THE JOURNAL OF “ I THE MUSIC ACADEMY MADRAS
A QUARTERLY DEVOTEE TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC O ^______Vol. XXXIV 1963 Parts I-IV
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“ I dwell not in Vaikuntha, nor in the hearts of Yogins nor in the Sun; where my Bhaktas sing, there be I, Narada! ”
EDITED BY
V. RAGHAVAN, M.A., PH.D. to '-ififb H>d$ sio sjoiwoilduit 1 9 6 3 n 1 ' q vt f^ ' **w v l* ?! 3d hfnofi? aJofToeuftBiffT 11A PUBLISHED BY THE MUSIC ACADEMY, MADRAS 115-E, MOWBRAY’S ROAD, MADRAS-14.
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NOTICE
All correspondence should be addressed to Dr. V. Raghavan, Editor, Journal of the Music Academy, Madras-14. Articles on subjects of music and dance are accepted for publication on the understanding that they are contributed solely to the Journal of the Music Academy. All manuscripts should be legibly written or preferably type written (double spaced—on one side of the paper only) and should be signed by the writer (giving his address in full). The Editor of the Journal is not responsible for the views expressed by individual contributors. All books, advertisements, moneys and cheques due to and intended for the Journal should be sent to Dr. V. Raghavan, Editor. The XXXVIth Madras Music Conference, 1962 Official Report,, 1— 69 Folk Music of Tamilnad By Smt. Shyamala 70— 82 Traditional Indian Musical Aesthetics By Dr. Prem Lata Sharma u jl —H i v\Z, 8 3 - 98 Some Aspects of Tradition By Vidwan V. V. Satagopan, B. A. 99—109 The Scope of Theoretical Studies in Music By Prof. R. Srinivasan 110—117 The Historical Evolution of the Philosophical Concept in'Indian Music By Swami Prajnanananda, Calcutta 118—120 Light Classical Karnatic Music By Vidvan N. Rajagopalan, B.A. 121—123 ‘Her Infinite Variety* By Dr. V. Raghavan 124—131 I 150th Birthday Celebrations of Sri Svati Tirunal at the Music Academy, Madras, 132—134 Varnas, Svarajatis etc. of Svati Tirunal By Sangita Bhushana S. Ramanathan 135—138 Some Less Known Facts Relating to Maharaja Svati Tirunal By Sri S. Venkitasubramoni lyar 139—150 Sri Svati Tirunal and His Literary Eminence By Dr. V. Raghavan tf. 151-155 CONTBNTS
Two Kritis of Dikshitar with Notation E dited by Veenai Sundaram Iyer
Two Rare Song* of Gopalakrisbna Bharati Edited by S. Ramanathan 167—169
Two Rare Song^in Sankarabharana and Mandari Edited by Sri T. Visvanathan 170^—175
Three Rare Pieces E diteddy Vidvan Sri Chennakesaviah o f Mysore ... 177— 197
B o o k R e v ie w s .. 198—207
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w f c f y f o t gjute&X taeJ »cq0& l # B i n i T nsv|\ Jt VCi ’f.‘& «al‘i I b 1 9 6 2 The Opening of the Academy’s New Auditorium The thirtysixth annual conference of the Madras Music Academy was held in the Academy’s own new auditorium, 115-E, Mowbray’s Road, Royapettah, Madras-14, from 21st December 1962 to 5th January 1963. On the day previous viz., 20th December 1962, the new Auditorium of the Academy was declared open to the public. Opening of the Building The ceremony of the opening of the new Auditorium of the Music Academy was performed by H. H. Maharajah Sri Jayachamaraja Wadiyar Bahadur, Governor of Mysore and Chairman, Central Sangeet Natak Akademi, on the 20th December 1962. On his arrival at the premises of the Academy, he was received by the Office-bearers of the Academy including the Hon’ble Sri T. T. Krishnamachari. Dr. V. Raghavan, Secretary, introduced His Highness to the members of the Governing Body and the Vidwans and members of the Experts’ Committee and the Kalanidhis of the Academy who were present. After a group photo with the Maharajah and the members of the Governing Body and the Experts’ Committee, the Maharajah unveiled the marble tablet at the entranee and after cutting the tape, entered the new building along with the members of the governing body and the musicians. The Maharajah then went upon the Stage. The function was attended by a large and distinguished gathering. The proceedings began with prayer by Smt. D. K. Pattammal who sang the composition of the Maharajah. Messages wishing success for the function were read by Dr. V. Raghavan, Secretary. 2 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. > XXIV H. H. Sri Sankaracharya of Kanchi Kamakoti Peetham sent a telegram conveying his blessings to the function. Dr. C. P. Ramaswami Ayyar, who inaugurated the Music Academy as an organisation in 1928 conveyed his best wishes for the success of this function. Sri Rajaji said in his message : “ I send my best wishes for the increased activities when the new auditorium will be declared open by one of the most worthy of the princes of our land who continue to be princes, by their nobility and worth although they have relinquished all their power.” Dr. Rajendra Prasad, Former President of India, said in the course of his message : “ Music is known to cast its spell not only on humans but even on animals and the medical science is also taking advantage of its beneficial influence We also know the wondrous properties of war-songs and bhajans. It is no wonder that it can soften the heart of the tyrant no less than make the timid perform heroic deeds ” • Dr. Zakir Hussain, Vice-President of India, sent his best wishes. Dr. A. Lakshmanaswamy Mudaliar, Vice-Chancellor of the Madras University said, “The Music Academy, Madras has made remarkable progress since its inception several years ago, thanks to the interest taken by the President, Rao Bahadur K. V. Krishnaswami Iyer and the office bearers. I am glad that His Highness Maharaja Sri Jayachamarajendra Wadiyar Bahadur, is declaring open to the public the new Auditorium of the Madras Music Academy. I am given to understand that the Auditorium is one of the finest for musical performance.” Dr. C. D. Deshmukh, Former Finance Minister and President, India International Centre, Delhi said : “ I have watched with admiration the growth of the Music Academy and the sustained work that has led to the completion of its new Auditorium. In its new home, the muse of music will surely be enshrined with Pts. i-iv] the xxxvith MADRAS music conference 3 glory. I extend my hearty felicitations to the Academy and my best wishes for the success of its admirable work.” The British High Commissioner in India, Sir Paul Gore Booth, in his message said, “I am very happy to send you my congratulation and good wishes on the occasion of the opening of the new Auditorium and the inauguration of