat we find the Sutradhara describing the appearence of Rukmini thus oh the stage Sutradhara :— “ 3TT| <5 fRSft ^ p r ”11 These Nats like the other branches of the art are purely of a religious type. They are meant for propagating religious culture and educating the people of the province with the sacred tenets and stories of the Vaishnava cult. The language of the Nats is a mixed one. It is Assamese and Brajabuli mixed together. The later is a type of the Maithili dialect spoken and adopted by all the Vaishnava priests of the country. It was a sort of religious lingua franca at that time. It was also popularly called Brajabuli, since the cult of (Lord Sri Krishna had mueh do with ‘ Braja ’ or * Brindaban ’. “ Buli or B olv means the word dr a language. It was adopted to attach a religious syipect tp the art. h i 'a - fh ti rP ST nth I a these Ankia Nats we get three types of compositions. First the slokas composed in Sanskrit, then the Kavyas or the lyrical compositions in the shape of Bhatima, Pada, Payar and Gits (known as the Ankia Gita), and last the Kathan ('P*R) or the prose portion in the form of a dialogue. -W* ^ ^ 1 ? * fW'wWWm) .gST Before the beginning of a play a group of musicians who are called “ Gayan and Bryan ” play a rhythmic orchestral composition known as the “ Bar Dhemali ” (described e ls e w h e r e I t is played with the accompaniment of the Khols and cymbals, like the “ Keli Kottu ” of the Kathakali played upon the Suddhamadal and Chendai1 It corresponds with the “ Nir*gita or Asura Vadya ” fowning tbe .external mate omental music of a Purva Ranga of the Sanskrit dararas described by Bharata in his Natya Scstra.11 ,m\o After this a prayer in Sanskrit sloka which is called Nandi is recited by the Sutradhara along with an introductory verse on the 1. 2. See Dr. V. Raghavan, Katheksli and other form? of Bharata Natya, th e Triven i,\ol. VI. ii. pp. 147—1 7 ^ e theme of the play. The prayer or Nandi given in the Kaliya Daman Nat composed by Sri Sankaradeva is given below along with the introductory verse of the same,toon v Je$ aw slcK emdi ni W-y jPRK, ( 5^ ) 11 nBmb The introductory vers'd :-&$ 0ll0$> f iiW$' $W *'— ; c fc ’n * h ^mrrrsr (?) ^ »rt.... m atff frmnR q% cgfoqr ^ dJ , ^ an, *.<*, ^ ^ || . ' A ' [ Next the Sutradhara announces the theme of the play and requests for attention both in Sanskrit and Assamese:- ,m j|u E.g. • ii v; ^ 1 m sraat w m ii 5W: $<®rR *RR fiRR W : I ^stfsR ^TR QZJttjrj 5TT3cf^ || After this a Bhatima called “Muktimangal Bhatima” is sung with a piece of advice to the listener as to how best he could realise the way to God, along with other religious matters. These Ankia Nats are even to day very popular frith the people of the villages and the general public. They are regarded as very sacred. It is also customary on the part of a Satradhikar to write at least one Ankia Nat before he can claim for such an honourable position and place in a Satra (religious monastery). The Nats com posed by Sri Sankaradevathat have uptill now survived are the follow ing:— (1 ) Kaligopal or Ras-Anka (2) Kaliya Daman H aoohav <\oo km (3) Ramvijay or Sita Swayamvar (4) Rukminiharan (b) Parijatharana and (6) Patni Prasad. ^ efeuffrttf « «A The Nats composed by Sri Madhavdeva are :— (1) Arjunabhanjan or Dadhimathan \2) Bhojan Vyavahar 1 .un-mi (3) Bhumilotowa , U! ajol# 0? (4) Pimpara Guchowa gaua m (5) Chordhara ! tf (6) Kotora Khelowa (7) Bhusan Herowa and (8) Ras Jhumra. Besides these there are other Nats too composed by the Atas (disciples appointed as teachers by Sankaradeva) and the later Satradhikars. I > h ' Dance >onail * sl&afta In the dance section we find mainly two types of dances (1) the “ Ojapali” and (2; the “ Gayan-Bayan Nritya”. The^® former is entrusted to the family of dancers known as the Ojas and the latter to the family of the “ Gayans ” and “ Bayans ”. Of these two types of dances, the Ojapali form adheres to a very elaborate system of its own. 3 2 162 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXI Ojapali:—First of all I shall briefly put here the method that is adopted and followed in depicting this type of dance. It is per formed by not less than four members of a group. Generally it consists of ten to twelve members in a party. The leader of the party is known as the Oja. Tbe Oja here means the leader of the party.* The next man of importance performing a very difficult role is the * Dainapali * the exact meaning of the word is difficult to be followed. However, it may be suspected that the word “ D iana” may be a corrupt form of the word ‘ Dahina,* that is, Right—E.g. “Dahina Hasta,” that is, Right hand. So it may mean in that sense an important member of the ‘ Pali * group. The word Pali may come from the word <1^5 that is, a turn. (An Assamese word.) Thus when we say that it is your turn to do this work, we use the word * Pal ’ for the term ‘ turn ’. Hence the word Pali may mean, one who is to do his turn, that is a helper. ■ ) &$#h& a Hi The Dainapali serves as a link between the Oja and the rest of the Palis. He is mainly responsible for keeping up the links and continuity in the various stages and changes of the show, when the Oja explains through the hand poses (Mudras) some story or an event and the Palis through the songs and rhythmic variations help him to clarify and beautify the meaning of the story before the public. As a prelude to the commencement of this type of Ojapali dance, the Oja first of all sings the “ Malita-tTlferTT ” of a Raga. Then he illustrates the very raga with the help of the words such as —Ta- ne-na, He-re-ri, Horeta-ne etc. Then in that very raga the Oja sings a “ Guru-vandana-3?^^ ” or a sloka. Generally the sloka “ ?RRTq =q | JRifapTRPT filfsRR fRr JR: is sung along with the hand-poses. At the end of the sloka a Borgit of devo tional type is sung, and the meaning is explained bj’ the Oja by means of the band-poses and the movements of the body. The Painapali and the Palis keep with their feet and the small cymbals the Various rhythms and movements that go on changing along' With the tunes and the meaning of the Git. In these points of different changes and shows that the Dainapali comes forward and effects a harmonious cooperation between the songs and the rhythmic execution of the Palis and these various side steppings, general body movements and the hand-poses that are adopted by the Oja. Generally, though the Dainapali remains at the front of the Palis, ♦Oja and his further dimmitive Jha are corruptions of Upadhyaya mean ing teach er.—- V. R. > • • PABT^I-IV] MUSIC OF AS8AM 163 yet he is to be seen moving very often near to the Oja and that of the Palis. ... . , ^ At tbe end of the Borgit a passage of music . called the “ D iha” is sung (the word ‘D iha’ might have its origin in the word, “ Disha-fe^F ” meaning a way or a means ; that is, from the word ‘ Dish-f^I ’ or direction,) I place here a portion of the Diha that is sung while depicting the ten incarnations of God popularly called * Dashavatar’. The Diha runs thus ; V ‘ ^ f ^ WJ *q I ^ qi^qr ”—meaning “ Sing the name of Kama and get a picture of the same within your heart. This is tbe way foryour salvation and Truth”. As soon as the Diha portion is sung, the Oja begins with the “ Dashavatar of Vishnu ”, First he begins with the “ Ghosha ” and the “ pada ” of a prayer, the first incarnation of Vishnu, that is, Matsya “ ^ ^ ” and then explains it by means of the Mudras. After that the Palis repeat the same ‘ Diha' and the Oja begins the next ‘Avatar*. In this way the ten Avatars of Vishriti namely (1 ) Matsya, (2) Kurma, (3) Varaba, (4) Nrisimha, (5) Vataan, (6) Parasuram, (7) Hali Rama, (8) Sri Rama, (9) Buddha, and (10/ Kalki are described and depicted by the Oja while the Palife go on repeating their ‘ Dihas ’. These oft-repeated Diha portions between the various Avatars give a certain amount of rest to the Oj.-t as he is to perform a very tough job by combining in himself the role of a singer, a dancer and at the same time a commentator to the general public. By the word rest, it is not meant here that Oja completely detaches himself from the general strain and the rhythmic movement kept in the background by the Palis. But, during the time that, the Palis repeat the Diha, the Qja comes back to the group of the Palis and joins them iq their generajfi7 strain and rhythmic movement (of course without any kind of voeal-demonstration) and prepares himself for the next part of the show. , . As soon as the Palis finish the portion of their Diha, the Oja darts forward by singing the next pada of the story of the Avatar I & describing the incident. By means of the Mudras and body move ments he again clearly explains it to the public, This process is thus continued until the ten Avatars of Vishhu are completed. 16£ THE JOURNAL OF THE MADRAS MTTSIO ACADEMY [VOL. XXI In explaining the Padas that describes the incident or the story of the show the Oja adopts two methods of illustrations :■—One in poetic order and the other ip a prose order, which is also known as ‘ Kathan-^*T«T \ ,(jtn < * hiow sdi) sou a ai " sdid Vl First he sings in tune the poetic form of a pada under a rhyth mic movement while an illustration of the same is given by means of the mudras. E.g. the pada: 1 1 ;nLi - * ! ‘ I * swl mr*\ * m mm* ( Having finished his Kathan the Oja gives out the Dhura of another raga and begins the other types of the Banas. Alonjg with the Banas such portions as “ Jhuna” is also sung. i It ii used fin such circumstances so as to denote a happy mOod, rejoicing etc. Having changed and continued the ragas and the Banas For some seven or eight times the story is made to finish by means of the Banas known as the “ Thaka-Bana **. In the end a portion called “ Upadesba”, i.e. advice, is sung, such as how to follow and respect tbe teachings of God. Thus the Here it may be remarked that this Ojapali dance belongs to a Pre Sankari Age and as such we find the name mentioned in some of the early works of the Assamese literature. Furthermore Assam, that is, the ancient kingdom pf Kamrup, was never lacking in its art of dance. Reference to its culture $pd t development can be had in the Mahabharata and Puranas. -w * From one of the stories there we come to know that Goddess Parvati, the wife of Lord Siva, taught the art of danoe to her friend nl)evi and Chitralekha, the former the daughter of the king Banasura of Sonitpur kingdom, now known as Tejpur in the District bf Darrang, Assam. mm aid s adt m oil Chitrangada a princess of Manipur (Assam) and the mother of that famous hero “ Babhruvahana ” at whose hand the great warrior Arjuna, his father, was killed , was also an expert in th e art of dance. Next we find Sali “ Behula”, who could bring her dead husband back to life by means of her dance that pleased the assembly of the Gods. ; ntaiaad art titi '"?• anaii rfaTir'fiTifft1! Even the Goddess Kamakhya is said to have danced in her temple, and when betrajed by the priest Kendukali to king Naranarayana by stealthily showing it to him, cursed and had his head severed^ 017 (*} ’ ir»dH f«a3u1awl eri Therefore with a long tradition in the background regarding this art of dance, Ojapali might have had its evolution before the advent of Sri Sankaradeva. But it will also be safe to infer that Sri Sankaradeva might have beensomewhat, responsible for the present set up of this type of dance that is found only in the Satras, that is, monasteries). - nT\how With reference to this type of dance (Ojapali) it may be mentioned liere that an Oja named Suchand ” son of “ Swachanda 33 166 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXI Rai Oja ” translated into fhe pjd Assamese language a treatise of dance named “ Sri Hasta Muktavali ' , . This happens to be written by one Subhankar Kavi. In tbe second sloka of this treatise we find hie name mentioned in hm ansai erf,* Nggbnna ha be and* v H “ Dbibandhur gunasindhudurdharataro gadhahvagadha- s sphurat- - ’ 1 otfi as nwoni tnantt eidf .gntia at Jyotirnatakanatiko’tivialasatsangitavjciyoddhavah j a.l edr 1 )hirambhodhikalanidhirvimalayan Sangitamukatavali- Sammodaya Subhanlcaro vitanute Srishastamvklavalim a oi Again in the fifteenth sloka of the book he is mentioned thus :— b> omoa ai‘b&samy utanam hastanamaddesah hriyate’dhutia **** Subhankarena Kavina nanabhinayasalina »(T nf Aboiit the time and the place of the author or as to when and where the book was written no direct evidence can be had from bis work. From the sloka number nine-hundred and twelve we find some sort of connection between the author of this book and the people o f Uskiar, and most probably he, was of a place of that name. The sloka runs thus Ye Ye hastaka-sastxagna usinara mahattaram iTe* pugrihnantu paramam mudamadbharatimimam 1 ”* iinofc lo From the sloka number 539 and 911 we come to know that what he had written in this book can be found approved of by Bharata too ; t moreover he maintains that after/carefully going through the var ious . treatises of music, this intelligent book had been written by him. A Sloka No. 539 rune tbuaxriw sludoH ' tUi* bn it sw ixoV. Yatra ye \ e maya pfoktas ta prokta Bharatadibhih Aparetarajajiang (?) nicha hast am vinirdiset n i b fo ju .a v d ism a l saebboD erfi o»v3 gnjj[ and tlie sloka No. 911 ,8 th,^ ^ . , Yatnat sangita-snstrani vilokya nikhilanyapi Rachitam Bharatimetamadila (?) vichakshanaih \ , u{ He mentions in the sloka number two hundred and one that he himself learnt 4nd* wrote this treatise under the influence of the famous poet named 11 KaVj Ghakravarti/’ and is so confident of his * This MS of the Hastamuktavali with Sri Das is a very valuable one, as only CnA' Its. o f it has beeU tshown hitherto in private possession in Darbhanga, and that too incomplete, extending npto the Mrigasir.-ha hasta. I compared the work in many places with Bharata and rOuncf ft very useful, and in teresting especially in the variant forms and additional applications given by it j ana the Assamese gloss makes the Mis. all the more useful — V, R. ADasaoAWQ to floe Dnaaows Danuta «{U ft# $MB3 ei^rf permit usm fC PARTS I-JV] THE MUSIC OF ASSAM book that he promises to make one proficient in the language hands if he would carefully go through the work for a mohth fj imwsM afoai )nye ajuuaq rTiifltmigoiioiriania aitdoauAf siicjo VJP'TT 1 at M . , , , . . la^J^^byata kavi-chakravartipadavi-sangena sangitavit eiiiiafl ‘^dkhangi rachana nitanta chaturaty sartaka lilakarah , Srimanesha Subhankaro vyarachayat srihastajnuktavalim Tatrayam byaska manmanoharatarah khyatah patakakarah j| The other sloka is > .