your 36th Annual Conference. I am sure that your extremely well-designed building will greatly increase the pleasure and appreciation of the Acade my’s audience and will represent an important addition to the cultural amenities of the City.” 4 The High Commissioner for Canada in India extended his best wishes to the Academy on this important occasion. His Excellency the Ambassador of the Embassy of the Federal Republic of Germany, New Delhi said in his message: "It is a well- known fact that Madras has always succesfully endeavoured to preserve Karnatak music in its pure classical form. It is therefore in the fitness of things that the Madras Music Academy should now hold its concerts in a representative Auditorium with good acoustics where the public can enjoy music at its best.” Messages on the occasion of the opening of the new premises of the Academy were also received form the eminent American Composer, Dr. Henry Cowell, Author of the Madras Symphony, dedicated to this Academy, Society for Ethnomusicology, United States ; Jack Bornoff, Secretary, International Music Council, Unesco and Music Library, Jerusalem. Sri M. Patanjali Sastri, Former Chief Justice of India, wished the function all success. Mr. Artur Isenberg of the Ford Foundation, Delhi extended to the Music Academy heartfelt good wishes of himself and his wife on the auspicious occasion of the formal inauguration of the new auditorium by His Highness Maharaja of Mysore. He said that he and his wife considered themselves deeply indebted to the Madras Music Academy for some of the most rewarding cultural experien ces in India. 4 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV Her Highness the Junior Mahafani of Travancore, H. H. the Maharaja of Travancore and His Highness Maharaja of Cochin sent their best wishes for the success of the opening function. The following Governors of States sent messages wishing the opening function all success: Their Excellencies Sri Pataskar, Madhya Pradesh ; Dr. Sampurnanand, Rajasthan ; Sri Biswanath Das, U .P .; Sri Anantasayanam Iyengar, Bihar ; Sri V. V. Giri, Kerala ; Sri Medhi Nawaz Jung, G ujarat; Mr.*vVishnu Sahay, Assam and Sri Bishnuram Medhi, Madras. The Hon’ble Mr. Jagjivan Ram, Minister for Transport and Communications, Delhi, sent his best wishes for the great success of those connected with the work of the Academy. Hon’ble Sri B. Gopala Reddi, Minister for Information and Broadcasting, said tnat this Auditorium would be a great asset to Madras and it would be one of the best Auditoriums suited for music, drama, etc. in the City, and sent his best wishes for the success of this function. Hon’ble Sri C. Subramaniam, Minister for Steel and Heavy Industries, sent his best wishes for the success of the function. Hon’ble Prof. Humayun Kabir, Minister for Scientific Research & Cultural Affairs, said in his message, “The Academy has done splendid work in fostering interest in music and I wish your function every success.’’ Dr. B. V. Keskar, former Minister for Information & Broad casting and Chairman, National Book Trust of India said : “ The Madras ftfusic Academy is rendering a great public service by constructing this Auditorium. I hope it will be useful in furthering the cause of music and other arts.’’ The following Ministers in Delhi sent best wishes for the success of the function : The Hon’ble Sri O. V. Alagesan, Sri B. S. Murti, Sri S. V. Ramaswami and Sri C. R. Pattabhiraman. The Chief Ministers of the States, Hon’ble Sri Jivaraj Mehta, Gujarat, Hon’ble B. A. Mandloi, Bhopal, Hon’ble Sri Sukhadia, PTS. I - f / ] THE XXXVlth MADRAS MUSIC CONFERENCE Rajasthan had sent their good wishes for the success of the evenirjj’s function. Sri R. A. Patil, Dy. Minister of Revenue, Bombay sent his best wishes. The Hon’ble Sri S. Nijalingappa, Chiefs Minister of Mysore said in the course of his message : “ A connoisseur of art and himself a great composer, His Highness was i he obvious choice for the honour. The opening of the new audi orium will mark yet another milestone in the history of the Madras Music Academy. The Academy has been rendering yeoman service to the cause of music in the Country It is the Mec;a of Musicologists and music lovers all over the South...... May the Opening of the Music Academy’s Auditoriurp be the >!nger of yet greater service in the cause of music.” The following Ministers of Mysore, Mr. H. R. Abdul Gaffar, Dy. Minister of Finance, Mr. R. M. Patil, Home Minister, if* Nagappa Alva, Health Minister, and Maqsood Ali Khan, )y. Minister for Mines, sent their best wishes. The Hon’ble Sri'P. Kakkan, Minister for Agriculture, Madras ite sent his best wishes. The Vice-Chairman, Central Sangeet Natak Akademi, Sri S. N. Mazumdar congratulated the Academy on this happy event and said, “ Your Academy with its new acquisition will render even greater service to the cause of music and the demands of the lovers of music.” Sri K. R. Kriplani, Secretary, Sahitya Akademi, had sent his good wishes on this occasion. Messages were also received from Justice H. A. Ayyar, Hyderabad and from Sri B. P. Bhatt, D. G., A. I. R. Dr. V. K. Narayana Menon of A. I. R. said: “ May the impressive Auditorium echo with the voices of the great for many years to come.” Special mention must be made of the messages which the Academy had received from Messrs. G. M. Bhuta and Associates of Bombay, Architects of the Auditorium, Mr. Bose of Calcutta, Structural Engineer of this building, Mr. H. V. Shah of Bombay who had built this structure and Mr. M. Pancholi, of the National 6 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV Physical Laboratory, who has advised on the acoustics of the Hall. Sangita Kalanidhis Semmangudi Srinivasa Iyer and Sri T. K. Jayarama Aiyar sent their best wishes for the success of the function. The famous Hindustani musician, Bai Kesarbai Kerkar telegraphed congratulating the Academy on its brilliant achieve ment. Messages were also received from Vidwan Dandapani Desikar, Sri M. G. Ramachandran and Swami Prajnanananda of Calcutta. Welcome Sangita Kalanidhi Sri T. L. Venkatarama Iyer, Vice-President of the Academy, then welcomed the Maharajah and requested him to open the new auditorium. Sri Venkatarama Iyer mentioned the high cultural attainments of the Maharajah and in particular his knowledge and interest in the art of music to which the Academy was dedicated. He said that His Highness was not only a connoisseur of music, but also an active