*->■] al* “ Masenaikena hastajayah karaniyo jano maya | j>-t Iti pratijnam kurute hastamiiktavalim swayain |j As in books of this class, here too we get three types of bands (I) Asamyukta (2) the samyukta and the (3) Nritya hasta. The Asamyukta hand has some thirty varieties, the samyukta fourteen and the Nritya hasta twenty seven. The following are the Asamyukta vaireties (1) Pataka (2) Padamkosa (3) Hamsasya ^^ $|thfila padma (5) Tripataka (6) Kartarimukha (7) Mushtika (8) Shikbara (9) Ardhaehandra (10) Sarpasira (11) Suchimul^a ( 12 ) Arala (13) Sukatunda (14) Sandamsa (15) Kangula (16) Urananabha (17) Mriga3ir«aka (18) Hamsapaksha (19) Tamra- chuda (20) Chatpra (21) ,Mu,kula i22) Ka[*ittha (23) Bhramara (24) Kadamba (25) Krishnasaramukha (26 Ghronika (27) Simhasya IndTamtrlmijkft.'1' ,T° ,] ” The. Samyuta varieties are:—(1 ) Gajadaota (2) Kapota (3) Vardhamana (4) Anjali (5) Nishada (6) Karkata (7) Utsanga (8 Avahittha (9) Swastika (10) t>bla (1 1 ) Pushpaputa (12) Marala (13) Makara and (14) Katakavardhamana. The Nritya Hastas a r e (1) Kesabandba (2) Nitamba (3) Rechita (4) Ardhareohita (5) Chaturasra (6) Udvritta (7) Pallava (8) Pakshavanchita (9) Lata (lOpNatmukah (Talamukha ?) (II) Swastika (12) Viprakirna (13) Aviddhavaktra (14) Suchyasya (15) Arlalakatakamukha (16) Rakshyo (Vaksho?) mandati (1-7) Urasparsvardhamandali (18) Parsvamandali (19) Urdhvamandali (20) Mustikaswastlika (21) Pakshapradyotaka (22) Karihasta (23) Kundapakshya < 24) Garudapakshya (25) Alapadmonnata (26) Uttanarechita (27) Nalinipadmakosa^j floitaoq stff menl vllao Of these seventyone types of hands, each hand stands for various objects and their different states. Thus pataka hand alone stands jFor twohundred and twelve object? under various circums tances. A few example of them are given b e lo w F ir s t a pataka ftlgifojq bn > , : riB to noIJTou wFj moil Dia’inui wvoai band is described bke tbis t€Wo jfoso nf»3sj sis yorfl 168 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXI Prasaritagrah sahita bhavantyangulayo yadi ^ ^ Kunchita kinchidangusthah pataka syat tada karah |] This pataka hand when touching the forehead is made to come down along with tbe head, denotes a king, a nayaka or a master— ‘ Pataka bhala-samlagnachesna mechhirasa saha j Subhankaro bhanatyesa Nripanetari bhartari/ * Again if this pataka hand is taken near to the ear it denotes a sleeping state ; to the nose, vismaya or astonishment, '’TWr ” If both the pataka hands are taken near the hair it denotes the arrangement Of hair. If they are (sideways) placed on the cheek and the eyes are lowered and turned sideways it denotes shame, sjuif jf the left pataka hand placed on the chest and the right in the front, then it denotes prohibition. In this way we get hundreds of applications out of these seventy-one types of hands. More over in the case of some hands, the author gives a double form of expression. Eg. the Ardhachandra hand and the Kaitari- mukha. The author gives these varieties to show that we may use the appropriate hand to suit the occasion. r The Oja too in translating the book took a great care to see everything in a perfect order and often used his own experience and skill to explain some of the slokas in an exhaustive way. Thus in the description of the “ Kesabandha” hand we find like this, (£1 ) vi™8krantau tatparsve champaksthitou (?) | Tripatakau Yada hastau Kesbabhandastada matah tw^h the Tripataka hands are separated from, and again placed near tbe hairs, then it is called a “ Kesabandha Hasta.” Here the Oja gives some of his own?directions. First of all he says that if both the Tripstaka hands are just given a light push and a stop near both the ears and raising a little high separated and brought back in the same fashion near to the hairs of the ear it becomes a Kesabandha Hasta. * 1S> Next he says that if both the Tripataka hands are taken artisti cally from the portion of the forehead to the back, turning them Ovfer the shoulders again and again then it is called a “ Kesabandha sS lltfrA M arfatof aodT .seJsfs fneielifo bos atootdv-awMsav The third form ia like this. Here both the Tripataka hands are moved forward from the portion of the forehead and brought back again to their own position. Then they are taken back over PARTS It tv] TH E M U SIb OF ASSAM the shoulders in the Hat positibn and brought back again near the ears. From the ears they ’are separated sideways and biought back to the portion of the forehead. This is also known as Kesabhandha. This hand has been cited here because the Other treatises of dance use the Ardhaehandra or the Pataka hasta for it. We may see ourselves whether to tie a knot of the hair, this kiqd of Tripataka hand is not a more appropriate one. So far we see that the Oja in translating this book did take great pains ancf care to explain the slokas and their meaning in a very simple style in the language of the province (Assamese). Moreover be elaborately explains tbe meaning of each of the Mudras and their uses in Varied and different circumstances, so that even lay men could understand his directions. Perhaps if is for this reason that the dance of tbe Ojapali had become so rich in its style of depictions and expressions through the hand-poses. ; jv n >! Regarding the second type of dance which we may conveniently term as the “ GayaJnbayan Nritya,” we find types of them like Chalinas, Jhumurnas, Krishna®, Nandanas, Sutradhari Nritya, Ras Nritya, Pravesfi Nritya, Khola Nritya, Kaliyadaman Nritya etc. This dance is more or less of a rhythmic type and depends more upon the steppings and rhythmic executions played upon tbe Khols. Vocal music remains totally absent and the hand poses are not so ela borately used as in the Ojapali nritya. The dances totally depend upon the big rhythmical compositions played under the different forms and layas. Whereas in Ojapali we get the full picture of a story with the vocal music in the background and described by the Mudras in a very clean and perfect manner, this dance can satisfy us only with its smart footwork, graceful rhythmic movement and that perfect command over the different time-measures. Vf tt , ,, .'iov m o islmo noiviidp oir satinis Here I could give only a very meagre idea about the dance and music of a school so old as the present one which has been, besides, sinking very rapidly in the Ifist sixty years. Nobody has nptil now tried or dared to touch it, either for improvement or a reorientation of the system and the work that have been handed down to tie from that greatest feint of Assam. Naturally therefore it becomes impossible to measufe tb wbat ah extent we have had to lose becahse bf this attitude of bs, as the exper«8 of the older generation slipped out one by one. - I * ! . i .... „ * i, , \li t I’' t i ’t ¥ * n ft y Til ( j ^ I f J |J| f However, we cannot also deny that only because of this rigid view, the Satras have been able to keep so much of this ancient tradition in tact. 1 think it will be a matter of surprise to many to hear that Such kinds of dances exist in a land which is known only 34 17jf) THE JOURNAL Of THE MADRAS MUSIC ACADEMY /[VOL. XXI by its Manipur Style '’, No doubt we are proud of our Manipur dances and also glad tbat it has come to occupy a dignified plaoe in the group of the Indian dances; yet it will be a matter for pity and shame to neglect i these M Satriya .Dances ” that have got such an old tradition and scientific background behind them. m.t sen The reasons for these Satriya Dances being known so very little may be found out from some of the following points. edt «utiiro n# otflo Kfta mti'taa Iasi's erfal mb jtoodjirfi vaiiuIannKt . 1 . First of all the Lama-like seclusion of these Satras and their activities in a far off corner away from tbe maddening crowd tended to a disinterest amounting to a neglect by the people living in the towns...... , r biooo mm vaf neve md.f ■ Hii 2. Secondly the failure of the outsiders 4© take a first hand knowledge about tbe condition of the province regarding its art and Ito oqrt huooaa 3. Next tbe undemonstrative and careless nature of the national character and mentality of the Assamese people under a nature’s dreamy atmosphere with that notorious gry-Slow movement i'm all her efforts has kept everything in dark. > aeel *>«•• et ora at »' «od> aidT 4. Last of all, Assam is the youngest member of the Union who remained a separate and an independent Kingdom till the Yandabu pact and did not bring herself so much to the notice of her elder members; it is only the second world war and the recent earthquake that have created some interest in Assam. Therefore I think I shall not strike a wrong chord, concluding with the feeling that it is naturally painful to see that these dances like tbe other arts of the Sankari Age are gradually sinking and fading into oblivion under our very eyes; the loss is not only to the province of Assam alone, but to the whole of Jfndf^. We shajl now turn towards a comparative study of this music of the Sankari A,ge with that of the present day Hindusthani form of , I PHty awob foebesil' need vvud iad* show * usIej* (1) In the first instance we find that tbe style* Of composition of the Gits differ from the style of composition for the songs of the Hind-usthani music. Unlike tbe parts of “ Sthayi,” “ Antara,” “ Sanchari” and “ Abhog ” in the songs of the Hindusthani music, we find here “ Dhrung ” and those different parts which are known as the “ Pads ” of efda need -r/ud imtoflf edi’ m*M (2) The Tals that are applied to the soags of tbe Hindu thani music differ totally from tbe “ Tals” that are used here alon 5»WfcT8 P-IV] Mirfcic OF ASSAM with the Gits. They differ not only in naifte but also in their rhythmical variations and constructions. i* so ^ The various styles of interpretations of these Gits differ totally from that of the songs of the Hindusthani music. (This point has been illustrated already.) atffi# Though some common Ragas are to be found in both the Gits apd the Hindusthani sort$s* yet we do come across some of the Raga8 mentioned in the Gits that are not to be found m Hindustharti music. (These special Ragas have been mentioned before.) (5) Again the methods of illustration of these Ragas in the Gits accompanied by a “ Rsga malita ’* is different from the method of illustrating the Ragas of the Hindusthani music. Besides the above mentioned points, our further points for consideration will be whether these Gits could be a part of the present day Hindusthani form of music, which is a mixture of the Indo-Islamic features. J a s w o Jn i i&i Rf; In this connection it will be worth while for us to remember that Mahapurusha Sri Sankaradeva was one of those Vaishnava saints who appeared all over India at that period to safeguard the cause of Hindu religion, art and culture against the foreign domination and influences upon them. 1 maw * We may also mark that it was an age of renaissance and reformation for the Hindus With regard to their own religion, society, art and culture. . ; ’q *dl w e ^ - * i f t 3 T 3 p « ! t Vflb tnewq mo \ elmni-n »k bo7bu.iid -r/tt !< >faRrftfRft || irmdjMihniH .aoiieJarx* an lo© $ * * * ! & fq^r^T fqStffq ,»tod w Jduob I ^ ^ mm„ , odi as twauui an of : 8 aniaooda lo hao tsni lo aoioanA & •TlWfpt# II t euMma ...... *>tpfiuvr,v ...... sibnl fla fledw ►{ etll ioK od,t lo nistii 108 :)(WK l^rqqfqfq^ sfod fqq% iw fa q ^ c i l aijMoi ©1 b _ _ ^ ^ ______Here ie an example of a Borgit and an Ankia Git composed Sri Sankaradeva in the early part of 15th century. I I?RIRt II 10 ?7®(| Sldl H 5PT SPT qr^q sir-qq ariqr ^qqrqrf^5 - qrm I i&di eejnnadf) b) m *\ ^qqqtfqfa, W$m «§fa ^ ^mr II done&thk© ed.t it da w o n * ' ^ ooi to ol/ta edl &t<. m tth v uMoiunh 5R1SR 3f)qq 3Rr^«T b a h t o n o fe ^*10 » d j l o •>{({(, >‘j od q ^ T rF S ; 'F q ^ XW&oep dl£ I ed .uibal 1© etodw %q ?,qq faq faqrciq hmhgir© lierf? m «3ftqqqq srfqqreft u : 5tqq q5^ ! qrqq q # q oiaoiu odl lo qq? woidit 7am qa %^q =qw PARTS I-IV] MUSIC OF ASSAM 175 An example of an Ankia Grit If a . — rqrrt fTTO I m : h # r c r ir - ^ il 3 5 176 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. “ Jayadeva sings his Git with f“ Tala”-cy»iibal) in his hands ; so I speak of th e ! Malita (description) of the Raga and listen attentively”. j| y]ppt : • (2) It is said that the composition of the Borgit: I! y T>m - inf! ” — was written by Mahapurusha Sri Mahadeva in the temple of Puri under the influence of the idea of Jayadeva praying to Lord Jagannath for his “ Darsan ” when the priest of the temple debarred him from a visiting the same. (3) The idiomatic use of name in the Assamese language namely “ ^T^fcT ” denotes a prayer or supplication to the degree that cannot be refused. I '&iU r rb pyp , . (4) We fit d his work—“ Gita Govindan! ” translated into the old Assamese language of the province. (5) Similarity of ideas between the work of Jayadeva and that of Sri Sankaradeva can be found from the following passage of a 4* Muktimangal Bhatima ” composed by the latter in the Nat (drama) named Keligopal or Ras-Anka; compare poet Jayadeva describing the !ten Avatara. *,ii ,h-,> .,.o ?*„* xdluuy.Urt arlt lo rfoaa ni Description of ten avatars in the Muktimangal Bhatima written rtotJri odt lo ifoaelo Asrtele faifi eriT .saerfj iiHow | ft I fiiv, flvoisfO erl* «* 4r h ,j f «* am *# *rr^; t o tBoM *r*T t&frT ^ 5ppm^h?T ^ n :J° h> ■'“* (;5 '' ‘ f t fM d ?# ^of|>^or(%or^^T^ Rhl fJi n 'lh ..... etu. * s FARTS I-IV] Y w m m MUSIC OF ASSAM 177 Further Mahapuruaha Sri Sankaradeva had the full experiences of both the north and the south of India. In his first pilgrimage, covering a period of twelve years, be roamed throughout the various places in the north and the south, visiting all the holy places, studying the different doctrines of Hinduism, and taking stock of the different forms of music used in the temples. He had also a journey for the second time covering some years, and thus with His extensive knowledge over many parts of India built for Assam the most unique edifice of her social, cultural, spiritual, musical and literary achievement undimmed even after such a long period of time. Therefore it can be stated that with his vast creative genius and extensive knowledge he might have evolved a form of music more in keeping with the traditions prevalent to suit the aesthetic and devotional aspects. • > ; ; . i5: The atmosphere created by the music of the Sankari Age will at once strike a listener or an audience about the ancient and grave character of this art. For it is at once a sedate and a calm, there being no room for lighter sentiments. The particular dress and costumes used in the performances lor. those various dances of Ojapali, Sutradhari, Chalinas etc. will remind him of an age that have long beeta forgotten, at the same time very old. Secondly in the Ankia-nats (dramas of the Sankari Age) every actor is to appear in the stage with a particular dance performed by him. This denotes and speaks of a system of an old age when the art of dramaturgy and dancing was regarded as one and an allied subject. It was tbe custom of the old.dramatic player or actor to appear on the stage with a particular dance, when he was introduced by the Sutradhar to the audience. Then again from the “ Charitputhis ” we come to know that at Batadrawa, the birth place of Sri Sankaradeva, at the request of his listeners and disciples, he bad to execute a Raga named Vayumandali. The effect of this Raga made all the leaves from the trees fall down to the earth ; but when he again sang the Raga Vasanta new leaves sprouted out from those barren branches of the trees. Again from the Charitputbi we come to know that “ Ai- Gosani ” i.e. the wife of Sri Sankaradeva was not at all willing to let him undertake pilgrimage’for the second time, or to Brindavan at least. But when the party of Sri Sankaradeva was ready to 36 178 THE JOURNAL OF THE MADRAS MU8I0 ACADEMY [VOL. XXI march for the pilgrimage, she extracted a promise from Sri Madhavadeva (the most favourite disciple of Sri Sankaradeva) not to let Sri Sankaradeva go to Brindavan or accompany him there. When asked for the reason she told Madbavadeva that very often during his sleep Sri Sankardeva used to startle up- and utter the name of Brindavan, and if she happened to enquire of its causes, she found him full of emotions and then burst into tears. It is for this reason that she did not want to let him go, least to Brindavan. i In the course of their journey when Sri Sankaradeva asked his followers to march towards Brindavan, all the members of the party pretended to be weary and bereft of money. It is at this point that Sri Sankaradeva volunteered to bear their expenses and told Sri Madbavadeva to avail of the opportunity to hear and see at Brindavan those very Gits, Ragas, Dances and Dramas that he himself h taught them. So we may conclude that these types of the Gi Ragas, ete. of the Sankari Age were also cultivated at Brindav in that time. i iori sLf Next we find that even up to this day the Gayans and the Bayans after their performances at the Kirtan Ghar (prayer house) used to pray and tender apology for the mistakes that they m ight have committed in their execution of the Ragas and Talas of the Gits. li'i! Last of all the particular mentioning of the Raga names and t* i*: the Tala in the particular Gits serves to dispel doubt about the genuineness and scientific character of these Gits or their imports Therefore considering all the facts that have been enumerated aboVe we may come to the natural conclusion that whatever materials we may be able to gather from this art of the Sankari Age will be worth preservation in consideration of its ancient heritage and the uncorrupted character of its own form. We are certain that even now this art may claim to preserve its own purity of form and sty i • due to its peculiar circumstances and environment. But the most pressing and immediate need facing us is how to preserve and colb/ct the best available. materials of this art. Even to a most casual observer it will appear clear that during these past fifty years decay and dissolution have marched forward at such a pace that there is every reason to believe that this art will be swept out of its existence within another fifty years or even earlier. First of all, the old experts of this art are dying out one by one and no worthy successor has been found to (take up) this line. 1 ^ ' u / ^ • m m /B / / . / PARTS I*IV] THE- MUSIC OF ASSAM 179 Secondly that religious reverence and high