exponent and composer. Sri Venkatarama Iyer then briefly traced the growth of the Academy and gave an account of the building project which, he said, they were all happy to see, had come to a fruitful culmina tion on that day. He then requested His Highness to declare open to the public the new Auditiorium. Opening Speech In the course of his opening speech His Highness Jayacha- maraja Wadiyar said: Ladies and Gentlemen, I am indeed very happy to accept your kind invitation to perform the opening ceremony of the New Auditorium of the Madras Music Academy. It has always been a matter of special pleasure to me to visit Madras which is the home of music and the arts, and I thank the authorities of the Madras Music Academy for affording me this opportunity to be with you all and to participate in this evening’s function. P t s . i - iv ] t h e x x x v i t h MADRAS m u s ic c o n f e r e n c e 7 I recall with pleasure my visit to the Music Academy five years ago when I had the privilege of inaugurating the thirty-first Annual Conference of the Academy. It is very gratifying indeed to note the great strides that have been taken since then. The new Auditorium is an achievement that has been rendered possible by the joint efforts of men of vision and men of technical skill. The liberal financial assistance extended towards the construc tion of this structure by the Government of India, Ministry of Scientific Research and Cultural Affairs, is evidence of the true worthiness of the cause. The harmony of vision and technical skill which paark this great structure have ever been the goal of India’s artistic achievement and musical tradition. Our greatest musicians were seers who had the vision of truth and who were capable of translating this vision into concrete reality : Nanrsih kuruU kavyam. They could give an appropriate soul to the body. A Purandara Dasa, a Tyagaraja, a Dikshitar, a Syama Sastri, a Mira and a Kabir, and a host of musical saints of Tamilnad like the Alwars and Nayanmars rendered vibrant through the human voice, the trembling music of their souls. Our temples enshrined the holy of holies which accommodated our benign deities. All engineering skill came to be lavished in a spirit of great devotion to rear up the magnificent prakarams and gdpurams. Our musical instruments like the incomparable Veena had metallic strings which could sing exquisitely by the delicate touch of the master musicians. The result of all this has been the development of a remarkable repertoire with its rich and variegated content by which the ineffable music in the soul of man found its outward expression. In these days of democratic tradition it is necessary that we find the most effective means of conveying the spirit of music to vast audiences who throng to it. This auditorium is designed to suit this purpose in the most scientific way. The National Physical Laboratory has given its expert advice in the matter of \ ' ' ; . W - U ■ 8 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV acoustics for this hall. I understand that the main aim has been the creation of the proper atmosphere for rendering and enjoying music unaided, as far as possible, by any amplifying system. Where such amplification becomes quite indispensable the stereophonic sound system with which this auditorium is to be equipped will come into use. The Madras Music Academy is probably unique in this country in the planning that has gone into the building of this auditorium. The Devi is the embodiment of music and learning as conveyed in the expression Vina Pustaka Dliarinl. She is also the chief exponent of music in all its varied forms such as modulations and songs as described in the following sloka from Saundaryalahari:— Gale rekhas tisro gati-gamaka-gttaika-nipune vivaha-vyanaddha-praguna-guna-samkhyapratibhuvah ; Virajante nana-vidha-madhura-ragakara-bhuvam trayanam gramanam sthiti-niyama-s]mana iva te. “ To me as to the hosts of the people of India art and music, architecture and sculpture, are so many- ways through which the Infinite may be approached. The search for the Infinite through Nadopasana is the most entrancing of all the ways of seeking God. I am glad to know that the feeling for the Infinite through music has found an expression which is at the same time truly scientific and characteristically aesthetical and spiritual. May this new auditorium provide for generations to come an inspiration for their ecstatic devotion and attainment of Nada Brahman. “ I cannot help making a reference here to the oppressive truth which we all have to face today, of Chinese aggression. It is our first duty now to do all we can to strengthen the sinews of our Nation to resist and overthrow the aggressor. Let us hope that through all this harrowing struggle we shall succeed in keeping our aesthetic sense alive. " I have the greatest pleasure in inaugurating the Music Academy’s new Auditorium which I look upon as a precious gift to the Nation.” P t s . i-iv) the xxxvith MADRAS music confbrsnce 9 His Highness paid in the course of his speech a tribute to the Hon. Sri T. T. Krishnamachari, to whose sustained interest the Academy owed the new Auditorium, from the very planning of it to its successful completion. After delivering the opening address, Sri Jayachamaraja Wacfiyar lighted the two kuttu-vilakkus on either side of the dais. On behalf of the Academy, one of the Trustees, Sri V. K. Ramaswami Mudaliar, M. L. A., presented to His Highness a silver Kuttu-vilakku as a memento of the occasion. Sri K. R. Sundaram Aiyar, Treasurer, made a statement about the building project of the Music Academy, Madras and mentioned the interest that Sri T.T. Krishnamachari and the late Sri K. Srini vasan had continuously taken in the putting up of an auditorium for the Music Academy. Sri Sundaram Aiyar took the occasion to express the thanks of the Academy to the various patrons and friends of the Academy, as also to the Government of India for the help which they had given for their building project. Mr. Basheer Ahmed Sayeed, Retired Judge, High Court, Madras and Vice-President of the Academy conveyed to His Highness the thanks of the members of the Academy for the trouble he had taken in coming all the way to Madras solely for this function and for having performed in a most befitting manner, the opening of the Building which formed the most note worthy landmark in the annals of the Music Academy, Madras. The Opening function then