faith which marked the chief features of its cultivation and are no longer to be~ seen in tbe votaries of this art under the present back ground of the mate rialistic outlook of life. The votaries are getting neither any kind of aid nor encouragement from the public, members of the family or temple-authorities. Their selfless labours and pursuits are regarded as insignificant activities of life. Naturally the art has been reduced to a mechanical form ; that life and vitality which had been once infusing vigour and strength for its development are vanishing. Thirdly after the advent of the British the very outlook and atmosphere of the life of the province began to change. Newer and fresher ideas began to podr into the province from the other parts of India and more specially from its neighbouring provinces, to the detriment of these traditionally cultivated arts. Thus we find to-day cheap ideas, expressions and sentiments taking root and infiltrating into the melody of these Gits. So long as the Gits were confined to the temple alone, they were alright, but the moment they were dragged out of their seclusion and confinement and put into the public field, the sentimental mass and the people at large, and the young generation began to adorn them with that ultra modern and fashionable make-up to suit their own tastes to the coat of the purity of their style. Fourthly these Gits happened to be so constructed and set in such difficult moulds that, without proper training and constant practise, it becomes well-nigh impossible for an ordinary singer to perform them. In course of time when that regualirity of practise went out and the zeal began to abate, they found it difficult to stick to their former standards, and naturally began to deviate and devise and take all sorts of liberties with those Gits, to make these easier and more simple On the other hand, the conservative outlook of the custodians of these Gits themselves contributed to the decline of art. Fearing competition and exposition, they not only try to hide their own art but mislead others by a false account of the art itself. Therefore our problem is how best to try preserve and collect all the available materials that can be gathered together from the different parts of the province. For this purpose we shall have to go to the various “ Satra—institutions ” and those various places where 1 8 0 THE JOURNAL Of THE MADRAS MUSIC ACADEMY [VOL. XXI the art is cultivated. Similar will be the value of tbe study of the dance and drama of this province. That this art of the Sankari Age is an unique piece of our old culture will have to be admitted by all, even though we are now In possession only of the last remnants of that fine art. I think it will be a pity and shame for us, at least to the people of Assam, if in this very age erf self-consciousness, outlook of life, we be so negligent to a cultural heritage of ours of sueh a significance. I think our apathetic outlook and notorious sloth will simply be criminal in character and make us traitors to those bygone martyr saints as also to the generations coming after us. ni Jas bfljj befeu’vtaaoD oa ad of feoiieqqad. efiO ©tod J imo j fiijftfenoo bn* grimis*! aeqoiq fnodfiw .faiij abluo of legnie viwaibno m eel eldiasoqmi djjin-iiew sera oakomq lo yJhilsngof aedw emit lo eaiuoo ni oljo. M iia floofflii) Ai biiuo'l votiJ .©fad© oJ Is&x a Jin ealvab has atfiiveb of (lujjed bum ,ainabna.ia lamiol ot taiieo aeecM edaar & i eaoiif dJiw sokbed illo abos 11s eiaf hue ekimra o-ioir &a**hoJ»«o erfflo Joofiiio avktenesnoo ©iff JiimuI lailfo erff t(0 %nhm% . Jus do ©ttlloeb odi ©J boJodhJno;> aeviaa&sdj aJifi ea i’m mm r .noUiaoqx© bn# «©&«* dloeJi J'jjb ed# lo Jnuoo>* aaUl m ? Joeiio mm mwemq '■<’ *orf wod ai msfdmq Too eiol&ia Oik (if! lodilogoJ h*n* r Hag td mb iscfH afeiiote-uf oidfrfbri •f mil lit* da aw esc p m h it n/*f .aonjvvm i ad J lo ab.ee THE HASTAMUKTA VALI OF SUBHANKARA * T BY Dr. V. RAGHAVAN In the footnote on p. 106 above, I have mentioned only one more manuscript of the valuable dance work, Hastamuktavaji of Subhankara, a manuscript of which with Assamese gloss is in the possession of Sri K. N. Das, author of the article on the music and dance arts in Assam printed above. I forgot the complete manuscript of the Natya work of Subhankara found in the Darbar Library, Nepal, described by H. P. Sastri in his catalogue of the Palm-leaf and S e l e c te d Taper Mss of that Library (1905) on pp. 270-2. > I Mm 37 — ...... p p THE NON-MUSICAL WORKS OF SOME LEADING MUSIC WRITERS m D r. V. R aghavan In my article of the above caption in Vol XX of this Journal, pp. 152-64, I dreitf attention to the contributions made by some leading music writers in other fields of scholarly and literary activity and gave a brief account of the hitherto little noticed or unknown works of two important music authors, the Jatimala and Anyokti- mukt&vali of Somanatha, the author of the Ragavibodha, and the Sighrsbodhini Namamala of Pundarika Vitthala. Here I shall draw attention to another work of this kind written by Pundarika Vitthala. b.'is ni si lot joaiHXiioi wf4 sdJiow&Jou ?.i il Just as, in later times, the subject of Nayaka-Nayikas was separated from general treatises on poetics, dramaturgy or erotics, and special tracts like the Rasa man jari arose devoted exclusively to its elaborate treatment, a further step towards specialisation resulted in the production of a text solely devoted to the elaboration of tbe work of the accomplices in love. In Knvyamala gucchaka XIII pp. 25-32, we have a text of this class called the Dutikarmaprakasa. The author’s name is printed in the heading as well as in the body of the text twjqe as Pandari Vihvala1. There is an editorial footnote saying that nothing is known of the author. I may state here that the author is none than the famous musicologist, Pundarika Vitthala, author of the Sadragacandrodaya, Nartananirnaya etc. It has already been known that this author signs himself in his works on music and dance as Karnata-jatiya Pundarika Vitthala, that he hailed from the Karnata country, that he was first in the court of Burban Khan of the Farukhi family where he wrote his Sadragacandrodaya, then came under the patronage of Madhava- simha and Manasimha of Jaipur mentioned in his Ragamanjari and through them got introduced to Akbar for whom he wrote the Nartananirnaya, and that he flourished thus in the latter half of the 16th cent. A.D.2 - 1 The text as printed here shows corruptions and gaps. 2 See ray Later Sangita Literature, Journal of the Madras Music Academy, Vol. IV. p. 58; and P. K. Gode, ibid; Vols. VI-VIII pp. 119-126, Chronology of the Works of Pundarika Vitthala. PARTS I-IV] 80ME LEADING MUSIC WRITERS 183 In the Sighrabodhini Namamala preserved in a manuscript in the Asiatic Society of Bengal, Calcutta, (Ms. no. G. 760; Des. Cat. Vol. VI No. 4709), we have a lexicon complied by him. In this Dutikarmaprakasa we have yet one more work of the same Punda rika Vitthala as can be seen clearly from the following evidence: the beginning words of the opening Mangalasloka of the Dutikarma prakasa are identical with those in the Sighrabodhini Namamala: arRrft | The colophon of the work runs : which is evidently a scribal ellipsis for the fuller etc. found at the end of all his other works. Further, at the end of the treatment of the Dutis and at the beginning of the treatment of the aids of the Nayaka, we have a verse here which informs us that the patron Burhan Khan, son of Faruki Taja Khan, whose is mentioned in his Sadragacandrodaya, asked Vitthala to compose this tract on the accomplices in love. X V' (*6)7 : 'brw^rft (7T) WJ3 : HTSct 7656^ : | (6) ifTOnlr (§) II In this tract, Pundarika Vitthala clearly appears as using the Rasaman jari of Bhanudatta. On the Nayika-side, the following addi tional female aids are mentioned by him : Vicitrfivacana, Ganavati, Prasangini, Skalita, Para-chitta-viseahajna, Cheshta-sanketa-kovida, and Sauciki. Pandari Vitthala appears to be the correct form of his name. The colo phone in the ms of the Sighrabodhini Namamala also read Pandari (ka); so does a colophon in a Bhandarkar Oriental Research Institute ms. of his Sadragachandrodaya, 646 (a) of 1899-1902; see Descriptive Catalogue of the BORI Mss. Vol, XII. p. 393. <*> 1 6 . 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B ;1f ••> lad noijitjqs) i>D»x^ a ^ i {3ualfc>;s&ri ai 5a< g SiibQjHi Eiitt-Cx^;c|to^br«6kl Jaoi;)^» &u ^ Q ini tq^dea«iv.finiBV-|i/.m;v-U'iemsCl ^ ; S’ §1 na^^i|fcdi^3e«t o ^ni'r&ijtiuSa «^iada to dia t^iO ^ jild^bna ia adaade*^AaSfc'i a d d h o ^nlao dinu afda^n &3)ud^?id i^HridVd )9a o|d .3.4 '.anaiadaiq-Rdaagi'f-am av-jv/bav-m afc j d o i b a d d m B ii badanama dadd aafdalIy;B no abnuoa add ridiw qni adT .avabnaT aid gnimb bnad aid ni bad svi& d a d d , i i « baffaa aiadqado owd odni allat daaidoa 8idd no bannaiq atttdaeid S urn >; THE MUSIC WORKS OF SAM.ANN A SURI Dr. V. Raghavan In March 1950, when I called on Sardar G. N. Majumdar, inamdar and Jahagirdhar of Poona, the Sardar, one of the most enthusiastic musicologists who had collected Hindusthani songs by thousands, gave me a bundle of Sanskrit paper manuscripts bearing on music, and asked me to examine them fully and write a detailed article on them in the Journal of the Music Academy, Madras. He had found this set of manuscripts in the possession of Sri Balakrishna Martand alias Chounde Maharaj of Wai, 'fSalarir Dist., now aged 74, a saintly person and an expert in Mridangam playing, belonging to a family practicing that art hereditary for some generations. It is significant that these manuscripts in tbe possession of a votary of the Mridahgam are mainly preoccupied with drum-playing and Tala. The text fallsinto a verse-portion and prose-portion in the form of gloss on the verses. An identity of authorship runs through all the sheets of this bundle but the attempt seems to be to write up a series of so-called works on music, and consequently the bundle falls into different parts or works bearing-different titles. _ The sheets are notip proper order the writing itself is irregulari the Same portions being written over and over, more than OnCe, on different kinds of paper and in different hands, all these being again mixed up; there are both gaps and irregularities in the numbering of the sheets. After examination, the sheets could be separated into six batches and a few stray ones. I shall give here an analysis of these, and give an account of the contents, the author and his probable date. The work is written with a moderate acquaintance of Sanskrit, but the scribe has committed numerous blunders. -5 jC e*" -3 • cy r • f t f i J -J I? 'S,__> * fQ- ■" * j , # & A a # I'** j 3 * 1 $ ••} .W (HIS . I „ f Da maru-vadya-varna-visesha-prakarana i , ; £ ' fC ft : jgf * • j Ope set of sheets numbering thirteen constituting an easily arrangeable unit carry on the outer sheets at both ends t;the title ‘ Damaru-vadya-varna-visesha-prakarana,’ t.e. the section or treatise dealing with the sounds or syllables that emanated from the drum, Damaru, that Siva had in his hand during his Tandava. The treatise planned on this subject falls into two chapters called Ankas, fAJSTSJfe-gty] tK THE iMDWO W 0 8 K S OF RAMANNA- SURC iH V l^ i and we accordingly find the following colophons on sheets no' 10b and 13b pSCJf? f? J Ifp*:tT» Kf§ ■ (?■>) : ' w W & w „ V,1 | If'■$% 11 new hrw*rr^ jj* m \ || | JJWB 'W Tala, the author says; is,;, as. much as Syara, based on Nada; Nada is, ip._fine, that ‘ Anahaca ’ which Yogius know, and of which we have a faint idea when we close our ears and concentrate. From this nN’ada, measure of time as well as basic rhythm-syllables originate; and from them Tala-patterns ramify . ^ w h i r aid flawN^ii ‘to Smis0t40i % qtrf ^ 11 osfu /ruff bai w m - t : 4 fijiw 1003.1, hi &S$r/}— q^mftflgfTV# sm iwtr s oi cavig ai .slsT githum&Jtt to jW Y'ft azJ^H* to * a An A 1 On the nature of; Nada as set forth in Yogasastra. the author quotes a work called Patanjaliya Siddhanta (p.2 a). On tbe fywijiar topic on Nada-utpatti, quotations are made from this work as well as the Siksha. Some other passages in verse and prose on the same topic of Nada follow, after which the term Laya, of which also the same Nada is held to be the ultimate source and basis, is explained. M a p m TH* JQWWtmAMs QV f^PHIG J8A«X»AfS MOWO ACADEMY {V«lttfKXl on aioerfg no > w ty m ¥ *fT3»#H¥# fTF^^T r^rf?f: fm um^T | Moksha cannoi be 1ba,4, gods with Brahma as their leader went to Kailasa. 'On this the Siva Pura na is quoted, as also the Patanjala Siddhanta already noted. Siva, at that time, played his Damaruof the form of a lotus, with two of his hands, creating certain syllables which delighted the world. These syllables, Vishnu look and formu lated as the basic mafcri$, Sutras. i: ; , i N i m m w * * Wfert ^ m m r? i hynriilff. « U» 1 lBjoi „«» id-J.'/ ihid-n io In* ^ = r r ^ ' ^ t n JS;y (PP: 3'b'-4a.) mm 4 .eiei^iioonoo bsi‘5 sim toe ahoio ow ndtrff aelu jro*!* evrfn ew ^ i(On these $utras extracted by Vishnu from Siva’s Damaru- vadana, sages like Naradft-eotnppf^fh^^ and-expositions of individual instruments of rhythm like Muraja. WRSB«^ T1* t sn' t«Tf Tbe Vishnu Sutras referred t© are then given as four; they are: », f^fTT^ r , - m f a y ft (P. 4a) - * From these Brahma worked the Ganas according to the count of matras, four and so on, a Gana being a group of syllables having a Quantitative measurement. ^TfTrr i^Ux) .nl5 guhngSh 11}#., . Jf tl*£ . ,0 fi hr- ■■ , eat) eiqc .li±t -fcib si swi to iJ lo a* ifseup sdT .alrsdil dfiw Then the text e s p i a l the term Tala; with.a quotatkra.ftem the dialogue between Siva and Parvati in the Mantra-rahaaya of Srvtt Purana, it is said that a Tala is a certain number of beats (Ghata) determined by certain components Qrfnmeasurements; Kala, Matra etc. . ^ a m Vat l & wfd: fo w : «*> 11 (P. 4a) Ghata is the beat of the two fjalrhs," Bfahitta then kpfcffed these Ganas to the Muraja drum, i.e. the Mridanga. Q *P>T I ( m c - &51).: (V.frt). As examples of the Ganas adopted for Muraja or Mridanga is given the following: ” ... . v f S . ( r / !=:TB fr ill PI iwft- m i i m k f $ * * f % ^ jjjj | j i (p. 5a). From these Siva explains to Parvati, that, by imagination, the Parnas are worked out. (p. 5b) r r^ihiK i smth! After a repetition of the matter on Anufpa)hata Nada, Yoga, Narada, Siva. Patanjala Siddhanta etc.', Adi Tala is explained as composed of four matras. (p. 5b) V) *m K , has iftfifn*? 31. mha&iul s a ifa i atfT Suddenly Tala-mysticism starts; this Adi Tala is of the iorn, ot rranava and the identity of the individual soul and the supreme soul. JP I §f% I fp.ba.). Ibis from 4 of two f aakas ’ that the four ‘ tthlHtf* of Adf Tala derived; rfL iad .jsqmmit) &ed sw&iadS beoiakpts el fl mfJJHftfar is Tal* identic*! #i*h Prtfmvft ? The text saVsthitW ‘Tkrk’ is * name Of Pranava, ftrid as ‘ r-1 ’ are iiiterchah^ekblc^ ak^ W k' Pranava, and quotes an obscure passage also here. J & (d Fqpm this Adi Tala, sre.theo horn theiseven. Talas: and oth^r . Sankirna Talas are derived from these seven. f f 194 TH E JO URNAL OF T H E MADRAS MUSIC ACADEMY {.VOL. XXI : era Hanuman Mata is then cited with reference to the formation of a Taj# by its five constituents, Proddhuna, Uddhuna, ^ x r s r s . &&&& . r » x i r “ t a Tala, upto the one sixteenth unit called Kakapada ; Uddhuna is up to the one twelfth called Laghu; Samdesa upto the Guru which is one eighth; Sanketa = one fourth-Laghu ; Niyantrana = half Dhrita. The question of Dhrita being of one anka or two is dis cussed with citation of Bharata Mata. Then, there are given with their symbols : aJaed % ted/wmi m attm « ai ptm t a- sad# bias si iff iftt&M. x l Adhrita and Viranta s-- vd !>•>« Dhrita ° Dhrita and Virama 1 laghU ^ h u ^ D h V H a I e^ J * g h ^ J )h « ta and Virama [KVOWi, ^ %.> ***43 *» f |dt .