concluded with a Nagasvaram recital by Vidwan Sri Karukurichi Arunachalam and Party. Opening of the Conference December 21, 1962. The XXXVIth Annual Conference of the Music Academy, Madras was inaugurated on the 21st December 1962 by the Hon’ble Sri M. Bhaktavatsalam, Minister for Education, Finance, Religious Endowments etc., Madras at the new auditorium of the Music Academy, Madras, before a large and distinguished gather- 2 10 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV ing ; Vidwan Sri Papa K. S. Venkataramiah, leading violin Vidwan, presided over the deliberations of the Conference. The proceedings began with prayer sung by the Students of the Teachers’ College of Music of the Music Academy. Sri T. V. Rajagopalan, Secretary, then read the messages received for the success of the 36th Conference of the Academy. His Holiness Sri Sankaracharya of Kanchi Kamakoti Peetham sent his blessings. The Prime Minister of India who laid the Foundation stone of the new auditorium sent his best wishes. Dr. Rajendra Prasad, former President of India said : “ It gives me pleasure to wish success to the 36th Conference being held by the Music Academy, Madras.” Vice-President Dr. Zakir Hussain sent his best wishes for the success of the Conference. The following Governors of States had sent their best wishes for the success of the Conference: Their Excellencies Dr. Sampurnanand, Sri V. V. Giri, Sri Bishnuram Medhi, Sri H. V. Pataskar, Sri M. Anantasayanam Iyangar, Sri Biswanath Das, Sri Medhi Nawaz Jung. The Maharajah of Cochin sent his best wishes for the Con ference and for the continued progress of the institution. The High Commissioner of the United Kingdom in India, the Ambassador of the Federal Republic of Germany and the High Commissioner for Canada in India sent their best wishes for the success of this Conference. Dr. C. P. Ramaswami Aiyar, Vice-Chancellor, Annamalai University and Dr. A. Lakshmanaswami Mudaliar, Vice-Chancel lor, Madras University, sent their best wishes for the success of the Conference. Q ^ The Hon’ble Ministers of the Centre : Sri Jagjivan Ram, Sri B. Gopala Reddi, Sri C. Subramaniam, Prof. Humayun Kabir, Sri S; V* Ramaswamy and Sri O. V. Alagesan sent their best wishes p - P t s . i- iv ] t h e x x x v it h MADRAS m u s ic c o n f e r e n c e for the success of the 36th Conference of the Academy to be inaugurated by the Hon’ble Sri M, Bhaktavatsalam. The Hon’ble Sri P. Kakkan, Minister for Agriculture, Madras, Sri Jivaraj N. Mehta, Sri B. A. Mandloi, Sri Sukadia and Sri S. Nijalingappa, Chief Ministers of States sent th,eir best wishes for the 36th Conference. Sri S. Nijalingappa said that it gave him great pleasure to learn that the Conference was to be inaugurated by his esteemed friend Sri M. Bhaktavatsalam and that the celebrated violinist Sri Papa Venkataramiah would preside over the .Con ference. He said : “For over 30 years Sri Papa has been in the limelight in the music world, and countless people have been thrilled by the magic of his bow By selecting such*' a great artiste as the President of this year’s Conference, the Madras Music Academy is indeed honouring itself.” Sri M. Patanjali Sastri, former Chief Justice of India, Mr. Justice Ayyar of Hyderabad, Mr. Artur Isenberj of the Ford Foundation, Delhi, Mr. Bhatt, Director General of A. I. R., Dr. Narayana Menon, A.I.R., sent their best wishes for the success of the Conference. Sangita Kalanidhi Sri T. K. Jayarama Aiyar in wishing the Conference success, sent his greetings to the President of the year, Sri Papa Venkataramiah. Sri Embar Vijayaraghavachariar sent his greetings. Vi Sri 'Ogirala Veeraraghava Sarma sent his best wishes. The Sangeet Natak Akademi, Delhi had sent their greetings* The Narada Gana Sabha had sent its best wishes for the success* bf the Conference. • - ii/oY ** Swami Prajnanananda of Calcutta said : “ I fervently Tibpe for the great success of the most memorable cultural music confer ence of yours.” B‘ > ; J Welcome Address On behalf of the Music Academy, Dr. V. Raghavan, Secretary presented a welcome address to the Hon’ble Sri M. Bhaktavatsa lam. In the course of his Address he said: 9 . < , i 12 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV “ Dear Sir, We thank you most sincerely for agreeing readily to our request that you should open this our Thirty-sixth Conference in this new Building of ours. This is our first Conference after our new Building has been declared open to the public formally and we are glad that the Minister of our Home State who is in charge of Education and Finance is associating himself with this Conference. “ In extending a warm welcome to you, Sir, we are happy to recall that you are one of the oldest members of the Academy, you and your revered uncle Sri Muthuranga Mudaliar having been active participants in the work of the Academy in its early years. 8You also presided over the Sadas of our Twenty-fourth Confer ence in 1950. You have not only taken an abiding interest in the development of the arts as Minister of Education, but also as Minister in charge of Religious Endowments you have contributed remarakably to the rehabilitation of our temples and the arts assoc iated with them. In doing all these as Minister, you are only continuing the role which your family has been playing as hereditary patrons and trustees of religious centres and cultural activities. “ It gives us great pleasure, Sir, that you are inaugurating our Thirty-sixth Conference. The Academy, after a service of nearly four decades in the cause of music and dance, has today reached an important stage in its activities, when its major endeavour in the last few years to have an ideal Auditorium has reached fulfilment. “ Your association gives us, Sir, the assurance of your sympathy with our cause and your affection for an organisation - with which you were yourself connected for along time. Among the important activities of the Academy is the Teachers’ College of Music which has been enjoying the recognition of your Depart ment and has been training teachers of music who become qualified for employment in High Schools. Ouy Building require ments are not at an end with the construction pf this big Auditorium. Our plans and needs include a smaller annexe, the i P t s . i- iv ] t h e x x x v it h MADRAS m u s ic c o n f e r e n c e 13 academic block, which we have to build for housing our Teachers’ College of Music and the Library and for the conduct of the