-nr* .t«»K adi 04 «~0 Guru and Dhrita g Guru, Dhrita and Virama { si ngrtsbhM Pluta ^ ™ j T7* % id* novig Pluta and Virama ' x|r^ " ff-r V;"' Pluta and Dhrita \ edt .aoiiaafTpxu? \d .aah|To aviH eeeil* frtcW Pluta, Dhrita and Virama r q tno bajhow «m afcim*! ,*§<» / .abaVl im/i no tettror sd* lo noititeqei a leJ'iA m b I^akapada V alajfiiatir/i ,4tvt8 jSarfMk «ar*£m root do heeoqoioo faorThen,: according to the Harumah Idata.Yhe 7 ?Talas are men-’ tkme It is then added that Rupaka has S and Adi 4 matraa. The Adi has only one: Attga viz. Chaturasra Jati Laghu. (P. 8 b) .jgarf'it ®s«s safisV U . .. U'd . * ' • t, < „ . . I v * > PABTS Biv] YM '-m a MiTOJC! Wa«KS OP aAMAWNA StTRI i m The text explains what Dhamar Tala is and tow, according to it, the Tala, came to have. that, name; the text says that Adi with out DhritfTaftd'H^aiha hid of the same Matra as Rupaka and Dhruva is called Dhara It is Dhara that is called Dhamar ; Dhamar itself is only a solecism for Dhara-mara; according to Saiva (evidently the puran^),^ Dhara wak a demon whoth Siva killed (mara) in the course of hi$ dance. ^ f*?rr m fa * I .mo os has in us t Parvati asked Siva what the Tala of his dance at that time was ; in the hurry of his movements, Siva said Dhamar instead of Dharamara ! (P. 9 a) It is then stated that it is Chapaka that is called in vernacular Bidala ^ ^ ^ , ^ ^ a t u r a TaU ji|ri^ed^fr^m Adi, and a verse of. Siva to Parvati is cited on this. .« vra dnw onto earaooed eefdau^s *thw\ wi lo xvsteox eni to P. 9 b has a repetition of matter already dealt with. On p. 10a the seven Talas accordingto Bharata Mata etc. are set forth : Dhruva, Mattha, Rupaka, Jhampa, Triputa, Ada, and Eka. :"f?y T' jj ii-jfK Ch. I of this text is brought to an end here on p. 10b with the colophon already cited. Ch. II opens with the treatment of the subtle form (sukshma- svarupa) of time (Kala). Repeating what was said earlier on the yery outlet, Kak apd ^ a y a , , ^ ^ . ^ ffcthm , are identified with Nada;> Units $f fc^e-paeasure are.then set forth, Lava, Kshana, Khala, AdhrUa, P h p ^ , apdjiratpa, ^he lowest starting point, ,km», is the time taken to pierce a set of lotus petals with a npedje, P. 11 takes us tp Siva^Purana and ,the story of how Vishnu; after taking the rhythm-inatrix Dams^u, yhu?h are indeed of the very form of Veda, expounded them duly to his beloved Lakshmi. When Siva played on either side of his Damaru, he fixed also the places (sthanas) of the hand with which particular syllables were to be laised. Thus in Taddhi-ttho-rm, Ta is to be raised by the right hand and tip of the pointing finger ; it resides on the right side,corner of the Damara.’ Ddhi is to be raised with both Hands. . ' . ■ . , ... . B «. M -* .(illid:’ iio •jWU&T) ™ w sin1 to lint - ^ - Then follow a series of the, rhythm*syllable8 produced by the ca. ordinsted play of the drum and tlie tappings of feet by Siva in the course of the danoe : ImlUrhbna l e w c s f t . illiw r* €)-f m W ,.ti {jsij» too •ijsaiiiflil ^______et avtniKI tm *& of gtiibtoobfi aiant-aradC! a vfrio k? Ifeeli belli.! »•. ^ ooe f lK W f o < n P te r SfT j " IT ff v ~ f lo o«ooo oift ni (l ■ * * * * :• 1 1 ? am! bo on. ■ Mw stall Isftl la oouafo sidlo aUT adt Jaifw »*'& bstrfaa Mbvi*1! lo baolftja lautadd bias -it ^ aino tna v ota aid lo ,srrrod adf ifi In repetition : fff m w 9 q ) ' atatnatsafKl tafu o an tev ai bell bo ai j- ^Fj is is q a t*0 ai ti la d l b w t*fe a&iii s i l l w iN parutoL-M JK student of the .hMS fotia t*bA ,ttdin*v n f«ditaM ,ariridKI : dtiollea odi 4)In JB fjf no ^tFflno'ita o^raailoid si t/ot siiit lo 1 .ri3 •llono fjbimlLa nodqoloo -madaiyai sin til etidoa swiJ to la oniJasit odi dliw suoqo II .40 The first te*t in .% hgndJe ends ^ fjlU>j, 3uli, lo This analysis at once reminds ode of the so called musical, text manuscript 1« lt^’!Sftaner sefe«f with piety'fakes up' f a s * fiferf the' iUtflakai* '& “ &>■ with a mythological and mystical background. MMMBHNHHMCi MRSifl.gW i F ^-FS^F'F'P WF1PF1P Bharata-matofcta chaturdasa-vidya-prakarana Another set of sheets, uniform in paper and writing, forms, according to the superscript on the two outer sheets, a work called Bharata-matokta-chaturdasa-vidya-prakarana. 'The colophon as well as the marginal note oh eacW ^heet FT. C give this text the name Bharata Mata. The sheeife 4, 7, and 8 here are missing. Thp work opens as if it is a dialogue between Bhara|ft and another, a friend of his « 1 Then it gives a verse, defective in grammar and metre, enumerating some branches of learning jtcooarfh'ArilU ■ - ..ioigwvih WTfRrmFF to t m u w ^ ^ tM fe w I a,,j -.fiiig-nLw/f at 3^it |f oi hi 3l toi-haa kennilif^ir j pfpwts fas It is then interpreted that Brahmajnana is Vedanta ; Svara^Jbara means music ^FiTdl dTF I Jalataram found curiously in tbe middle of these is swimming ! -Nyaya. is JKitisastra; K d mm to m& ./.nan*) ; ' SMiWtffcl * » “ ** ' pjdfe-M ira 41 198 THUS JOURNAL Of THE MADRAS MUSIC ACADEMY [VOL. XXI srcqidsr S'tbFf^Ojlle’s jylOi&trfe, and that "the pursuit of pleasure and mental diversion constitute all its dharma. w w r w m S*P 1019 P&PfWtw* siT^aftiflnp; TAtf v m $a>fg sw faw M fol «W W*T; L|p , t^ r ^ ,. (P. 2b) It is to be noted that the Gita mentioned Here is K&la-gita, mere art music ; svara-dhara mentioned earlier is the holy Vedic nMM#6r/a»v8 ; atn«be¥ m nn^nj.RurdniS Jarfa b-irrsqietni eetiift! i l ! Page 3a shows that while from the enumeration one finds the compiler as having had a vague acquaintance with the names of the 64 arts as mentioned in standard works, "the explanations of these that follow disclose his imperfect knowledge of the inearririgs of some of these names. Viseshakachhedana is not as he says related to the lapidary art; Udakavadya - ghata is not to be interpreted as Jalataranga ; Jtfepathva is said to be stage,dance with curtain ; Prahelik*is totally wrong. >m ^ aabeV ?Mh (P. 3b) The work comes to music then (3W and quotes a series pf authorities Sang'ta Rainatara, Sangita Darpana, Slul'hashita Sarngadhara, and tlie Puranas. The first is the well known treatise of Sarngadeva, the next is the work of Chatura Damodara |c. 1625 A.D.) and the third is the anthology of Sarngadhara called the Sarngadhara Paddhati (A, D. 1363) which has a section on music. This set recital of authorities repeats itself in the manuscript in qther places also. *«h f* r* r»w --irf 7 Swaras, 3 Gramas, 21 Murcchanas, 22 Srutis, Raginis and Ragas, are then mentioned in a verse. The three gramas are said to be of Shadja, Madhyama and Ni&hada; all these three gramas are of men; with Gandhara, they delight the gods ; this mention of Ni-grama, and this way pf ^reference to Gandhara (grama) PARTS l-IV] THE MUSIC WORKS OF SAMANNA SURI 1 9 9 strange. Later when this matter is set forth again, Ni-graraa is met with (p. 6 a) under the name Avasana grama. There is a gap here as sheet no. 4 4# missing. On sheet 5 the Gamakas are dealt with : Kam pita, Lina, Stimita, Andolita. A verse is given in which Siva describes these to Parvati. Tana, Alapa, Srut'i and Svara are then described.. The defini tion of Tana is noteworthy viz. that it is elaboration of Svara with Kampa. &T .aya-T m tft my »v5 .£»m#fe|xe *I«T ■ ai# * FfR: I Tbe Sruti-names, Tivra, Kumudvati etc. are then given. (Sjva- Parvati-Samvada). The nuinps of tlie Mutechauas fc#QW (P-b) Sauviri, Harinasva etc, but are not fully given. how Undfer the title Gayanotpattiprakara, t-be foregone matter is again set forth in verses. Sva-ra is etymologised as the bestower of one’s own bliss TrfcT (p. 5 b) Regarding Gramas again, a curious view' is given now: according to Sastra no doubt the Gramas are two, Shadja and Madhyama, bgt in practice there are three Gramas, Adi, Madhyama and Avapana, beginning, middle and final; 3RT Sfidt I aqffQ(f$; qdt *fRf :— SWfcWW m ft. *T X flR*RR «. T. % ft m m flffl (p, This is the Ni-grama referred to previously. qfSRR:, t. TOTqfa: t^mRR:, RR: 1 The author evidently means, differently, by Grama, that the seven svaras form a natural threefold group, Sa-Ri-Ga, Ma-Pa-Dba, and Ni. The derivation of the name Shadja and the places of sound- production, nose, throat etc. are then touched. PatanjaH-smrili i: e. Yoga sastra is here referred to. (p- 6. b). The places within the mouth where each of the seven svaras are produced are given, as also the distribution of the seven svaras over the three, Udatta, Anudatta and Svarita. The next subject head is six kinds of Ragas, i.e. the six primary Ragas of Hindusthani music. Bhairava, Desakha etc There is a gap here as sheets 7 and 8 are missing. On 9a the six points of good singing are mentionedfSu-svara, Su-rasa, Su-raga, Madhura-akahara, Sa-alankara and Sa-pramana. Gamakas are again enumerated and explained, Sphurita, Kamjtfta etc. The ei^lanatiofi bfttie SvaVa.hames is agaih touched. m i 2 0 0 THE QP TH® MADRASI MUSIC ACADEMV [VOL. XXI A e A .AfilohaA .^ n U . ^kycn&& . Sfw riaeo et* sad&tuav) The further portion relates to,Tala and the text reverts to the Damaru-vadftna dealt with in the set of sheets analysed earlier. 3f*I Laghu, Guru, Pluta and Ardhamastraajre explained. Panini-mata is quoted on Pluta. Then Laya, Tala, Parna, are mentioned; reference being made here toother authorities on Tala (Talapravartakacharyamatantara), after which the playing of the drum is taken up. The Damaru is called also Muraja, is said to be played in bolh sides with both palms, arid given to Vishnu arid the world by Siva at the time of His dance. The story set forth in the TpjjevipusJy examined text is found here also The Seim (Purana) is jqw^t#d,i l^fttareja danced in numberless Talas, and from these Vi§hnu gathered the Parnas. Actually the percussion instrument called Muraja is said to have been fashioned by Indra and other Gods to be used for the adoration of Siva; the same instrument is referred to as Mridanga too. The dancers (Natas) fashioned the drum called Ankya, the text attaching some inferiority to this Ankya; the Ankya is explained as the drum kept on tbe cap (ankft) »nd played, and It is clean that the TaMa is meant. It is also recorded here that according to some, the Ankya is only the Muraja halved eqpally. T„,,;r> a'7 r!/ m (?) Jffar spwfcf: I ,,n ':m SNf am 5TOU: Mfeg: | | , . . ... , (p. 10 a) The drum is then classified. D amaku hj ‘vi-n.iT Dhftkk#U*.«^(f ,:aVintisdH. etettra h Mura-ja t? V produces mere s -iaalm *, which .Can produce sounds, and definite syllables, evidently. played ^ j} and played by both , by one hand. hands. f f & -h-c. b«-c b'iojsrooiij -s .infc&e oib ■ ‘amul'* The Rhythmic Sutras extracted by.Visbou from Siva’s, J>ai»arn are then mentioned. CsyRTa P- jv] .SI TOE UO3I0 WORKS CMT iSAMANKA SUBl mi ■ *PtotfVelbkrt«wri dfefl»it^>drJS«*r*^i» 8ahskriV aPTTjfrw^nr et^'. is given ;referrfcd'to th© Mah&bhasyfc, And commented ujponLf!<'« When the Parnas were formulated, ail the Ragas except Hasya and Bibhatfa were kept in mipd. One class of Parnas were fashioned in the manner of the snakes’ movement, JBhuianga-gati. f IF* F>> trjfi ■ v w ijv-f v iTP The rhythm-syllables of the Muraja and the Ankva varieties are distinguished ; the former aijesaid to be raised by the whole palm, the latter only by the edges of the palm and end of fingers. This again makes it clear that by Ankya, the author of this text means the Tabla. |l FFTWPP FiTFP tffrpisj | qniWT^r: ff iFTlitf* -ft The term Pgrna, which the author uses here as well as in the former text, is evidently a Sanskritised form of the Hindusthani word Paran. The beauty Of well-souhdedf Parnas is compared to the jaishaine bunches Siva says to Pa’rvati-^- : bnc ,®ld®%f ,el 4“ ’Thft ‘ bols ’ should please even th o s e not - " " " like a hawk; the going up and going down in this hawk-manner is 4 2 M 202 THE JOURNAL OP THE MADRAS MUSIC ACADEMY |VOL. XXI given in colloquial language as Uochad and Pacchad. Names of some of these current parlance are also given, Jer, Jarm, Narm etc, , >er I =* f*aH |! qs^PirRffrirfe ^'Trfef^rf^r h ^ i sT a WRTRrT WT'TTfa' W R || t\- afeRffTqfq 4it^»n IRR WTflmfa fxW *W: I fog , . tov*iK\ •3, i iu ^Ti^ ^ qi- <5r:jftjprqr ^Tf^T W T ° Ul mow (naaiaiiDiiiH srif -^ ... lindaa.** « vti«ehiv<§ «i .#*•# v u m o i 9J, o. !mjiq<(,„ *■* ifcnwr * w ^ e^wr.i! vtM,d wlT M„ A 3frffi§Tfffsmr W f^ ,a50lt ffiW W , I (Pp. lib , 12a). A few further lines speak of the pace^—slow, double, treble, and quadruple time, after which Jbwo colophons, one of which is written irregularly, announce the end of chapter two and of the section on Damaru. ferfl^fS^PT (^f:) fWTH: (on the margin.) ffa WIP^I ggsstfr Stow (m i mil (*TOm); (P. 12a.) The aesthetic of drum playing found here is indeed something refreshing in the midst of these dreary disordered sheets. . , . * ’ > ! * " ft 5 Vfoa T«E H hba a * ) * H t benoi inem ad bloods il ed toft may be noted that this second text is in the style ahd oh the same plan As the first and that here again, the favourite theme oif the author is drum-playing* Also, in this text, the colophon discloses the author’s name, and in the citation of authorities, gives some indication of its own late date. But of these more as we go to the ■ i further parts of this codex. .amemuTJam nevnms no «j«2 .«oi>taa ni giaingn .aieonsb .siioooijoH I oale abnuos edT ,ifi*cne& adt lviaChe effe This portion opens with the headings Talam 4W ciJSR,,FTWTf and fT'ficfT ?*3T: i.e. proposes to deal with Tala according to Hanuman Mata.* ’ The following Talas are then enumerated: Ohatura, Tritala, Ranga, Mattha, Chapaka, Rupaka in one set ; Virinohi, Pandava;'. Panchama, Shanmukha, Rishi Tala and Vast* Tala in anotherj' The Tala-avayavas Mke Ghata, Anka and Matra are men tioned and Virinohi Tala defined as constituted* five Matras, first At TWajaifci laghu and then a gura. On Matra, &*lpa Sastra is quoted* The different jatis of Tala are then dealt with, SivR enlightens Parvati on these Tala topics. Pandava is then defined as Tala of 7 Matras. erlTfm H .eTrT inf34*7in m ttm I.M Pancama Tala = 8. .o*4« gm yw j»»v|jsyi wot a aesur bn a This first sheet numbered 13 has a duplicate with tbe heading. Sf^Tc5v«RniW'i’ Then the verses'dealing w ith the Talas are somewhat different here : the first set O h a tu r a to Rupaka alone is given f i m atid the quantitative definition of these are Chatura = 12 Matras; Tritala ^ 8 ; Rangi = 6 ; Mattha 5 ;• Cbapaka = 3 ; Rupaka *= 7. Then a 9 M tra Tala called Matth (*t^ is5 noted.7' The exaot distribution of the mantras of the Above Talas is then shown. | ffFMFF • o w ■* ** if ? wp \ - b<‘ It is after this that according to another school, the ;7 Talas, Virinehi etc. are given. But here after Vasu Tala we have in addition the following Talas: Ita, Yoga, Rudra, Ravi, Mantra, Vidya, Manu, ICata, Lakshmi, T)evi, Sachi, Paulaatyaf; Ganesa, Qaja, Mayura, Hamsa, Kraunoha, Haya, .Bimha,. Nakshatra, and Raja, marthanda. .A lo /foiha.uij • * >» « aa 0 tea i ; Aocording to another sehocd, the 7 Talas are Dhruva etc- And in connection with this, the text mentions under the head ‘ other schools’ ( Mata-beda) a number of authorities on music :— JKTS]H«re we find tbe repetition of the set citation names found in text B noticed above^^^^^y^ »iol& .^-n.mivW . anadMaVa^ah Sangita Ratnakara, Sangita Darpana, Subhashita Sarngadhara, Puranas. And then is added the name qf the Sal$ai in Vraja Bhasha m<*§» si (^15) »iedT iaad iol sujaa aiirfismadaM.edT .*0S /f , In text A reviewed first we saw the author s effortp to relate Tala to Rudra’s Damaru, fiere he makes a more difficult co- relation . OifnTbfideeqoi guajai a: Onluioloo tonjaHoTrufTT qiTT between the Talas and Mantra Sastra. The term Mantra occunng fn Mantra Sastra is caught hold of for this purpose^ a work Called Manftttrahasya (Siva—Parvati—Samvada) is also quoted in this connection.'' (p.! ! iadt , mdtitfl edJ d riw /laioqmef 204 THE oi THE MADRAS MUSKJ ACADEMY [ fV0I>. KSBB (P. 15a). The vernacular name Thoke (jf$) is given for (ihata Of’ beak Rangarqnid Ma^a>Talas are then d e s c r i b e d , 7§*»4} then iSankirna, Virinefai, Pandava Talas. It is stated that it ia Afeff Pandava, that ia called colloquial ly Paradost ( ) . Oh Pandava again, Sivapurana is quoted fp. 16a), ir Different gods aee fc&eiK associated as authors with the different Talas ; and they form iuteo, the presiding deities of the respective* Talas,! t On p.«16fe Ugaift, not only is Sivapurana again cited, but on the margin, a- Saivifce work called 5Uvdrthanamanjari is quoted. (jf> ■). l7a. Shunmukha Tala. Here the author mentions Maharashtra . . alar am<39(1SM and uses a few Marathi words also. Then Rishi Tala; Maharashtra country is again referred to. edi flfrw gniluoh aemsv edi «*dT I sftTPPT&rflFfp FfSTORhJhpp sd Vasu Tala is then defined as ^a^ing, 12 Matras aqdiq Maharashtra it is said Va*q Tala is held to be the Tala of the largest number of Matras. A little mixture of Hindi too jfl s p a in .