Experts’ Meetings and Conferences. Our Teaehers’ College itself, confined at present to vocal music, has to develop the instrumental sections and the lack of proper accommodation is holding up our further development on the educational and academic side. Indeed if some of the vacant sites lying next door to us on the west become available to us we could do justice to our educational needs. Our College has students from far-flung places including Ceylon and the lack of a hostel has been a great handicap to us. “ It is our earnest hope that, in addition to the help which our friends and patrons have given, the authorities both at the Centre and States will extend to us the necessary support, so that in the coming years the Academy could consolidate its varied work of teaching, research, publication and providing music of high standard to the public and stabilise itself further as the foremost Centre in the field of music and dance. “ We now request you, Sir, to declare open our Thirty-sixth Conference and the connected series of performances.” Dr. Raghavan then presented the Address enclosed in a silver frame to the Hon. Minister. Opening Address The Hon. Sri M. Bhaktavatsalam, in inaugurating the Con ference, said: “ It gives me great pleasure to be in your midst to-day, and participate in a function that has become almost a part of the lives of many people, an event that is eagerly awaited year after year by thousands. “ The dawn of the present century found India in the tumult of an all-sided awakening. The political awakening was naturally the major event. As a handmaid to this militant awareness of political rights came a revival of interest in our art and literature, music and philosophy. Music received new stimulus and new attention and it bloomed to full-petalled glory. The Indian National Congress, as the symbol and rallying point of all the 14 THE JOURNAL OP THE MADRAS MUSIC ACADEMY [V O L. XXXIV progressive forces and movements in the country, provided every year the setting and the atmosphere for the holding of conferences for the promotion of arts, letters and social reform. The Music Academy was born thirtyfive years ago when the Indian National Congress held its session in the City of Madras under the presi dentship of the late Dr. Ansari. The All India Music Conference, which was one of the many conferences that were held during the period, resolved to start the Music Academy to preserve and foster Carnatic music. I was one of the interested and enthusiastic participants in the sessions of both the Indian National Congress and the Music conference. My interest in the growth of the Academy and its activities during these long years has been abiding. I, therefore, deem it a great privilege to participate in today’s function which, synchronising with the opening of the scientifically-planned and aritstically constructed auditorium, marks a red-letter day in the history of the institution. “ The impact of recent events has thrown us into a deep mood of reflection. The spirit of oneness that had been bequeathed to us by Mahatma Gandhi, who, by institutionalising every construc tive idea of his and providing it a broad all-India basis, emphasis ed the unity of the country, was subjected to severe stresses and strains. Recent trends and tendencies to seek out and magnify minor differences with a view to sabotage the political and cultural unity of India have caused us great anxiety. But how solid and lasting has been the contribution of Mabatmaji towards streng thening the unity of India has been abundantly proved during the crisis that overtook the country in October last. It is our duty to re-discover and strengthen all the strands that have gone to weave the web of Indian unity. Music is one of the shining strands in our heritage, which make us realise that we belong to a common cultural stock and the variations that are seen are largely the result of the interaction of the forces of history, geography and climate. ‘ Indian music,’ writes Ananda Coomaraswami, ‘ is the most significant of surviving Indian arts...... It has been perhaps the greatest aesthetic achievement of Indian civilisation, the art in which that civilisation has most perfectly expressed"itself.’ “ This history of Indian music is long and glorious. It has had many vicissitudes during its chequered history. Many old P t s . i - i v ] t h e x x x v ith MADRAS m u s ic c o n f e r e n c e 15 traditions had disappeared and new ones had come in their place. The process of assimilation of new modes, new styles and new philosophies had gone on continuously with the result that we have today a body of knowledge which is as comprehensive as it is intense, as systematic as it is scientific. Like the river Ganga which, starting in some remote region of the Himalayas, comes to the plains, gathering to itself many streams, rivulets and rivers, thus growing in volume and strength, all the time enriching the places through which it flows, Indian music has had its remote beginnings in the Udatta and Anudatta of the Rig-Veda and in the chant of the Sama Vedins and has grown to its present mould of perfection. The constant and continuous commerce |n literary and cultural ideas between the North and the South resulted in the former taking from the latter as much as or more than it gave. Thus, many of the musical modes and patterns which are mentioned in Pari Patal, Silappatikaram and other ancient Tamil classics and which indicate a high degree of refinement, have been absorbed into the evolving system of Indian music. I do not want to take you through the history of the evolution of Indian music from the days of Bharata to the days of Venkatamakhi. Between Bbarata and Venkatamakhi we have an impressive array of renowned musicians like Someswara, Narada, Sarnga Deva, Pundarika Vitthala, Rama Amatya, Somanatha, Raghunatha Naik and others. Their works record the progress that was made in the evolution and codification of the theory and practice of music, Hindustani and Carnatic. “ Till the time Jaya Deva gave India his incomparable ‘ Gita Govinda * the differences between the music in the North and the South were not very sharp. With the Muslim invasion came Muslim influence. Muslim rulers who were great patrons and connoisseurs of music brought to bear Persian influence on Indian music, with the result that the North Indian musical stream separated from the main Indian one and took a different course, making