^uc^ bells') afeT m f M G a nsdT S « siaquH ; K * siaqsO s a l s Tbe texteeloSesHa section hsrdownth s» je©l©#hf>»>xaw *rdTo5TW fSrt IpNlSf: I .uworfa uadi si « ? s f Theialdt that this set»df sheets begin® with number 13 and riientiOris its fifcSt fchapt&r As the "third Anka, and the ftret set ctf sbeetd aBMlySed under A abote Stops with shee^ ^d. 12 adfr) sectioncalled secblfd Ardta, ‘ and iho that In. 1 both these* sets o f sheets, A and $ , ihd maigihaiiy noted name is Tak,prast»ph, wo may tafcethii set C a sa continuation of A, .abnariliam bn A Then1 Matta And Dtinivi Thlas, tbeircdfevitiersf; their C&tma, Rndra, Adifcya and so on.snoi Joem txot edt dbw aoifesanoo ni P. in—: 19a. WtSPkJ* Tne Mantrarahasya , i in Sivapurana sun a tsbed-afaM. is again citied. \slood'>a ni 1 Andtfi^ se^dlf Tala^ Is ndw’ addedT'TAnAWga, Sakif, vUhnu, Jayavardhana ; Hanuman, Mata and Subhashitadartiifhdfiatti are again refered to. a-; stidasdduB rsaaqt a i l align h3 .eisdsfiJsH afignad ®&wm n \m l md* bak ■**n*'ucl dm iUn-HUai-po£1 oqotf ft mrin }ik *~Ahmteii eieJHL .uiijmati a'ailm-H ol #UT tne third chapter colophqn is agaui repeated here. garmsoo «i*3TO aroJW T .arftaH attajtM btjn ssisT adl neew#ad hallaJt FPdW appear, frpnj ttys ^mgW^jpts evidence of duplicates pf name portion vyith sl;ght( differences that the manuscripts a^p cp^ temporary with the author, that the work was being written dq|f,p PARTS T-IV] THF MUSIC WORKS OF SAMAN probably to the dictation of tbe author or by the author himself, making slight alterations now and then in the same portions. The sheets of the two copies have got mixed up here. Sheet 21 marks op its reverse the end of ch. 4, chaturtho' ankah. Dhruva, Vidya, Manu, Mayura, and other Talas are given on this sheet with their quantities marked in symbols, ?rd siflw m sam dm ^ d f s f : i ©w On 2 1b itself the next heading appears; 3m The quantitative composition of tbe Talas, Virinohi etc., is taken opi It is given in the form of rhythinio syllables, Ta dhittha etc. P. 22a. Here the gloss gives the rhythm-syllables (Gat) of Virinchi with the mention of Hindusthani. TT^ft fafFrr w\ 4TrT qms?r etc. UI ? ^dt 22b. Shanmukha Tala is said to be colloquially called Chakka. <(m asr sroprty -m ** -,f> bnowm 23a. Vasu Tala bellet/ jliow jfidl dhqpoo 24a. This sheet marks the close qf oh. 5. dra5Pr dip q^hts^; m w . \ From sheet 24 onwards the paper and hand writing are slightly different. Mantra Tala, Ravi Tala etc, are mentioned with their deities. Hanuman mata is quoted. All this is a repetition. Jfantra Rahasya Paribhasha is cited. This repeated portion comes to an end in the middle of p. 27a with the 5th chapter" bolophonl q sn te : fTtpTT:) * The further matter again begins with a repetition. Then the building up of Parnas for different Talas is given. P. 30a. * Chapala ’ itself got corrupted into Chapaka; Ghapala * Bidala. Dhamara = Rupaka. The story of Dhamara from Dbara-mara, Siya killing iu his dance the Asura Dhara. The verse at the beginning of ‘A’,. 'Pan tan jail Siddhanta’, etc. is found here again. AH of which is repetition and shows an aging repositary of the art, a characteristic type not different from some chat take part in music discussions, and go on saying the same unimportant quasi-pious quasi-technical thing again and again, exasperating the learners who sit on panting with curiosity and writhing with vexatious disappointment. The examination of this section has taken us some what nearer the identity of the author ; tlie Hindi Satsai has been cited here, and the author’s mother tongue is clearly Maharashtra, while he lives and 4 3 2Q6 THE JOUHNAL QE THE MADRAS MUSIC ACADEMY , (VOD. XX* wr^es in a Hindusthani area. More of these we shall consider at the end. 9ft ( n^rli J-na"wre suor» *»**»?* .trfmlfc 'vwti&m D A fourth set of sheets is marginally noted as Sam. Sa. and contains in the main bnlk a regular series of duplicate sheets and at the beginning as many as three and four copies for a single sheet or more. ,, Taking the earliest numbered sheet of this set, we have two sheets containing tbe same matter with which a text calling itself on the outer page Gita-Xahitya-tiamyraha begins. It is to be taken itbat the letters at the left band margin top jtt. stanzas a reversed abbreviation of part of this name, The identity of authorship of this with that in the previous sets A,B,C is clear. In fact, the opening verse here is the same as in A. 2fRU The subsequent Anushtubh lines receive a numoei oi revisions, gpf ‘ 3$ i» t o^p^mT- *»(?)• fill ?:v I .fsK-xjmn * i-ar •H . If. 5PPJ | * w ...V: gtrtmmr *rmi n Then sage Garga is said to have compiled the G ita Sahitya Samgraha on the basis of the Sangitaratnakara, Narada Siksha, Hanuman’s work, Bharata’s work and Subhashita Sarngadhara. Though sheet number 2 taking off exactly where the two dupli cate first sheets reviewed above leave the text is not found, there is one sheel No. 2 beginning at a point of the text not agreeing with the end of either copy of sheet 1 *’ in the list of authorities cited a Raga- talanibandha is added here; it is evident that this second sheet belongs to a third copy of the amplified opening of the work. After mention of Sarasvati as singing the story of Krishna, and Apsarasasdancing, the list of Kalas mentioned in ms. set ‘ B ’ (Bhara- tamatokta Chaturdasa Vidya Prakarana) is repeated and stated to be present in their personified forms and praising God. Further continuity is not to be had till we reach a page origi nally marked 3 and connected to 4. Here it is said that the following Ragas from heaven in their personified forms came there to praise Krishna: the list of Ragas begins abruptly on p. 3a: Malakaaisa (Virarasa) Gaudi, Marava, Ramakali, Hindola (Santarasa I), Desaka, Devagandhara, Madhumadhavi, Nata (Raudra), Malavasri, Vairagi, Dhanasri (all Raudra), Vfalhara, Bilava, Bilavara, Dipaka (all Hasya), Bibas, Lalita, Asavari, Gauri. Khat (all Ribhatsa), Bhairava, Patatnanjari (Bhayanaka), Gauda, Kedara, Asavari, Bangali, Kamodi, Panchami, Khambavati, Gunakali (Adbhuta\ Then all the Apsarasas and other gods who came there to adore Krishna went back. Some Siva Ganas came from Kailasa evidently and they too returned. All the Ragas and Talas which came there in personified form to praise Krishna left their Amsas or germs on the mundane world and went back to heaven, Of the personality oalled Talai, Laya is blood, Matra is blood vessel, and Ghatas are the limbs. On Bahulasva’s enquiry regarding further elucidation of Tala,* Svara, Nritya etc., Narada (p. 5a) opens his exposition witb the citation of the Siva Tandava Jtahasya from the Skandapurana. One evening gods repaired to Kailasa with Brahma at their head ; Siva 208 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXI danced witb Damaru in his hand (P. 5b). It. is said here that the same Yogic Nada is the basis for both Svara and Tala. Wflivwil: *5? ^RRfrR^Ri | Nada was born of Brahmananda and filled the universe; it was manifested by the Damaru in 4 matras, i.e. as the Pranava explained in Patanjali Smriti as composed of A,U, and M and called Tara ; Tara, by the interohangeability of R-L. is Tala, all this being a repetition of matter in A. This four-matra Pranava is the Adi Tala. By constant attunement to the sounds of Siva’s Damaru, all the gods took to Tala and began keeping it. (P. 6b) It is from this same Pranava that Svaras, Srutis, Ragas and Gramas were born. The three Gramas Sa, Ma, and N i are then mentioned, which again is a repetition. Sruti is then defined* (P. 7a) All the Vjdyas and the 64 Kalas given by others are all derived from the same Pranava from',Siva's drum. Even the gems of spiritual salvation were taken only out of the ocean of Nada. Pranava is then said to be of 5 matras, A,U,M, and Nada and Bind» Jaaftajfr'foflR >-.i i; Repetition again of Tara-Tala; and quotation here of Devipurand on the dance of Siva and the accompaniments provided by others. ‘ Tad-Dhitth-Thu-Ne ’—these 4 syllables arose and were taken by Brahma. Other syllables like these arose and were received by other divine beings. Sheet 8 is missing. - •’* *’•5 4 5> **>•*«*** 4 (9a) The definition of S u t r a is given ; and the rhythm-matiix Tad-dhi-tthu-na is Vishnu’s first Sutra on which he formed the Adi Tala. Patanjala Smriti, Yoga and Mantra Sastras, are again men tioned. as also Nada as th«* source of >dl.Tj*: (9bt Further glorification of Nada follows: Vasishtha Smriti on this is quoted ; Parasurama’s Sutras on Nada are quoted. (10a) Skanda is quoted on Svara and Lava. RRRR m : | m SRTRRdR ^ 5 5 : U On Vishnu’s Laya Sutras, Hanuman, Bharata, Jambavan, Chitrasena, Tumburu, Valmiki, Kachanira ( ?), Arjuna, and Nagaraja wrote Varttikas. (10b) A list of Tala-Kshetras, as they are designated—Rupaka, Chancharika, Ata, Virata, Kamatha, Mallaka, Jhati. Tben a list of 6 chief Ragas : Bhairava, Meghamalhar, Dipaka, Malakamsa, Sri Raga and Hindola. The Raginis of Bhairava : Bhairavi, Pingala etc. *{''■“ t*ARTS I-IV] TBE MUBO WORKS OF SAM ANN A SOBI P. 11 a.! A list of Mantra Sastra works is given as affording authority for the mystic correlation of Tala. Kshetra Chintamani, Mantraprakasika, Nityotsava, KularoaviR' and Mantramahodadhi. This conclution between the Tala-matras and the Matras of Mantras is also a repetition. ( • Then appears another sheet numbered 11 in which Rupaka, Mattha, Vishnu, Tritala, Kurma, Laghu or Jhati or Jhati Jhati, Dburjati are described briefly. The main Talas of Hanuman, Chatura, Tiitala etc. are again repeated. The Mantra Sastra work Kshetra Chintamani is quoted. Sheet 12 is duplicated matter on p. 11 noticed above ; there is a p Talopanishad quoted here. tTR*t , fTI# m i, rTTS: wm, tTTS: On p. 12b, ‘Kshetras’ of Mantra Sastra are set forth. The relation of these to Tala, as already made more than once, is repeated again and carried over the next sheet. e terms Proddhuna, Uddhuna etc. already once dealt with come up again now. No. 13 is marked on two sheets. R f P. loa. Mantra Sastra authorities repeated. On lfft>, thG leixicbn Ekakshara Kosa is quoted. TI-’TC P. 16 and the following : The different Talas expressed in terms of the rhythmic syllables. 1 im« osomnnU 'i . .T art.* tadl«oiasJ[ uuuubtil rfJioK m* m ii ' On p. 18a the Colophon for cb. 2 of this work is given, we have missed the end and colophon of ch. 1 . y 'A r r\ . tSS A p V u>v- ffd P f l ferft^s«TPT: || ^ L o fto n ,Jf? t ot >oo A 18b. Samkirna Talas created out of the Matras mentioned in Mantra Sastras-Hanuman, Mandakaya, Bhairava, Unmatta, Vira- bhadra etc. Some of these are enuated with other well-known Talas, Dhruva, Jayamangala etc. .uniform Ch ,Sh eJmri'S There is then a gap up to sheet 21. From 21 onwards, we have two sets for niost of the sheets. For sheet 2 1, the^ are three and half extra copies with a certain amount of revision in them. tl Devi Tala, Lakshmi Tala etc. are all dealt with. No new material 9 to be found heW.*1 TJrnmt*io‘> .aMdaliv? ‘Hmrflvths erfl lo ■ tjie en(j 0f cjj 3 j8 marked with a colophon, in both the sets. Befole this, on the Vardhana being a name ofT)eviJ’ the f Sakti Sahasra Namavali is quoted from the Sivapurana. i i uedT 27a. The Talas givbn by Tumburu : Virinchi, Pahdata etc. which have already been met with fd-eaimacl. oi semtsT M l 44 210 THE JOURNAL OT THE MADRAS MUSIC ACADEMY [VOL. XXI j ^ ' On 29b, alearned quotation-' from Mimamsa on the aids to determine the purport of a passage i»; made* ? .>,j t E , ,, t s* P. 30b. End of Oh. 4 is marked here with a colophon. # P. 31. The Rhythm-S’utras which Visbnu took from Siva’s Damaru again f The matter which follows up in the succeeding sheets forms a repetition* isdtmn aeeda isifcona aiaeqqa uodT P. 31b." Sivarchanapftddbati fmm Sivapurana. * / n ! ’ f/ P. 35. The palm and thumb ought not to leave the drum contact in any stage of the play and a mythological story is narrated A.to ^ show L the evil 1 fateA. i that h n i V, betook ^ V, one who -f.-,failed 4-to maintain a > n V n « sueh a evod* beoifoa II .q no letters betaailqnb si Si tierf8 ! TffWFRj*? ^ tfJHf .snsd h&ioup hi to n o i ^ o ’aatfedaX’ ,d£! q nO niAga Deuseqei si ,00110 neoi 0100a odaki ; P., 39a. Sivatandavarahasva quoted said here that for ,1 A--jgiy ; x jl ffTTWTTnrnTwHP^ijBwBff W1 IJ ^ ^et hI^T* thesame Tpla different .^ri^rs.^gave^ different names ; and, in this connection a strange list of names of musicians of different ages arid fI region aq, m dlirfd ! 3vRWrflFr: W : ?TT=TT^- i. e. Samanna Suri gives in his Dipika here the names of those musical figures who followed Hanuman and Bharata in the past and in his own time. Of these, the following are Norfh Indians; Kasinatha, tbe Bengali; K*fma)natha, ‘ tbe Rshatriya; Krishna; Bhatti, brother of Vikramaditva 1 T.1 v .na * iu mmuoioo bna bna id J hmm ui sv an »w P. 40a. Contemporaries ; Tamanna Suri, Seshadri, Madhava, Anantasayanacharya. Kanakadasa, alt of whom belong to Karnataka. P. 40b. According to the Talopanishad 350 Talas arose. P- 41a. Parnas and the different kitlds of it, resembling the move^ent'^radncha, Ppacbdk etc. which has h«Un sef forth above n|^tclfe0i) Jl. tr F iUjioH! sib w m i i to emo8 .->te eibfidd .ode -slag nam e yet. .svtnrfO ,aal«T . Sheets 42, 43 are missing. S t . merit9 and the flaws of singing : Sangitadarpana [of.Chatura Damodara) is quoted here on the gamakas. .m*M at OMMMveoo JGHi0 P. 46a. A Bashkalayana Snmti is ^uotod. P. 46b. Vrittaratnakara and Subhaahita Saritgadham are quoted. IP. 47a. It is said (as a philosophy for musicians^, that there is no greater adoration of (jJod than creating joy for all people : ?T A h A it I A I.. eaoo eilT dOh T nQ£j The further portion of this set of sheets has on the outer side of the first sheet here (50a), the superscription that it is the latter part-IJttarardha of the Gitasahityasafngraha which is casfr as a dialogue between Garga and Saunaka ; the owner of the .ms. js also mentioned here as Raghp Pant Dada Choundeyar who must, be an ancestor of the present owner mentioned by us at the beginning. '■ Bahulasva asks Narada to enlighten him on tbe eight kinds of dance and the Bhavas, Havas and Talas. Narada gives them : the eight dances are Rasa, Tandava, Nata, Gandharva, Kainnara, Vaidyadbara, Gauh^aka, and Akruraka (STT^Ffi). In Rasa, steps are tajten in( a circle ; Tandava is full of Talus ; Gandharva dance is more full of music; the dance of Kinnaras is characterised t>y Kalas /:); those of Vjdyadharas and Guhyakas have their own special gaits and movements ; in Akruraka dance, emotional effects in the audience is in an abundant measure > bed It rflvsif im ^ S 11? 8‘ A'f01' " ifWiwft w ? 1 ■ f ’; " t j? 312 THE JOURNAL OF THE 'MMXRAfl MTTSfO ACADEMY [VOL. *Xl *&? wfrMlWkfi1 A j •'* .hojorfp sns SWJjT? ^ ffaT ^ W A»«\mirtVnN .d'H T 8? 9 ?*ui 5 fl x PARTS MV] THE MUSIC WORKS OP RAMANNA SURI 213 pedestrian at every step ; we also learn clearly that Samanna Suri is son of Purandaracharya, wrote at Benares at the King’s behest, and that by nativity he was in all probability of Southern Maharashtra with an acquaintance of Northern Karnataka, i ! <*? v nino > E We noted above that the set of sheets under ‘ D ’ carries the title abbreviation W. On the margin, which we suggested might represent in some form (Gita) Sahitya Samgraha, which is the colophonic name found in that sheet. From a set of just 3 sheets found in this bundle, which also carry the same marginal note ff. W,, we have to take that Sam. Sa. stand also for Sangita Sara, for that is another name which Samanna thought of. We read here TfcT w fm h Thus Samanna’s venture in musical text writing has many names ! Tala-prastara, Gitasahitya- samgraha (in one outer sheet, this title appears also as Sangita Sahitya Prakarana) and Sangita Sara; and in this set of three leaves where gives the name Samgita Sara, the opening verse gives a further name Talasiksha. a rafter || Of course there are also the titles Damaru-vadya-varna- visesha and Bharata - matokta - chaturdasa vidya, both of which we may suppose are sections to be adjusted into the plan of this main work. The nature of this so*called Tala Siksha or Sangita Sara in these 3 sheets is that all the matter contained in the set of sheets so far reviewed A—D is given here in a series of Anustubh verses, serving more or less as the basis for the prolix and redundant sheets in the other sets A-D. F The remaining sheets are stray and it is difficult to fit them in any of the sets of continued matter analysed above under A—D. Of these— I. An un-numbered sheet. Brahmatala is dealt with. Adi Kavya Ramayana is quoted on Rama being Brahman ; the quotation that does not occur in Valmiki, may be in the Adhyatma Ramayana. Then Rudra Tala, Mandakaya, Hanumattala,—all of which gives no new matter. 4 5 THE JCOURNAL OX THE MADRAS MUSIC ACADEMY (VOL. XXI •j hnH. Another un-numbered sheet opening with a series of verses containing epithets of Devi. This is in connection with the Devi Tala. See above. There is reference to the ‘ mata ’ of Nagaraja that according to him, Rupaka is of 8 matras and it became Dhamar. Chapaka, Virinchi, Dhamar (Dhara asura again !) are then spoken of. * Kachanira-mata 9 referred to in the previous set ‘ D ’ is mentioned again ; according to it, Rupaka has6 matras; according to Hanuman, Rupaka has 7. o(> III. 2 uniform sheets contain matter found in set D. They are evidently part of another copy. There was one numbering on left hand margin to p ; over that, a fresh numbering 37-38 has been written. IV. 2 other uniform sheets of thin tattered paper written with a good deal of scoring over. Here again no new matter is found. i ?t ' ■slliJ' Bid i ' ‘an 'bna mrt iuiA ' ( fins_ .■mhikfMp' V • . •, * \n?:- ‘vTPTg Any* ]-:? ' |j 'ofsrist e*itw> yh d'»iifw 'to f 1 '■ met i mvm% s irn k iM to boikso-dg ait?J id b t Mi. itoodii lo tm f;j-i m feataJlKw Ma ,4b: .*&*$»▼ dduibftik* *'•* dwfd* * «i mod ttevfjjiiii < n i steeds vtemhpu! rfl soodl lit of -Si $i • jjM* 10 .0 .—'A Taims avoda jm b ih k tb&ebai * 1*4 sends** : tedl &tnSaf I / srtjbe ai THE KANDYAN DANCE iHmu ' o BY « ilotd* D r. V. R a g h a v a n On 4-6-’49, the Music Academy arranged a short programme of select items of Kandyan Dance by a troupe of Kandyan dancers led by Guru N. M. Guneva, and sponsored by Messrs? Peiris and Candra- dasa. I am thankful to Sri Guneya, the most gifted of these dancers, for tbe further demonstrations that he gave privately at my request and the elucidation of some of the main aspects of bis tradition. Mr. Noeyal J. J. Peiris was kind enough to supply the illustrations figuring here. The Kandyan dance forms the traditional and classical 'dance- art of Ceylon. Ceylon had close contacts with India in the political and cultural fields all through, the centuries. The inter-communi cation in the Buddhistic and Cola periods in matters of religion, art and literature was conspicuous. No wonder the danee-arts of South India and Simhala met and interacted oh each other. In the com mentary of Adiyarkkunallar on Silapf atikaram (Arangetrpkkfidai), mention is made of the Ceylonese dance ealled Singalam (Qmsetrin) as one of the three forms of Meykkoottu gj) current in Tamilnad. The systemafcised inovetriehtS off feet and)hands, and the musical and instrumental background of the Kandyan dances, not to mention their mythological themes of the temple, court, rural and ritual setting, are all features common to the Indian and Kandyan dance- art. The art is handed down traditionally in families which had royal land-endowmdnts for the maintenance of the art.* * See Ceylon: the Portugese Era T505;—1658 by P. E. Pieris, Colombo, 1913-4: P. 215—(A.D. 1582): “ At the city of Sitawaka the Bhairawa Koil raised again in all its glories after the Portugese ravages and in the outer'court the dancing women moved their graceful limbs tp the rhythm of Tamil music.” P. 240—“ At Matara, in the celebrated shrine of the Rod Sandalwood Vishnu, according to a description left bj^ftyhula in Sinhalese, the finest description of the temple dance is found in which “ with flowers entwined in the tresses of their hair and garlands pendent from their necks, the women dance, as dances the budding leaf of the mango twig to the music of the b reeze.” P 536—“ According to Queiroz, the name Tanavare by which this place was known of old was from the name of the village from which the* dancing girls came, viz. Natan-vare meaning ‘ come, dance,” P. 315—“ At Saparagamuva was the great temple of Saman Deiyo, built originally by Pandita Parakramabahu in fulfilment of a vow made by his Brahman minister Arya Kamadeva; Kamadeva’a grandson Nila Perumal rebuilt it, and attached to it was an establishment of dancing women ( Devadasi) who were removed by the Prince of Uwa when he invaded the low courtry in A. D. 1630.” ’ * M\ 2 1 6 THE JOURNAL OF THE MADRAS MUSIC ACADEMY fVOL. XXI It is noteworthy that just as the piece de resistance of our Natya is the Yarna, the Vannam, the Kandyan cognate, is the mainstay of their dance too. There are altogether eighteen such Vannams which are defined each by its definite rhythm, matra, Jati or Tanamf adavu and Kastira. Kastira is the virile rhythmic crescendo corres ponding to our Tirmana. The eighteen Yannams are reproduced here as they were given to me by Sri Ananda W. P. Guruge, Research student in Sanskrit, Colombo University, from the work 41 Sinhalese Vannams " by S. L. B. Kapukobuwa, Colombo, 1935. [N. B. 1 and aft unless marked with an asterisk (*) are always short]. (i) Gajaga Vannama .M atra.— sftfsfo* or ^ ■ 'r . : fSPT d$ I Tanam:— dRd d*\d dr dd . / . 3*5; ITRT dRd ’ '** , ' • . dRd dRT || Kastiram fad. I dftfa* srftfffc dT ii f ' 1 (2) Nayiyadi Vannama Matra :— * eft Or fa d^: afa d* I Tanam : — hrr iTXr vie ftft dRT | J'J-K dK, i "•}■ n * . r ftft dRT || Kastiram dd£ ddfad fddft fad II (3) Kirala Vannama Matra:— * fa fa d^: ^dd» I t>« ; ■tturl •utirf I p°ww*is arlt M d &d) n?6aJtb »*; ,09B*h Tanam dRd dR ddT dd d^dd— - : ' ' '.feewrd t jsnM^oso/ **- sr.s : • d R d d R ; :£/: fit xaotl saw Llo'te nwuml ftfft dd dTd ddT dd r’;‘ ' Srj 0" i v .« .« rtsVI . i i v ,» ru * o .ovioCI riftrti A **—BIS d i(l o'LftOX W dd^d - dfft dd dR ddT I « .*T Yd Yh«n'^iio W r i-.lt/. .a bn«i •< v jIimi.)/! : a*/s!(i»ui.-./J ■? t- • -i-iiiiim t:«;: .vifj Kastiram ; dtf* dffad d«5 n* naW #i od hoiftsdlr. bo» .Ustfhtdm il.'.fO'J V/Ol t fcwU \o «ild v<» }.0 v0 rwf m y ] THU KANDYAN DANCE 217 (4) Iradi Vannama Matra I Tanarn :— rf'R rRcTT J H»R cT«rclT I rf«T«T STT^^r^Tr || Kastiram:— | f\w> cfarerft h v i (5) Udara Vannama Matra :— ^ RT I Tanam :— d**THT | ?R-fcR rRrTRR cRRRT || Kastiram :— cR^cRI I t \ jniupi Kastiram :— cf^£ tTf£ r'"xf; !Mf5RftPR I (T) Hanuma Vannama Matra :— ^ Erfa I Tanam :— rHHjWi flR'R cRH, i rWHZsft cTRirr i I - } mmiktoX. rTRT ^ rfjRT |1 Kastiram:— ?TO *rBflT • ^ ( ' fWZ {5R | ;;;;;; , (8) Ganapati Vannama Matra :— f^T•-! ps pp ypp Tanam :— *# ?R t | IP^R rR«T*R m I F~. 1 THE JOURNAL OE TBTB MADRAS MUSIC ACADEMY [VOL. XXI (9) Savula Vannama Matra gfg gg gg gftfoj f Tanam gg g*gg ggg | 3«T g*3»T ggg g*T g*«FT gR%fg rT^ ?TRr f Kastiram :— gggftfcr f fsfgftfr*: I |'-faraT || ' ■■■{' El T8 (10) Gahaka Vannama Matra :— gggi gfagg | Tanam:— gg g*3?TT cT^^f g ^ *Tr?!T I gfg ct^t cRe^r g*3gr g*?; grgr |t Kastiram :— gftfrz fcfgg^ gfWg\gg>fog | gflPT (TT I 1 I ■■■■•■ I Pb Kbp (1 1 ) Vairodi Vannama p f r * f }>n Ffvf> M a t r a UtT^ f^f | ; rF; Tanam :— rTR/T cF^«T g*3^T g*TT—r 3^ p rTHTT gPTT^fg gHRlfg fRT— ^ :W;I SrT rF^f gRgfg g * ^ rF^FTSTT || _ Kastiram :— gg fag gg | g^fag i — ~«W. | g$ farT^— I jj ,;trr: rrpn (12) Mayura Vannama Matra :— ipC ■.J ; ^ ‘ * ____ _ \llt PARTS I-IV] r > THE KANDYAN DANCE 219 (13) Turaga or Kudiradi Vannama M a t r a ^ f5HM I Tanam:— (14) Surapati Vannama Matra :— fa ft TO ^ cT^ | Tanam:— 3TO T O (» T O T | Kastiram:— TO I TO spwfifsra j (15) Musaladi Vannama Matra : - Kastiram:— TO TO fT O ftg I (16) Ukusa Vannama Matra :— TOt^ I ^ Tanam :— 2 2 0 THE JOURNAL OF THE MADRAS MUSIC ACADEMY (VOL. XXI d?R | dRdd dRd ~dR l (J; f} ? T ^ — Kastiram :— dil'dd | - ..... d%d rTt^r err — (17) TJraga Vannama Matra :— $5 $5 dfap* ddd ?&Z \ and ^ fSr fSr d*R I Tanam :— dRHM dRddd.— dd3; dR ddR ddR ddR ddR rTSTTST dd«(— fT^RTR ddR ddRj, . V\ w, n' (I-1 ■ Kastiram :— 53! $* dfSR I ^ ^ ufiR i ^ ^ ?t[5r: J ddc( d ^ d |p £ S j M df— (18) Asadrsa Vannama Matra :— dfiR dd dftfoS f%fed$ I 3V: AV lV ‘ dfa cr^: dd> dfddd I *^fdddft dd fafcd5 I Tcmam:— dR^ I dRR ddd g * j, I drdd | dRR ddd dR 1 dRd j dRR d^d dR I dr dR dTdr— Kastiram :— It may be seen that these VSnnamS are named after the themes in their songs, which also go by the same name, and most of the themes are from Hindu mythology. Ganapati Vanna is a description of Ganesa ; Surapati Vanna is descriptive of Kama’s joy on finding Sita after the separation, search and fight. Some are named after animals and birds aud their gaits: Musaladi is after the hare (optuai) ; Kirala is after the woodpeoker ; Ukusa is after the hawk ; Kudira or Turaga, after the horse. Udara Vanna is of another class as it depicts a typical Kandyan court scene. Another of our dance-items taken over by the Kandyans is the Saudam or Vandamana, which is our Sabda or Salamu, as I have already pointed out (See this Journal.. Vol. xx. p. 160). t*A&TJ§ I 'J v ] 'X&A.D& H T B E KANDYAK VATSCVi t-MEU rHT 221 fn fact Tamil influence is complete in both dance and drama in €bylott. Not only is the dance-master called Natuva, but, as Sri R. Saratchandra who is^working op the theatre-arts in Ceylon informs me, the whole open-air dance-drama of South India, the Koothu of south Tamilnad, with it Annavi, konangi, Katti^akkaran etc. has got transported there. In this drama called Koottu and Nadagam (referred to as Karnadagam in Jaffna), ^p^nilf|jin^s are sung, Tamil-Singalese Manipravalam is spoken, and %Qtors enter and go out dancing. As in our traditionaljKoct.tus, the plays are done all through night only by males, on tbe threshing floor after the harvest, and round about the wooden mortar (Ural) which becomes also a seat. There is a drummer, but no separate musician, the actors themselves singing. There is no setting, and the basic Natyadharmi of Indian dance can be seen here too when, for instance an actor stands with arms spread out for representing a tree, and to cut it down, another actor comes and acts as if cutting it. Some of the other dances take their name after the accompani ments carried in the hands by the dancers and used as they go about in their movements. Thus Pantheru is the dance in which the cymbals or tambourines called Pantheru are carried and Udakki dance is the one in which dancers play the little drum called Udukkai (ftL®*«D«). The Perahara (procession) in August in Kandy is the most important festival with which dance is associated. Originally it was the celebration of Gajabahu’s victory over the Colas ; now it is associated with the Buddhistic temple of the Tooth, as also with other Hindu temples of Vishnu, Skanda, Pattini etc. The procession includes lady-dancers carrying empty pots or Kalasas, swaying their bodies in gentle rhythmic movements, now and then throwing up their Kalasas a little. Besides these, there is also a class of propitiatory dance, Santikkoottu; it is prevalent in Matara (low country) and is referred to as Bali Dance, bali meaning propitiatory offering. There are eighteen masks here for the eighteen diseases (Dahata Sanya), presided over by evil spirits, to ward off which these Bali dances are performed. Planets are also appeased. Three or four statues are placed to which offerings are made, tests (including some Sanskrit mantras) are recited and with an attractive headgear and simple costume, with only a drum as accompaniment, the dance is offered. Bell, flame, a Raksha-tantu or talisman-thread are used in planetary 222 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXI 4 propitiation, (¥«gftK which is said to go back to PandaVppdeva, brother of VijayA, for whom the Brahmans brought frofn §akra’s heaven the talisman-thread.u The priest is called Adupa -iftBqfnoaos edf leila octrAfriledf ieiM ibdio etff la etrroB fuoda og ^erif as beau baa aieonab eo? ^ abaad eii? ni beinao afnem odf doidw n i eon*b edt a i uiedinecI eudT .afciemevoas liedf ni IddafoU bqA faeinae e*t« uterffffit^l belfBo aenhnodrnaf to aUdca^e bellae aio-rb efttH edf ^slq siaefmb lUhiw ai eao edf ai eonsb .{»«**©-«) iaidubU frfoot edt «i y brra/I ndvfrnig;*' Aiq aTsdtne*! edT e« - ;i V'fUmsvrO .be a. ai o;»idJ» jlpidw dfiw bafifsel fnafioqim st Ji iron ;'s«(o0 .aflf' levo ^totelv e'ad^dapsO lo qdtJatdelee edf diiw ,9901Mb ytofaifiqotq lo- as*la s oala &i r igefl benolas ai bon (Y^fniioe wol) st&i&M. ni . [ u&B 91s eiedT .gniiolfto yioJmjiquiq guiinpti jisd ,ep»fCl dnA as at sfjBdad) eeajBoeib neefdgio ,edf i d mod .hj&Aa? poefdgi® ‘its aeenub eaedf doiJw Tio bipw of .fubiqp. live 'j .v<$ hebiawtq aeufjsfa xuol io eeiiiT .beafceqqa psla .&%& efpiW|lT .beonoKeq fhiaajtS 9 mo a gaibufoiiK) sfref ,eh&m oxu aj^theBo doidw of beoidq elqcui**. i>fts ixjsgbaod evsfeAiffa . rm dfiw fms betieei ei« (a«xAcMMa .beidfto m oontsb edf .faemiHaqscroees *& as nib s y$uo dfiw fotnufao& viBfenrdq ai been ots baeidf-ncexeilai t» sijnfii-ndedA^I « ,lhfi vn TADA INDEX TO ARTICLES IN THE JOURNAL OF THE MUSIC ACADEMY, MADRAS Volumes XI to XX Abhijnana Sakuntala Nati’s Song in ... X i. 90 XII. 89, 92 Abhinaya Sara Samputa By the late V. V. Narayana Iyengar ... XVI. 80 Abhinaya Sara Samputa IV Chapter ... XVI. 80 Subject Index •* ... XVI. 137 Adbhuta Ramayana, Music in By V. Raghavan ... XVI. 65 Alapana ‘ North Indian and Carnatic Raga Alapa ... XX. 29 Raga Alapana ... XV. 10;'.) XVI. 26; XVII. 28 Applause in Ancient India, a Note on By V. Raghavan ... XVII. 144 Applause in Ancient Indian Stage, Manner of By O. C. Gangooly ... XVII. 141 Aptness of Sangita and Sahitya in Tyagaraja’s Kritis By Valady Krishna Iyer ... XVIII. 23 Astapadis Ragas of ... XI. 9 Bharata natya ... XV. 14; XVI. 24 ;. XVII. 33 ; XIX. 36 Bhashanga ... XI. 9 Chaturdandi in Karnata Music By M. Ramakrishna Kavi ... XI. 87 Chidambara Bharati, Malavai Tamil Song of ... XIII. 77 Chief of Ichalkaranji, a great patron of Indian Music By G. H. Ranade ... XIV. 79 C it a t io n s : Sri T. V. Subba Rao ... XIV. 31 Dr. L. Muthia Bhagavatar ’ ' *Ji. ' JXIV. 31 Sri Tiger Varadhachariar ... XIV. 32 Sri K. Ponniah Pillai ... XIV. 33 Sri T. S. Sabheea Iyer ... XIV. 33 V / THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXI Sri K. Vasudevachariar ... XIV. 34 Sri Umayalpuram Swaminatha Iyer ... XIV. 34 &ri Ariyakudi Ramanu ja Iyengar > IT.H A O «... XTV. 35 Sri Musiri Subramania Iyer ... XIV. 35 Prof. llwaram Venkataswami Naidu ... XIV. 36 Sri Mazhavarayanendal Subbarama Bhagavatar... XIV. 36 Sri Palladam Sanjiva Rao &&8U$Iq w ... XV. 16 Sri T. L. Venkatarama Iyer ... XVI. 31 Sri Maharajapuram Visvanatha Iyer ... XVII. 35 Sri Semmangudi Srinivasa Iyer ... XIX. 38 Sri Rajamanickam Pillai .. XX. 46 Clarinet and Classical Carnatic Music By C.S. Ayyar... XIX. 51 Classical Music Clarinet aud Classical Carnatic Music ... XIX. 51 ' ' .Guarding Classical Music from Unhealthy In fluences ... XVI. 21 Classical Music (Questionnaire) By G. H. Ranade ... XII. 29 Closed forms of Hindusthani Music By Ratan Jankar ... XX. 78 Comparative.Music By P. Sambamurthv ... XIII. 87 Corhpftrative Music, European and Indian By C. S. Ayyar/ ■■■ XII. 36 441 .II7X . t i , ■ C o m p e t i t i o n P r iz e W i n n e r s ’ L is t : I4f 1941 15th Conference ... XU. 21 1942 16th „ , ... ' t X W 25 1943 17th „ ... XV. 15 1944 18th „ ... XVI. 35 1945 19th „ ... XVII. 37 ' t 21st „ ... XTX. 41 ‘ 19i8 22nd „ ... XX. £1 (* • C ompositions w i t h N o t a t i o n s : :t I* Copalakrishna Bharati Kriti By Mrs. Kanakammal Sitapati rrveJeM ... XI. 29 H Compositions of Pallavi Duraiswami Iyer By C. 8 . Ayyar Pt. II ... XII. 57 Do. Pt. IIT ... XIV. 92 A Tamil song of Malavai Chidambara Bharati By Valady Krishna Iyer XIII. 77 Kambaramayana Tillana of Kunrakudi Krishna <.<• Iyer By M. S. Ramaswamy Iyer XIII. 80 Muthuswami Dikshitar Kritis By Mudikondan Venkatarama Iyer ... XlV. 147; /IX 'vy' l' XVII. 174 P A R T 3T .IV ] INDIX iii Muthuswami Dikshitar Kritis By Vainika Vidvan A. Sundaram Iver XIX. 207; XX. 166 Gopalaknshna Bharati Kriti By Mudikondan Venkatarama Iyer u. XIV. 150 Pallavi Gopala Iyer Kriti By G. N. Balasub- ramaniam -iavl & XV. 37 i Ksbetragna Pad a By Vissa Appa Rao & ManchaJa Jagannatka Rao f H g#|0j XVI. 78 1* Veena Kuppiar Kriti By G.N. Balasubramaniam... XVI. 146 D emonstrations d u r i n g t h e C o n f e r e n c e s : 1940 Tamil Compositions of Nilakanta Si van By A. I M. A. Saradambal ihuA.t. XI. 16 ^ v New Tamil Songs By T. R. Visvanatha 88 a I Sastri ;T mn&buaA ytf ivalM XI. 17 1941 Sankha Vina By Nukada Venkataratna Varma Garu XII.14&17 . ... * j w&mmM M tttuux iu Vidvan Nerur Srinivasachariar Kritis By Srimathis Ranganayaki & Rukmini ..., XII 14 1942 Singing of Kalpana Svaras and Pallavi By BOISCM Mazhavarayanendal Subbarama Bhaga vatar ■■ ' i X I Y i 18 The Modes of singing Raga and Tana By Tiger Varadachariar aftd Vasudeva 2$lo * chariar XIV. 19 1943 Ragalapana and Tanam Singing By Tiger Varadachariar ... XV. 10 Various Ragas By Palladam Sanjiva Rao ... XV. 10 Saman Singing By Parur G. Mahadeva Iyer XV. 14 1944 Raga Alapana and Tana By Tiger Varada- glfa.giiP • tfiornifi-jgftl i33laiiM o?