itself distinct. A new style which was the result of fusion between the North Indian and Persian styles came into vogue and this differed sharply from the music of South India. But this fusion came about after decades of spasmodic and uneven develop ment. The North Indian music, despite this change, continued to 16 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL, XXXIV lean on music authorities in the South whenever there was confusion in the history of its development. Pundarlka Vitthala, who lived during Akbar’s reign was summoned from Karnataka to study the North Indian music and restore order out of the then prevailing confusion. Similarly, Bhavabhatta and Gopal Naik were invited by patrons of music in the North to systematise their music and bring the North Indian music nearer to Carnatic music from which it was straying away. In spite of the change that the Hindustani music had to accept, it bears, according to experts, many points of similarity in fundamentals. “ The Southern school of music which came to be called Carnatic music grew uninfluenced by any extraneous force or factor. Having been nourished by the highly-evolved systems and styles of music in vogue in the Tamil-speaking parts, its develop ment was orderly and scientific. Beginning from Rama Amatya’s detailed exposition of the Southern system and ending with Venkatamakhin’s scheme of Mela-Kartas, we have a vast body of literature expounding the theory and practice of Carnatic music. The advent of Sri Tyagaraja, Shyama Shastri, Muttu- swami Dikshitar and Kshetrajna carried Carnatic music to the peak of its glory. I have given this broad outline of the history and development of Indian music only to show that the Hindus tani and Carnatic music grew, each drawing from the other but each concentrating on certain aspects and features which were dictated and determined by historical and other factors. 'If I have covered what is in all likelihood familiar ground to this audience, I have done so only to re-emphasise the fact that the people of India belong to a common cultural stock and that it is as futile as it is suicidal to search for points of difference when the process of integration has advanced too far to admit of any hair-splitting analysis. “ An old Sanskrit couplet details the function of music as fol lows :— . ‘ Nada is the abode of happiness of the happy, the diversion of those who are sorrowful, the delighter of the listeners, the first messenger of the God of Love and the beloved of the damsels. Hence victory to music, the fifth approach to the Veda.’ P t s . i - iv ] t h b x x x v it h MADRAS m u s ic c o n f e r e n c e 17 This couplet gives in a nut-shell the purpose and the object of all music ranging from the folk music to the scientific music. The highly refined and systematised Carnatic music marks a big step in the evolution as much of music as of man using music as a vehicle of approach to God, and as a channel of expression of his inner experiences. The folk music, moving with agility, grace and lilting charm, breathes the people’s lust for life. The ecstasy at the ap pearance of spring blossoms, the delight during the season of rains, the autumnal merriment while the harvest is gathered, the beauty of repose during the season of mists and snows together with the tumult of passion ragiug in the human heart during court ship, separation, reunion, etc., constitute the burden of folk music. They keep man bound to the earth and to the joys and sorrows that spring from the home and the field. They have about them a strength and a vitality, a grace and a charm, and a haunting melody which keep man bound to this world and to worldly objects. Their evocations are not subtle but simple and direct. The images they create and the emotions they kindle are bold and strong. Folk music and music having all the lightness and lilt, agility and movement of youth, delight, divert and entertain people. Their pull is great and if they are employed to evoke constructive and purposeful responses, they would prove potent weapons. In fact, classical music has drawn heavily from their rich repertoire of simple but powerful songs that depict feelings and emotions. But man has to transcend this life of the world and of the senses. He cannot reject the senses for the simple reason that they are far too powerful. Therefore he has to refine them, sublimate them and set them new directions and destinations. Music is pne of the most powerful media which he could use for the purpose. Music is therefore hailed as the fifth approach to Veda, Knowledge. " Indian seers have exploited the entire range of possibilities of scientific music. They have made a profound study of the sentiments, feelings and emotions that breed conflicts and tensions and produce moods of infinite tones and hues. They found that they could employ endless tones to express the endless shades of the emotions and feelings that surge in the human heart. So, the ragas became the suggestive sound pictures of the different 3 18 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV aspirations, sentiments and emotions of man. A raga delineated with fidelity, faith and imagination evokes pure delight by unfold ing, through stages, a whole sound edifice with all the embellish ments elaborately worked out. A raga properly sung evokes a vision and induces an experience or a series of experiences. “ Music, thus, came to be employed as a sure vehicle to ap proach and attain Godhead. This approach could only be an emotional approach and an emotional approach is possible only with an intimate human form or figure. God was, therefore, transformed—shall I say visualised—from a metaphysical abstrac tion to a human synrtbol with possibilities of approach in the most intimate, personal, possessive way the beloved approaches her lover. This mode of approaching God—the Bhakti Marga—has been one ot the principal sources of artistic inspiration and has provided the creative force for artistic productivity in music, poetry and sculpture. The anguish of yearning and waiting, the thrills of expectation and fulfilment, the agonies of separation and seeking and the rapture of re-union—these stages of a lover- beloved relationship have their counterpart in the bhakta-personal God relationship. In the former case, the sufferings and joys are physical and the raptures of re-union are not permanent, abiding. In the latter case, the anguish and ecstasy are supra-physical and the bliss of re-union eternal. The bhakta seeking God has no appropriate language to express his supra-sensual experiences except the conventional terms through which the fleeting sensuous joys and sorrows are expressed. •' The Radha-Krishna conception which is the symbol of this relationship between man and God, has proved the perennial and favourite theme for poets and composers. Some of the exquisite poetry in Tamil devotional literature produced by the Alwars and Nayanmars revolves round this theme. The form and structure of these poetical and musical compositions are practically the same. The images employed, the emotions and feelings portrayed and the symbols used are also the same. Despite the repetitive nature of the theme, its form and its motifs, it does not become stale. Like the leaves of a bamboo tree, endlessly different as they catch the Sunlight, at diverse angles during the many movements of the f e - Pts. i- iv ] t h e x x x v it h MADRAS m u s ic c o n f e r e n c e 19 day, this theme, portraying the joys and sorrows of the human heart, seems to be ever new. “ In our country all life is meant to flow as an offering to God. Every detail of life and living is woven around God. All the best that man enjoys are first offered to God—flower, food, clothes, ornaments, etc. All art, music and poetry are expressions of visions and experiences and modes of seeking and attainment of the Divine. Religion has remained and will remain the fountain- head of inspiration for music as long as our culture and civilisation last. “ Carnatic music has perfecteed all the modes of artistic expression to a degree of fineness unattained in any other system. This perfection has been made possible by a succession of great masters who, through their compositions, established a sampradaya, a tradition, which has been kept almost unimpaired till the present day. Sri Tyagaraja, Muthuswaml. Dikshitar, Shyama Sastri, Kshetrajna and Gopalakrishna Bharati are great masters who have built up great and enduring traditions. The musical tradition evolved by them has come down to us without appreciable loss, thanks to the Gurukula system that prevailed in Tamilnad. A master undertaking to teach a student by keeping him in his house, coaching him in music and also making him listen and learn, helped to produce a disciple fully equipped to uphold the standards and traditions of his master and his prede cessors in the line. We had therefore a succession of great exponents of Carnatic music in Tamilnad and our mind recalls with pleasure and pride names like Maha Vaidyanatha Iyer, Sarabha Sastrigal, Poochi Srinivasa Iyengar and Veenai Dhanammal. We have, in our own times, a few belonging to the old guard—vidwans who had learnt their art by sitting at the feet of a Guru in the traditional style. “ I realise that it is not possible to keep alive the old method of Gurukula study in the present time. The Gurukula system had obvious advantages. The master could show great concentration in teaching the student and the student could, with undivided attention, learn from his master. But the social and economic life of the people has undergone radical changes during the last thirty 2 0 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV years. Population has grown enormously and so have towns. The rajahs and zamindars who were great patrons of music and musici ans have disappeared. Enjoyment of music which was the privilege of small but discerning audiences in the past is to-day the pastime of a large number of people. The place of the zamindars and rajahs has been taken by the music sabhas and outstanding musicians need no longer look up to capricious patrons for a living but could expect a fair deal from organised lovers of music. In this context the Gurukula system can have little future. We, therefore, find teaching institutions coming up to cater for the growing number of aspiring musicians. We, who cherish the musical heritage of the South and want the musical traditions handed down to us by the masters to be preserved and fostered, should see that the teaching of Carnatic music is done on systematic and scientific lines. There is no room for compro mise here. The syllabus should be tough and the regimen for the students hard. Unless we stick to exacting standards, we would throw away the fortune we have inherited. “ By all this I do not mean to advocate the ushering in of the era of pure and abstract music which would be the delight of the few and the despair of the many. It is my desire, as it is the desire of many people here and elsewhere, that while conforming to the standards of the masters and maintaining the musical traditions of the past, we should try to refine and elevate the taste of the rapidly enlarging circle of lovers of music. The Cinema and other popular media of entertainment have, during the last twenty years, produced a none too healthy slant to the taste of the people. Songs burdened with sensuous longings which are openly suggestive and clearly intended to incite the baser passions of the people are being blared through sound amplifiers. These corrupt the adolescent and sink into the subconscious of the child, storing it with potential poison. It is the duty of all who cherish the musical sampradaya and the ethical and devotional sampradayas that have come with it to see that every musie performance includes a good proportion of songs that inspire, ennoble and purify the listeners. This is an urgent task and it must be attended to immediately. It is insulting ourselves to soy we provide the people the music they ask for. It is our duty to ourselves and Pts. i- iv ] t h e xxxvith MADRAS m u s ic c o n f e r e n c e 21 the people to provide music that will delight but not excite, that will relieve tensions but not heighten them, that will promote serenity but not stir up sleeping longings and passions. This will release new impulses which will check present-day tendencies. •* Carnatic music is aristocratic in its style and structure, and hauntingly beautiful in its chiselled presentation of all the nuances of a raga. It very much resembles our temple architecture, so majestic in design and so minute in ornamental details. Artistes of South India are of a family. Whether it is a painter drawing a picture or a sculptor chiselling out the beauty of the form impri soned in stone or a musician delineating a raga, we see the same passion for purity, the same concentration