*n .. a ■ XVI. 25 1945 Mahamahopadhyaya Yajnaswamy Sastrigal Kritis By Talainayar Nagarajan ... XVII. 21 Raga, Tana and Pallavi By Dwaram Venkataswami Naidu ... XVII. 26 Ragalapanam, Tanam and Pallavi By Tiger Si . Varadachariar XVII. 28 A Hindusthani Raga By Kapileswari Sastri... XVII. 29 Tirukkural set to Music By Mayavaram Visvanatha Sastri XVII. 29 1946 Two rare Pieces of Tyagaraja By Nagaswamy Bhagavatar , XVIII. 20 Mutual appropriateness of Sangita and Sahitya in the Compositions of Sri Tyagaraja By Valady Krishna Iyer XVIII. 27 iv THE JOURNAL OF THE MADRAS MUSIC ACADEMY fvOL. XXI Tyagaraja’s brilliant performances in rare Ragas By Tiger Varadachariar XVIII. 28 Rasapusliti and Bhavapushti in the com positions of Sri Tyagaraja By Madura Ool .7IX Subramania Iyer XVIII. 29 Some Tyagaraja Kritis By E. Sankaranara- V .7 yana Iyer XVIII. 30 A Padya By Piratla Sankara Sastri XVIII. 31 1947 Violin and additional strings By T. Chowdiah XIX. 26 Pallavi By Alathur Brothers XIX. 34 Sampradaya Style By Palladam Sanjiva Rao XIX. 35 1948 North Indian and Carnatic Raga Alapa By Ustad Ali Akbar Khan ■ ... XX., 29 Pallavi By Alathur Brothers ... XX. 37 Pallavi By Kandanur Bangaru Iyer XX. 38 Dhanam, Vina By V. Raghavan XX. 163 Dhruva, a type of old Indian Stage Songs By O. C. Gangooly XIV. 102 Duraiswamy Iyer, Pallavi Compositions of XII. 57 ; XIV. 92 Editorial XII. 99 Polk Music (Questionnaire) By G. H. Ranade XII. 27 Folk Music XII. 16 Powada XIII. 71 Questionnaire XII. 21 Fretting Musical Instruments, The Correct Method of By Hulugur Krishnachar XVI. 85 Gamaka Signs in Musical Notation By S. Vidya XIV. 117 Ghunguru, a rare Musical Instrument By V; Raghavan XIX. 206 Gopala Iyer, Pallavi Kritis of XV. 37 Gopalakrishna Bharati Kriti o f XI. 20; XIV. 150 Gopala Nayaka v ;,, ■ . XVII. 66; and Amir Khusru XX. 37 & 101 .. XVII. 172 Gopala Nayaka By K. V. Ramachandran XVII. 66 Gopala Nayaka By Hulugiu Krishnachar .: x x . 101 Graha Sruti Bheda . XVI. 17,19 & 25 Greek Musie Indian Origin of ... XV. 34 Hindusthani Music A Raga of ... XVII. 29 Closed Forms of ... XX. 78 Composition and the Six Fundamental Ragas o f... XX. 104 Hindusthani Compositions ... XX. 38 Just Intonation in Raga Singing ... XX. 39 North Indian Ragas and Melas ... XIII. 1; XIV. 51 Hindusthani Raga Singing, Just Intonation in By Ratan Jankar ... XX. 89 I llustrations : Birudu Patra ... XIV. 29 Insignia of Sangita Kalanidhi Medal ... XIV. 30 T. V. Subba Rao ... XIV. 31 L. Muthiah Bhagavatar ... XIV. 31 Tiger Varadachariar ... XIV. 32 K. Ponniah Pillai, T. S. Sabhesa Iyer ... XIV. 33 K. Vasudevachariar, Umayalpuram Swaminatha Iyer ... XIV. 34 Ariyakudi Ramanuja Iyengar, MusiriSubramania Iyer ... XIV. 35 Dwaram Venkataswarai Naidu, Mazhavaraya- nendal Subbarama Bhagavatar XIV. 36 U. Rama Rao XIV. 39 Pianos in Stone .XIV. 111-113 Palladam Sanjiva Rao XV. 17 T. L. Venkatarama Iyer XVI. 31 Music Phonography . XVII. 47-50 Sri Tyagaraja Illustrations . XVIII. Facing Page 1 Semmangudi Srinivasa Iyer XIX. 38 Violin in a Sculpture in the Chidambaram Temple XIX. 58 Ghunguru XIX. 206 T. S. Sabhesa Iyer, T. Meenakshisundaram Pillai, T. Srinivasaraghavachariar ... XIX. 212 5 * Maharajah Sri Swati Tirunal—Pictures ... XX. Facing Page 1 & 8 Rajamanickam Pillai ... XX. 46 Sama Sruti ... XX. 56 Talam ... XX. 57 Oscillograph Records ... XX. 118 VI THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXI Indexes: Abhinaya Sara Samputa (Tamil) Subject Index... XVI. 137 Index to Articles in the Journal of the Music Academy, Madras, Vols. I to X ... XI. 117 Index to Contributors to the Journal of the Music Academy, Madras, Vols. I to X ... XI. 131 Indian Music Of the Vedic and the Classical Period ... XIX. 71 Uniqueness of ... XV. 27 Two Styles of ... XIX. 22 Indian Music, Different Schools of By Alain Danielou XIX. 165 Indian Music of the Vedic and the Classical period By Irwin Felber (Translation : G. H. Ranade) ... XIX. 71 Indian Origin of the Violin By V. Raghavan ... XIX. 65 In Memoriam: By V. Raghavan Pt. S. Subramania Sastri ... XI. Facing Page 1 Pazhamaneri Swaminatha Iyer ... XIII. ,, Sulamangalam Vaidyanatha Bhagavatar ... XIV. ,, Semmangudi Narayanaswami Iyer ... XV. 42 Chidambaram Srirangachariar ... XV. 42 L. Muthiah Bhagavatar ... XVI. 124 K. Ponniah Pillai, K. Ramayyar, Tiruvengada Nattuvanar ... XVI. 125 Umayalpuram Swaminatha Iyer, Venu Nayakar, M. S. Ramaswamy Iyer ... XVII. 170 Mr. Fox Strangways ... XIX. 212 Mangesh Ramakrishna Telang ... XX. 165 Chief of Ichalkaranji By G. H. Rande ... XIV. 79 T. S. Sabhesa Iyer By C. S. Ayyar ... XIX. 212 T. Srinivasa Raghavachariar By S. Partha- sarathy ... XIX. 213 N. T. Minakshisundaram Pillai By N. R. Bhuva- rahan ... XIX. 216 I n s t r u m e n t s : Carnatic Music and the Equal Temperament Instruments XIX. 24 Ghnngnru XIX. 206 Pianos in Stone XIX. 109 Melam XX. 21. 67 Nagasvaram XX. 39, 110, 155 PARTS I-IV] INDEX vii Ravana Hasta Vina XV. 26 Sankha Vina XII. 14, 17 Viplin in Chidambaram Temple XIX. 68 Vina XVI. 29 Iravi Varman Tampi By S. Venkitasubramoni Iyer ... XX. 126 Kalpana Swaras Singing of XIV. 18 Kanakadas By T. V. Subba Rao ... XIV. 40 Karnataka Composers By T. V. Subba Rao ... XI. 22; XIII. 44 Kasinatha, Merattur, a Composer of Sabdas of the 18th Century A. D. By V. Raghavan XIV. 130 King Sahaji of Tanjore, Music at the Time of By K. Vasudeva Sastri XVII. 90 Krishna Iyer, Kunrakudi Kambaramayana Tillana ... XIII. 80 Kshetragna I! Padas of XVI. 78 Ivuppiar, Vina Kritis of , nrihiir-' XVI. 146 Language in Music XII. 17,18; XIII. 89; XIV. 37; XV. 11 Lankavatara Sutra, a Note on a Musical Reference in By Vissa Appa Rao XVI. 37 L e c t u r e s d e l i v e r e d a t t h e C o n f e r e n c e s : 1940 Maharaja Swati Tirunal compositions By Muthiah Bhagavatar XI. 14 The compositions of Sri Tyagaraja, Sri Syama Sastri and Sri Patnam Subramania Iyer By Tiger Vaiadachariar XI. 14 The Kirtanas and styles of Sri Muthuswami Dikshitar By Vedanta Bhagavatar XI. 15 Our forgotton compositions By M. A. Saradambal XI. 16 1941 Tana By Tiger Varadacliariar XII. 16 Folk Music By G. H. Ranade XT I. 16 Sangita and Sahitya By Ariyakudi Ramanuja Iyengar XII. 18 1943 Bharata By Nallur Narayanaswami Iyer ... XV. 14 1944 Bharata Natya By Nallur Narayanaswami Iyer XVI. 24 Classification of Melodies By V. G. Paranjpe XVI. 26 Viii THE JOURNAL OF THE MADRAS MUSIC ACADEMY [ v o l . xx Vina and its melapaddhati By Hulugur Krishnachar XVI. 29 1-945 Voice Culture By Balakrishna Rao XVU. 29 Bharatam By Nallur Narayanaswami Iyer... XVII. 33 Voice Culture By E. Sankaranarayana Iyer... XVII. 34 1946 Wallajapet Manuscripts By P. Samba- murthy XVIII. 19 An account of the Saint and his compositions according to the Umayalpuram School By N. Tyagaraman ... XVIII. 21 The spiritual heritage of Sri Tyagaraja By C. Ramanujachari XVIII. 24 Musical aspect of Tyagaraja’s kritis By T. L. Venkatarama Iyer XVIIT. 25 The excellence of Sahitya in Tyagaraja’s compositions By Kalluri Virabhadra Sastri XVIII. 26 The philosophy of Sri Tyagarajaswami By T. Srinivasa Raghavachariar XVIII. 27 Sri Tyagaraja By Nallur Narayanaswami Iyer XVIII. 29 Sri Tyagaraja By Thetiur Subra mania Sastrigal XVIII. 30 Rama Bhakti of Sri Tyagaraja By Devaraja Rao XVIII. 31 Sri Tyagaraja and the greatness of his contributions and service to the cause of Carnatic music By Semmangudi Srinivasa Iyer XVIII. 32 1947 The two styles of the fundamentally same Indian music By Valady Krishna Iyer ... XIX. 22 Sri Tyagaraja By Kalluri Virabhadra Sastri... XIX. 25 Bharata Natya By Nallur Narayanaswami Iyer XIX. 36 1948 Raga Alapana and keeping Tala By Valady Krishna Iyer XX. 21 Swara singing By Kalidas N. Nilakanta Iyer XX. 23 Tala By Kandanur Bangaru Iyer XX. 27 North Indian and Carnatic Raga Alapa By Geeta Sarabhai XX. 29 Closed forms of Hindusthani Music By Ratan Jankar XX. 32 Raga Alapa Paddhati By Piratla Sankara Sastri XX. 36 PARTS D IV ] INDEX Tana Singing By Madura Subramania Iyer ... XX. 37 Pallavi Singing By Srirangam Narasimha- ehariar ... XX. 38 Hindusthani compoaitions By Dilip Chandra Vedi ... XX. 38 L e t t e r t o E d i t o r : Notation By V. Appa Rao ... XV. 40 Linga Parana, Music in By V. Raghavan ... XIX. 203 M a d r a s M u s i c A c a d e m y A n n u a l C o n f e r e n c e O fficial Report -M 1940 14th Conference XI. 1 1941 15th J 9 * * # XII. 1 1942 16th , , • ” " ' • . . XIII. 1 1943 17th 9 9 * * * XIV. 1 1944 18 th f , . . . XVI. 1 1945 19th **• XVTI. 1 1946 20th » » * * * XVIII. 1 1947 21st 99 - . _ . j ... ••• XIX. 1 1948 22nd 99 •• • XX. 1 * Ma Janaki * of Sri Tyagaraja By T. V. Subba Rao ... XX. 136 M a n u s c r i p t s UftM v'S Music and Dance Manuscripts in Tanjore Library XIX. 168 Raga Tala Cbintamani XVI. 39 Sringara Rasamanjari XVI 41 Sangita Kamalakara ... XII. 93 Two Manuscripts of Tyagaraja Songs XVIII. 133 Wallajapet Manuscripts XIV. 86 ; XVIII. 19, 114 Mathematical values of the notes of the Raga Vibodha By V. G. Paranjpe XV. 19 Melam By P. G. Sundaresa Sastrigal XX. 67 Melas North Indian Ragas and Melas XIII. 1 ; XIV. 51 Scheme of 72 Melas in Carnatic Music XI. 80 Venkatamakhin and the 72 Melas XII. 67 Melodies Classification of Melodies . ' . XVI. 26 Microtonal Variations in Frequencies in Karnatic Music with an Oscillograph, A Study of By C. S. Ayyar XX. 114 III THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. Y3fl Musical Reference in the Lanka vatara Sutra, a Mahay ana Text of the 1st Century A.D., A Note on By Vissa Appa Rao ... XVI. 37 Music and Dance Manuscripts in Tanjore Library By K. Vasudeva Sastri XIX. 168 Music Conference of the Madras Music Academy, (15th), My impressions of the By G. H. Ranade... XII. 80 Music contributions in other Journals By V. Raghavan .. ■ ? y£f fti XII. 96 Music in Adbhuta Ramayana By V. Raghavan XVI, G5 Music in Palkuruki Sornanatha’s work By V. Raghavan XIV. 140 Music in Training Schools By P. Sambamurthy XIII. 33 Music in Travancore By R. Srinivasan XIX. 107 Music of the Samaveda Chants By T. K. Rajagopala Iyer . XX. 144 Music Phonography By J. Srinivasadas XVII. 41 Muthiah Bhagavatar By T. V. Subba Rao XVII. 134 Muthuswami Dikshitar By N. Raghunathan ... XIV. 122 Mutbuswami Dikshitar Kirtanas and Styles of ..J XI. 15 K ritis of , * . . 1 XIV. 147; XVII. ; XX. 166 174; XIX. 207 Nagaswara By Veeruswami Pillai XX. 110 Nagaswara By V. Raghavan XX. 155 Naravana Tirtha Pari jataharana Nataka of XIII. 74 Nati’s Song By G. H. Ranade XIII. 84 Nati’s Seng in the Abhijnana Sakuntala XII. 89, 92 in tbe Prelude to the Abhijnana Sakuntala of tj f Kalidasa XL 90 Non-musical works of some leading music writers By V. Raghavan XX. 152 North Indian Ragas and Melas By Robindralal Roy ... XIII. 1 ; XIV. 51 Notation XII. 12,14; tiA XIV. 19, XV. 9, 11, 18 & 40 Gamaka signs in XIV. 117 N o t e s : B y V. R a g h a v a n Music and Language XIII 89 Musical criticism XIII. 90 C. E. M. Joad on the significance of music XIV. 166 The Ravanahasta Vina ... XV. 26 PARTS T-lvf INDEX Effect of good music according to Che Chinese XV. 34 Indian origin of Greek music 'X XV. 34 Inaccurate music and its effect XV. 36 Locbana Pandita’s Ragatarangini XV. 42 Music in the proposed Maharashtra University XV. 42 The Shashtyapdapurti of Rao Bhadur K. v : oj j j Krishnaswami Iyer XVI. 123 Gopala Nayaka end Amir Khusru XVII. 172 Vina Dhanam ^ - -.t* XX. 163 Noteworthy Contents in other Journals By V. Raghavan rrr XVI. 100 Opening Address : ■ ■ y.H ...... : i . w - ■ { Hie Highness the Maharajah of Travancore 1940 J.' XI. 3 Maharaja of Pithapuram 194\ ... XII. 2 M. Venkatasubba Rao , ^ 1942 XIV. 2 S. Radhakrishnan 1943 J? XV. 1 Dr. Alagappa Chettiar 1944 .,, XVI. 2 Rajah of Ramnad 1945 ... XVII. 3 U. Rama Rao 1946 ... XVIII. 3 T. V. Subba Rao 1946 ... XVIII. 9 ,Jlajah of Sivaganga 1947... XIX. 3 Maharajah of Bhavanagar 1948 XX. 3 Origin of some Ragas By P. SambamurtHy XVI. 73 Padas of Sri Swati Tirunal By S. Venkitasubra- moni Iyer XVII. 157 Padya t. ,H y;M (fiat/T} #I»T in Telugu i e . XVIII. 31 Pallavi ■ ai aoifBaojat I*a Singing of XIX. 34, XX. 37, 38 P a p e r s r e a d a t t h e C o n f e r e n c e s : 1941 Madhyamavati Raga By G, H, Ranade .v , XII. 14 1945 The MUSI-GRAF By T. Srinivasadas XVII. 23 Therapeutic value of musical sounds By nlCn%ofuH N. M. Adyantayya XVII. 32 Intonation and determination of the values ’? ai of the correct swara-mtervals By Hulugur Krishnachar XVII. 83 1946 Tyagaraja’s conception of ‘ Okhamata ’ By M. S. Ramaswamy Iyer X V I I I 18 Tyagaraja and his Sat tVika Tyaga By ‘1 ft ,rffo*n o'i >i‘ C. Saraswati Bai (Tamil) XVFII. 18 Xll THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXI A comparative stlidy of Sri Tyagaraja and other Vaggeyakaras By K. Vasudeva- chariar XVIII. 19 Saint Tyagaraja’a pilgrimage songs By Maharajapuram Visvanatha Iyer (Tan fl) XVIII. 19 SriTyagaraja and tlie greatness of his devotion and music By Palladam Sanjfva via Rao (Tamil) XVIII. 19 Tyagaraja for beginners By C. S. Ayyar X VII1. 23 Sri Tyagaraja By Narayana Menon XVIII. 24 The poetry of Sri Tyagaraja By Y. Mahal- 00 inga Sastri .f.V XVTII. 26 Tyagaraja the mystic By R. Srinivasan XVIIT 26 Ragas that owe their Raga Bhavas to Sri Tyagaraja By R. Vasudeva Sastri XVIII. 26 « V i? Sri Tyagaraja By S. Vidya J XVIII. 27 Sri Tyagaraja (Telugu) By Anantha- * 'krishna Sarma ‘.T. XVIII. 28 Sri Tyagaraja (Tamil) By T.N. Rajarathnam PiHii XVIII. 30 o i ! I / / Tyagaraja By C. Seshachalam Chettiar... XV III. 31 v 1947 Music and Dance manuscripts in the Tan jore Library By K. Vasudeva Sastri ' XIX. 23 m Carnatic Music and equal temperament cA' J7/ instruments By C. S. Iyer . ..i XIX. 24 . Ragas befoTe and after Tyagaraja By ,D < Rulugur Krishnachar ... XIX. 35 1948 Mela and Tala (Tamil) By P. G. Sundaresa ft-: .1 1 1 / Sastrigal ... ’ XX. 21 Just intonation in Hindusthani raga singing By Ratan Jankar XX. 34 Gopala Nayaka By Hulugur Krishnachar... XX 37 Nagaswaram (Tamil) BV Veeruswami Pillai XX. 39 Parijfttaharana Nataka of Narayana Tirlha By V. 0 $i:t Raghavan aaJbae- XIII. 74 Philosophy of Sri TyagarajftSwami By T. Srinivasa !'<: Raghavaehariar XVIII. 62 Pianos in Stone By T. G. Aravamuthan XIV. 109 Pitch Standardization of ... XII. 22 Poetry of Tyagaraja By Y. MahaJinga Sastri XVIII. 41 Pouada, a Folk Music Form of Maharashtra By G. H, j>j Ranade XIII. 71 m PARTS I-IV] INDEX x iii P residential A d d r e s s : 1940 Vedanta Bhagavatar XI. 5 1941 D. Venkataswami Naidu XII. 4 1942 Mazhavarayanendal Subbarama Bhagavatar, XIV. 7 ft „ (Tamil) XIV. 8 1943 Palladam Sanjiva Rao XV. 4 99 „ (Tamil) XV. 5 1044 T. L. Venkatarama Iyer XVI. 6 9 9 „ (Tamil) XVI. 9 1945 Maharajapuram Visvanatha Iyer XVII. 9 99 „ (Tamil) XVII. 12 1947 Semmangudi Srinivasa Iyer XIX. 8 )> (Tamil) XIX. 12 1948 Kumbbakonam Rajamanickam Pillai XX. 6 1* (Tamil) XX. 10 Presidential Address, Music section, Xlth All India Oriental Conference, Tirupati, 1940 By T. V. Subba Rao XII. 43 Purandara Dasa By B. Sitarama Rao XI. 77 Purandara Dasa By M. Mariappa Bhatt XIV. 72 Quartertones in South Indian (Carnatic) Music By C. S. Ayyar XI. 95 Raga Before and After Tyagaraja XIX. 113 Hindusthani Raga ... XVII. 20 Just Intonation in Hindusthani Raga Singing ... XX. 89 Modes of Singing XIV. 19 North Indian Ragas and Melas XIII. I; XIV. 51 Origin of Some Ragas XVI. 73 Raga Alapa North Indian and Carnatic Raga Alapa XX. 29 Paddhati XX. 36 Raga Alapa and Keeping Tala XX. 21 Raga Lakshanas Arabhi . XL 10 Ahiri XI. 1 1 , 17, 18 Brindavana Saranga XIX. 32 Desakshi . ... XIX. 31 K alga da XIX. 9 Kanada XIX. 30 IV x i v TBE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXI Kapi XVI. 22 ; XVII. 26, 27 Mandari XIX. 29 Natakuranji XV. 9, 10, 11 Nilambari XVI. 25 Pantuvarali XV. 8 Saindhavi XVI. 27 Salaga Bhairavi XIV. 17,18 Sara a XI. 12 Saurashtra XI. 10 Saveri '* XVIII. 24 Suddha Desi XX. 27, 40 Varali XI. 12 Raga Madhyamadi, the Key to unlock tbe Mystery of Sangita Ratnakara and to establish the unity between the Northern and Southern Schools of Music By G. H. Ranade ... XII. 80 Raga Mala and Malika ... XII. 23 Raga Pushti in Tyagaraja Kritis By Madura Subra- mania Iyer ... XVIII. 47 Ragas and their features before and after Tyagaraja’s Time By Hulugur Krishnachar ... XIX. 113 Ragas in Kerala By V. Raghavan HV XIV. 135 Ragas of the Sangita Saramrta By T. V. Subba Rao... XVI. 45 ; XVII. 104 ; XIX. 183 Ragas that owe their Raga Bhavas to Sri Tyagaraja By K. Vasudeva Sastri ... XVIII. 68 Raga Tala Chintamani A Note on ... XVI. 39 Raga Vibodha Mathematical Values of the Notes of ... XV. 19 Raja Sarfojee of Tanjore and music By C. S. Ayyar ... XV. 35 R e v i e w s : By V. Raghavan A report on publication and research in Musicology and allied fields in the United States 1932-1938 XI. 110 A Bibliography of periodical literature in Musicology and allied fields and a record graduate theses accepted ... XI. 110 Nad, Vol. 1. 1940 ••• XI. I ll Ufctara Mandra, Vol. 11, Nos. 1, 2, 3, & 4—5 ... XI. 112 Vasantan Folk Dance songs of Batticoloa ... XI.’ 112 Srimat Tyagaraja Vijaya Kavya ... XI. 113 Sangita Bhava, Vo). II XI. 114 Marathi Rangabhumica Itihasa, Vol. I Part I XIV. 154 A Bibliography of periodical literature Musicology and allied fields, Book II XIV. 154 The appeal in Indian music XV. 41 Saubadhra XV. 41 Sangita Ratnakara of Sarngadeva with the commentaries of Chatura Kallinatha and Simhabhupala XVI. 125 Lectures on Indian (Hindusthani) Music XVI. 126 The Raga Vibodha of Somanatha XVI 126 The Origin of Raga XVII. 171 Sangita Ratnakara (English Translation) XVII 171 The Sangita Raja of King Kumbhakarna XVII. 172 The Physics of music XIX. 210 Ragavibodham (Tamil) XIX. 210 The Allahabad University Journal of Music XIX 211 Sri Ranga Gana Sudhodayam By P. K. Rajagopalan XIV. 155 Art of Rathakali By C. A. M. XIV. 156 R e s o l u t i o n s : Music Section in the All India Oriental Conference XII. 18 Music and the Universities XII. 18 Congratulation to L. Muthiah Bhagavatar XIV. 16 Tamil Isai Resolution XV. 13 Felicitations to Tiger Varadachariar and K. Vasudevachariar By H. H. the Maharajah of Mysore XVI. 17 Film Censor Board ... XVI. 22 Election of the Conference President XVI. 27 Publication of Tyagaraja Kritis XVI. 27 Congratulation to Semmangudi Srinivasa Iyer ... XVII. 22 Magnetic Wire Recording XIX. 40 Sabdas By V. Raghavan XX. 160 Sabdas ... XX. 160 Two New Sabdas on Sri Maharaja Swati Tirunal By V. Raghavan XV. 22 Sadas Addbbsses: 1941 Dr. A. Lakshmanaswami Mudaliar XII. 20 1943 S. V. Ramamurthy XV. 17 1944 Sir K. R. Ramunni Menon XVI. 34 1945 Dr. S. R. U. Savoor, d.p.i., Madras XVII. *9 1947 Hon. B. Gopala Reddi XIX. 44 1948 Hon. Justice P. V. Rajamannar XX. 44 Xvi THE JOURNAL OF THE. MADRAS MUSIC AOADBMY [VOL. XXI Saint Tyagaraja, a great adept in Mantrayoga By T. K. RajagopaJa Iyer XVIII. 130 Saint Tyagaraja, a Spiritual Guide By T. Srinivasa Raghavachariar ... XV. 29 Sama Veda Saman Singing XV. 14 Music of the Sama Veda Chants XX. 144 Sampradaya Style XIX. 35 Sangita and Sahitya By Arivakudi Ramanuja Iyengar XII. 23 Sangita and Sahitya in the Compositions of Sri Tyagaraja, The Mutual Appropriateness of By Valady Krishna Iyer XVIII. 23 Sangita Kamalakara, aa Unknown- Work on Musio mentioned by Kamalakara in his commentary on the Harivilasakavya By P. K. Gode XII 93 Scheme of 72 Melas in Carnatic Music By T. L. Venkatarama Iyer h x r 80 Six Fundamental Ragas of Hindusthani Music, Com position and the By Dilip Chandra Vedi ... XX. 104 So-called Akalanka or the Sangita Sara Sangrahamn By V. Raghavan XTI. 38 Soma Raga By V. Raghuvan XIV. 145 Some leading music systems By C. S. Ayyar x tiu 2 1 ; XVII. 97 Some Musicians and their Patrons about 1800 A. D. in ;si IHiljrT the Madras city By V. Raghavan XVI. 127 Srinivasachariar, Ne.rur ' ‘ Kritis of XII. 14 SHngara Rasamanjari, work written nearly 250 years back, A Note on By Vissa Appa Rao XVI. 41 Sruti Jatis, The Categories of Intervals or By Alain Danielou .?.- x v r i. 74 Subram ania Iver, Patnam Compositions of XI. 14 Survival of the useful and the beautiful in the realm of Music By P. Sambamurthy XVII. 80 Swara Singing XX. 23 Swati Tirunal Maharaja Pad as of XVIII. 157 Two New Sabdas on XV. 22 Syama Sastri XII. 23, 32; XIV. 62 Compositions of XI. 14 m PABTS I-IV] INDEX XVII Syama Sastri By T. V. Subba Rao ... XII. 31 Syama Sastri By Mrs. Kanakammal Sitapati , . XIV. 62 Syama Sastri By T. T. ■Krishnamachari ... XII. 32 Tala By P. G. Sundaresa Sastri ... XX. 57 Tala ... XX. 27, 57 Tana Modes of Singing • XIV. 19 Singing of ••• XII. 15; XV. 10; XVI 25 ; XVII. 26, 28; XX. 37 Tamil Songs T. R. Visvanatha Sastri Kritis XI. 17 Gopalakrishna Bharati Kriti XI. 20 Malavai Chidambara Bharati Song XIII. 77 Ka m baramayana Tillana XIII. 80 Nilakanta Sivan Songs XI. 17 Teaching of Music-II By P. Sambamurtby XI. 48 Therapeutic Qualities of Music By X. M. Adyantayya XVII. 58 Tirukkural set to Music XVII. 29 Tunes -Ut 0:, Standardization of .-. XVI. 17 Two Manuscripts of Tyagaraja Songs By V. Raghavan XVIII. 133 Two New Sabdas on Sri Maharaja Swati Tirunal By V. Raghavan XV. 22 Tyagaraja, Sri ,t * ®L5J sol Compositions of 1 XI. 14 Universality of XIV. so A Spiritual Guide XV. 29 Articles on XVI. 92 ; XVIII. 17, 9, 20, 24, 27, 28, 29, 30, 31, 62 ; XIX. 25 Illustrations . XVIII. Facing Page 1 Centenary Celebrations . XVIII 1 Pilgrimage Songs of . XVIII. 1 Conception of ‘ Okamata * . XVIII. 18 Greatness of his Devotion and Music ^ .... XVIII. 19 Two rare Pieces of , XVIII. 20 An Account of his Compositions according to the Umayalpuram School XVIII. 21 Aptness of Sangita and Sahitya in Tyagaraja’s ' 11 Kritis XVIII. 23 y • vx:\ Ail'MJ xviii THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXI The Spiritual Heritage of XVIII. 24 Musical Aspect of Tyagaraja’^ Kritis ..I XVIII. 25 The Excellence of Sahitya in his Compositions ... XVIII. 2d Poetry of XVIII. 20 Philosophy of XVIII. 27 Brilliant Performances in rare Songs XVIII. 28 Ragapushti and Bhavapushti in the Compositions of ..Jp XVIII. 29 Some Kritis XVIII. 30 And his Satvika Tyaga XVIII 30 Ramabhakti of XVIII. 31 The greatness of his Compositions and service to the cause of Carnatic Music XVIII 32 CojnparatrreStudy of Tyagaraja and other Vaggeyakaras XVIII. 35 Ragas that owe their Raga Bhavas to XVIII. 68 Uniqueness of XVIII. 73 the Mystic XVIII. 81 Kritis for Beginners by XVIII. 84 ^Loroscope of ... XVIII. 88 Genius and Personality of XVIII. 97 on Music XVIII, 107 Two Manuscripts of songs of /?#r XVIII. 133 Raga and their features before and after the time of ... XIX. 113 |.| ‘®£a Janaki * of ... XX. 186 Tyagaraja, Sri By Mrs. Vidya . XVIII. 9 „ By S. Srinivasa Rao ... T. 92 ,, By C. Seshachalam Chettiar ... LI. 62 ,, ,, By palladam Sanjiva Rao W f f l. 17 »I »i By E. Sankaranarayana Iyer XVIII. 20 j, ♦, and his Satvika Tyaga By C. Saraswati ISr ... Bai XVIII. 30 .! ,» and other Vaggeyakaras, Comparative Study of K. Vasudevachar XVIII. 35 ,, his Genius and Personality By K. V. Ramachandran . 97 Tyagaraja’s Horoscope By Mudikondan Yenkatarama XVI ll. 88 ?2 I Tyer Kritis for Beginners By C. S. Ayyar XVIII. 84 t„ ; r KsKetra Kritis By Maharajapuram Visva- natha Iyer XVIII. 1 PARTS I-IV] Tyagaraja, the Mystic By R. Srinivasan XVIII. 81 Tyagaraja on Music By T. V. Subba Rao XVIII. 107 Uniqueness of Indian Music By T. V. Subba Rao XVIII. 107 Uniqueness of Tyagaraja, The By T. V. Subba Rao ... XV. 27 Universality of Tyagaraja By T. V. Subba Rao XVIII. 73 Useni Swara Jati By V. Raghavan XVII. 149 Venkatamakhin and the 72 melas By V. Raghavan ... XII. 67 Vina Sankha Vina XII. 14, 17 And its Mela Paddhati XII. 29 Violin in a Sculpture in the Chidambaram Temple XIX 58 Indian Origin of XIX 65 and Additional Strings XIX. 26 Violin in a Sculpture in the Chidambaram Temple By T. Madhava Menon and Bobby Joseph Chacko ... XIX. 58 Voice Culture XVII. 29, 34 V o t e o f T h a n k s : 1940 K. Balasubramania Iyer XI. 4 1941 E. V. Sundara Reddiar XII. 11 1943 Lady Venkatasubba Rao XV. 4 1944 Basheer Ahmad Sayeed XVI. 6 1945 Alamelu Jayarama Iyer XVII. 9 1946 K. Balasubramania Iyer ... XVIII. 18 1947 E. V. Sundara Reddiar XIX. 8 . 1948 T. T. Krishnamachari XX. 19 Walajapet Manuscripts, By P. Sambamurthy XIV. 8 6 ; XVIII. 114 W e l c o m e A d d r e s s e s : 1940 14th K. V. Krishnaswami Iyer XI. 1 1941 >> >1 XII. 1 1942 J l » XIV. 1 1943 T. V. Subba Rao XV. 1 1944 XVI. 1 1945 XVII. 2 1946 T. L. Venkatarama Iyer ... XVIII. 2 1947 T. V. Subba Rao XIX. 2 1948 >> » XX. 2 Yagnaswamy Sastrigal, Mahamahopadyaya Kritis of XVII. 21 xshzie j 18 1 HVX ... tj^&vuilig' .H x® for .iv y # ... ' oaS W M l * t .T XmM m X4 U : 'A ... Ot/s !>*;‘;;V 7- ,T vM -'.^7 • -XiTX r< ? K :7X osSf j»d*J*f-4 .V .T 7® asfT ,®[»T/i^S'rT £r If ■ /X* ... 8i* ...Xf'X - * *■ - ■. ' .. +' g^S8fs?@ !,giio'i?if>!M. Isnii abjrctal? mil ||t $ jii ■ 8# .Xf.X ' .:. dtfaab.% 6«;r nmt^M aimdhiiH .T ' ! 1 / / ,,, • '* >*! f / :7vr::;’ ‘ • -T >;o jv < / 1 .IX , ' ts^/f &itfmti&'icfQ m taQ .X fUfH ' ' if .XIX- ... ’T.-nhi .7 .7 1 7 7 <>»?! AcMrifetiidlttAT YfjisJf tl@i ® MX. .... fJ 0 . 0 / 7 i'«! ... w /I biab tramfuasita^ .M d&Sfl >.. iM lm f f l «i«f)rn!& .7 .S TM1S <*il ..XX ... ■ i'TflJyAfrcijtniei'i/I .T .T 814] f _ ; 08. .T lX .... 41 fU fo*Ta(«I71? : ui^autflfaA tfiwHwafW I .IX .7 . 3f ^ 1 } QH& *; i . m W'v ' .7 ..X '’ JM f d '1071 Afflffljit&ibl®. / .III ,T cliff. osM. 7 .T n o t *£ .XX 814] J a^v&sqeil#}sa#4*K ■ is J i? : t o s U h H v n INDEX TO CONTRIBUTORS TO THE JOURNALS OF THE MUSIC ACADEMY, MADRAS Volumes XI to XX Achyuta Menon, C. Art of Kathakali (Review) ~ ... XIV. 155 Adyantayya, N. M. The Therapeutic Qualities of music ... XVII. 58 Alain Danielou The categories of intervals or Sruti Jatis ... XVII. 74 The different schools of Indian music ... XIX. 165 Appa Rao, V. Notation (Letter to the Editor) ... XV. 40 A musical reference in the Lankavatara Sutra ... XVI. 37 The Raga Tala Chintamani ... XVI, 39 The Sringara Rasamanjari ... XVI. 41 A Pada of Kshetragna in Ghanta ... XVI. 78 Aravamuthan, T. G. Pianos in Stones ... XIV. 109 Balasubramanian, G. N. Three Kritis of Pallavi Gopala Iyer ... XV. 37 A Kriti of Vina Kuppiar in Hamsadhvani ... XVI. 146 Bhuvarahan, N. R. Late Vidvan N. T. Minakshisundaram Pillai (Obituary) ... XIX. 216 Bobby Joseph Chacko The Violin in an old piece of sculpture at the Chidambaram temple ... XIX. 58 Dilip Chandra Vedi, R. Composition and the six fundamental ragas of Hindusthani music ... XX. 104 Gangooly, O. C. Nati’s song in Sakuntala ... XII. 89 Dhruva ... XIV. 102 The manner of ‘ Applause ’ in ancient Indian Stage ' ... XVII. 141 x x ii t h e j o u r n a l o f t h e m a d r a s m u s ic a c a d e m y [VOL. XX I Gode, P. K. Sangita Kamalakara, an unknown work on music XII. 93 Jagannatha Rao, Manehala A Pada of Kshetragna in Ghanta ... XVI. 78 Kanakammal Sitapati, Mrs. Gopalakrishna. Bharatiar Kriti ... XI. 20 Syama Sastrigal ... XIV. 62 Krishnachar, Hulugur The correct method of fretting musical instru ments - ... XVI. 85 The intonation of Karnataka Raga Melas ... XVII. 51 The ragas and their features before and after Sri Tyagaraja’s time .... XIX. 113 Gopala Nayaka ... XX. 101 Krishna Iyer, Valady A Tamil song of Malavai Chidambara Bharati ... XIII. 77 Tyagaraja’s Kritis ... XVIII. 23 Krishnamaehari, T. T. Syama Sastri Madhava Menon, T. The Violin in an old piece of sculpture at the Chidambaram temple ... XIX. 58 Mahalinga Sastri, Y. The poetry of Tyagaraja ... XVIII. 41 Mariappa Bhatt, M. 1 t Purandara Dasa ... XIV. 72 Narayana Iyengar, V. V. Abhinaya Sara Samputa, IVth Chap. ... XVI 80 Paranjpe, V. G. The mathematical values of the notes of the Ragavibhodha ... XV. 19 Parthasaratby, S. Sri Syama Sastri ... XV. 23 Late Dr. T. Srinivasa Raghavachariar (Obituary) XIX. 213 Raghavan, Dr. V. The so-called Akalanka or the Sangita Sara Sangrahamu ... XII. 38 Venkatamakhin and the 72 Melas ... XII. 67 PARTS I-IV] INDEX xxiii Nati’s song in Sakuntala ... XII. 92 Music contributions in other Journals ... XII. 96 The Parijataharana Nataka of Narayana Tirtha ... XIII. 74 Merattur Kasinatha, a composer of Sabdas of the 18th Century A. D. ... XIV. 130 The Ragas in Kerala ... XIV. 135 Music in Palkuriki Somanatha’s works ... XIV. 140 Soma Raga ... XIV. 145 Two new Sabdas on Sri Maharaja Swati Tirunal XV. 22 Music in the Adbhuta Ramayana ... XVI. 65 Musicians and Patrons in Madras city about 1800 A. D. ... XVI. 127 A note on “ Applause in Ancient India ” ... XVII 144 The Useni Swarajati ..' XVII. 149 Two manuscripts of Tyagaraja compositions ... XVIII. 133 The Indian origin of the Violin ... XIX. 65 Music in the Ling apurana ... XIX. 203 Ghunguru, a rare musical instrument ... XIX. 606 The non-musical works of some leading music writers XX. 152 Nagaswara XX. 155 Sabdas XX. 160 In Memorium XI. Frontispiece XIII. XIV. XV. 42 XVI. 124. 125; XVII. 170; XIX. 212 N o t e s XIII 89, 90; XIV. 116 ; XV. 26, 34, 36, 42 ; XVI. 123; XVII. 172 ; XX. 163 . R e v i e w s XI. 110, 1 1 1 , 112 , 113, 114; XlV. 154; XV. 41; XVI. 125, 126; XVII. 171, 172; XIX. 210, 211 Raghunathan, N. Sri Muthuswami Dikshitar ... XIV. 122 Rajagopalan, P. K. Sri Ranga Gana Sudhodayam (Review) ... XIV. 155 Rajagopala Iyer, T. K. Sri Tyagaraja, a great adept in Mandra Yoga ... XVIII. 130 The music of the Sama Veda chants ... XX. 144 Ramachandran, K. V...... Gopala Nayaka ... XVII. 66 Sri Tyagaraja, his genius and personality ... XVIII. 97 XXiv THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXI Ramakrishna Kavi, M. Chaturdandi in Karnataka Music ... XI. 87 Ramanuja Iyengar, Ariyakudi Sangita and Sabitya ... XII. 23 Ramaswami Iyer, M. S. The Kambaramayana Tillana of Kunrakudi Krishna Iyer XIII. 80 Ranade, G. H, Nati’s song in the prelude to the Abhijnana Sakuntala XI. 90 Folk Music (Questionnaire) ... XII. 27 Classical Music (Questionnaire) XII. 29 The Raga Madhyamadi ... XII. 80 My impressions of the 15th Conference of the Madras Music Academy XII. 85 Powada XIII. 71 The Nati’s song—A reply ... XIII. 84 The Chief of Ichalkaranji XIV. 79 The Indian music of the Vedic and the classical period XIX. 71 Ratan Jankar, Pandit The closed forms of Hindusthani Music XX. 78 Just intonation in Hindusthani Ra#a singing ... XX. 89 Robindralal Roy North Indian Ragas and Melas ... XIII. 1 ; XIV. 51 Sambamurthy, P. The teaching of music ... XI. 48 Music in training schools j,... XIII. 33 Comparative Music—A reply ... XIII. 87 The Wallajapet Manuscripts ... XIV. 86; XVIII. 114 The origin of some ragas XVI. 73 Survival of the useful and the beautiful in the realm of music XVII. 80 Sanjiva Rao, Palladam Sri Tyagaraja ... XVIII. 17 Sankaranarayana Iyer, Dr. E. Sri Tyagaraja XVIII. 20 ’f n Saraswati Rai, C. Sri Tyagara ja and his Satvika Tyaga XVIII. 30 m PARTS I-IV] INDKX XXV Seshachalam Chettiar, C. Sri Tyagaraja ... XVIII. 62 Sitarama Rao, B. Sri Purandara Dasa XI. 77 Srinivasan, R. Sri Tyagaraja, the mystic ... XVIII 81 Music in Travancore XIX. 107 Srinivasa Das, J. Music Phonography ... XVII. 41 Srinivasa Raghavachariar, Dr. T. Saint Tyagaraja, a spiritual guide XV. 29 The philosophy of Sri Tyagarajaswami .. XVIII. 52 Srinivasa Rao, S. Sri Tyagaraja XVI.* 92 Subba Rao, T. V. Karnataka Composers XI. 2 2 ; XIII. 44 Syama Sastri XII. 31 Presidential Address, Music Section, X ltb All India Oriental Conference, Tirupati, 1940 XII. 43 Kanaka Das XIV. 40 The universality of Tyagaraja XIV. 80 The uniqueness of Indian Music XV. 27 The Ragas of Sangita Saramrita XVI. 45; XVII. 104 ; XIX. 153 Sri Muthiah Bhagavatar ... XVII. 134 The uniqueness of Tyagaraja XVIII. 73 Tyagaraja on music ... XVIII. 107 ‘Ma Janaki ’ of Sri Tyagaraja XX. 136 Subrahroania Aiyar, C. Quartertones on South Indian (Carnatic) Music ... XI. 95 Comparative music, European and Indian XII. 36 Compositions of Pallavi Duraiswami Iyer XII. 57 ; XIV. 92 Some leading music systems .1. XIII. 2 1 ; XVII. 97 Raja Serfojee of Tanjore and music XV. 35 Sri Tyagaraja’s kritis for beginners XVIII. 84 The Clarinet and classical Carnatic Music XIX. 51 Sangita Kalanidhi T. S. Sabhesa Iyer* (Obituary) XIX. 212 A study of the microtonal variations in frequen cies in Karnatic music with an Oscillograph ... XX. 114 _ ^* I XXVi THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXI Subrahmania Iyer, Madura Raga pusbti in Tyagaraja’s kritis XVIII. 47 Sundaram Iyer, A. Sri Muthuswami Dikshitar Kritis ... XIX. 207; XX. 166 Sundaresa Sastrigal, P. G. 1 Tala * ‘" XX. 57 Mela • '... XX. 67 Vasudevachar, K. A comparative study of Sri Tyagaraja and other Vaggeyakaras XVIII. 35 Vasudeva Sastri, K. • Music at the time of King Sahaji of Tanjore, A. D. 1710 XVII. 90 The Ragas that owe their raga bhavas to Sri Tyagaraja XVIII. 68 Music and Dance manuscripts in Saraswati Mahal Library XIX. 168 Veeruswami Pillai, P. S. Nagaswaram XX. lio Venkatarama Iyer, Mudikondan n *!r Sri Muthuswami Dikshitar Kritis , in1r XIV. 147; XVII. 174 Gopalakrishna Bbarati Kriti X IV . 150 Tyagaraja’s Horoscope XVIII. 88 Venkatarama Iyer, T. L. Tbe scheme of 72 melas in Carnatic Music XI. 80 Venkitasubramonia Iyer, S. The Padas of Sri Swati Tirunal • •• XVI I. 187 Iravi Varman Tampi XX. 126 Tidy a, Mrs. * Gamaka signs in musioal notation XIV. 117 Tyagaraja XVIII. 9 Visvanatha Iyer, Maharajapuram Sri Tyagaraja’s kshetra kritis XVIII. 1 i U 0 6 » o / as 0 5 1 o f a s b i 0 5 W>| O S Vd \<£p(3jL i d>LJtr gnuMew1 n\ smpem p d ,j d i »ii( sw u f d) <»0U> uuf-iuarp > aiw s i i i v f t e e tfx itt Ma d ra s an isic c o n f e r e n c e , 1949 27n»JA,d,> - *i>!o