on details/ the same eagerness to embellish and the same urge for ornate presentation. We are proud of our inheritance. We should preserve it and improve on it. If architecture, according to Schlegel, is frozen music, music is fluid architecture. We are today in an auditorium which, you will all agree with me, is frozen music. We should be grateful to all those who were responsible for designing this structure which combines elegance with utility. May the auditorium, by attracting all the best in fine arts, set new standards and encourage new vogues in music, dance and drama. “ I thank the President and members of the Music Academy once again for affording me this opportunity to take part in today’s function.” The Hon. Sri M. Bhaktavatsalam then declared open the 36th conference and the connected music and dance festival. Vote of Thanks Sri S. Venkateswaran, I.C.S., (Retired), Vice-President of the Music Academy and Chairman of the Madras State Sangita Nataka Sangham, then proposed a vote of thanks to the Hon’ble Minister for kindly agreeing to inaugurate the 36th Conference of the Academy. Sri K. R. Sundaram Aiyar, Treasurer, expressed the thanks of the Academy to numerous patrons, lovers of music, businessmen 2 2 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VO L. XXXIV and others who had contributed very liberally to the completion of the auditorium of the Academy and made special mention of the help received from Messrs. T. V. Sundaram Iyengar & Sons and Sri S. S. Vasan for decoration and scenes of the Academy in respect of the hall for the 36th Conference. Election of the President Vidwan Sri Papa Venkataramiah was then formally elected President of the 36th Conference. He was proposed to the Presidentship by Sangita Kalanidhi Sri P. S. Veeruswami Pillai, the retiring President and the proposal was seconded by Sangita Kalanidhis Musiri Subrahmanya Iyer, Mudicondan Venkatarama Iyer, Maharajapuram Viswanatha Iyer, Vidwan Madurai Subrahmanya Aiyar, Budalur Krishnamurti Sastrigal, Tiruvalangadu Sundaresa Aiyar, Vidhyala Narasimhalu Naidu and Messrs. K. Chandrasekharan and B. Subba Rao. Presidential Address Vidwan Sri Papa Venkataramiah then delivered his Presidential address : In the course of his address Vidwan Venkatramiah thanked the members of the Experts Committee of the Music Academy for electing him as President of the Conference. He paid a tribute to the services rendered by Mr. Bhaktavatsalam for the cause of education and the arts. He expressed his appreciation that the Academy conference was being conducted in the newly built audi torium. He appealed to the State Government, the wealthy patrons, musicians, music-lovers and others interested in the arts to extend their help by giving munificent donations for the work of the Academy. He also paid a tribute to the services rendered by the Academy for the past 35 years for the spread of classical music and dance. Proceeding Sri Venkataramiah dwelt at length on his early life and training in music from his father who was his teacher. After a few years, he came under the influence of Sangita Kalanidhi Karur Chinnaswamy Aiyar, Later, he became the disciple of one of the most distinguished viplinjsts of the time, P t s . i - iv ] t h e x x x v i t h m a d r a s m u s ic c o n f e r e n c e 23 Tiruchi Govindaswami Pillai. Mr. Pillai was a brilliant violinist who delighted in the good things of life. He was a great devotee of Tyagaraja and achieved remarkable proficiency in handling the instrument due to his sharp intelligence and constant practice. Violin Technique Dealing at length with the history of violin and violin techni que, the President said that though the violin was a Western instrument it has been adapted to suit the purposes of Carnatic music and served as an accompaniment in concerts. He said that in the handling of the violin, it was essential that the technique followed by Western musicians, especially fingering an£ bowing, should be followed by us implicitly. Since this was also the view of his teacher he learnt this scientific technique under one Mr. John Duraiswamy and became proficient in it. He also held the view that the violin playing should closely follow vocal music. In this respect, he was guided by the technique of the superb violinist Tirukkodikaval Krishna Aiyar. Vidwan Venkataramiah said that the present standard of violin play was good and added that musicians to-day had greater access to publicity and helpful aids to shine in their art. He instanced the advent of the Radio, the Music Sabhas and the Press reviews of concerts. He said that though these helped the musicians regarding publicity, they acted in some measure as an obstacle to the deeper understanding of the art in all its aspects. The ‘audition’ method adopted by the A.I.R. was not also conducive to a thorough study. Certain methods adopted by the Radio should be avoided if they wanted fruitful results especially in music. The examiners should be experienced and learned vidwans and the audition should be done with a view to improving the standards of music. And top-ranking musicians should be accorded proper status and grades without any audition, keeping in view their professional record and service to music. The ‘scholarships’ that are awarded by the Government should be given only to deserving pupils who would pursue it along profes sional lines. Concluding Vidwan Venkatramiah said that though the mike was indispensable in our day in music sabhas which had more 24 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV than thousand members on their rolls, they must organise small sabhas (with about 100 members) without a mike to listen to eminent exponents of music. The type of chamber music as it was called in the West, should be fostered and encouraged by the State. stfpsvrsir urruurr Q6Hi£i&L.(rrr6G)iDuj(r ^suif^siPsir <$Ssosmo wp 'SSsQ ajir £§)®(<5 efilggujib Q&iii ib Q uifiiu6uir 6xi/r, Quifiui uiribu&niresxuj^ &rririhi£6xjir. ^f6xiir^i jdeyti), <^,(0 jd 6piib. 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QhjDebtBirQaeifteb Chamber music ererrjpj (&j$ui9QGutr/r&m. «(g5 mjbQqrjqif) (tp&njd er6ST&frQ6ijeoT(nj&), (8id rb 61/617633 <55 60 <£/r(65)Z_<£ aISI S & & 631 ,® ILj LD, 6&I jS 6UIT60T a&TTlLJU) ^^tTGs&OGB&iriLjibf aSsOi^ira&mLjib, (S u fre if^ ^j 6um ir p g ) 6uibi!gir6b .ijgfietnb eQ^GuirGyr^err Jjfyir^tb Qaiuuja @tJ2/«@ suifi&nuj ibtri-. lditiL l. iriraierr, aeudoOtB&rr jd a aekoamu nanaa p giu . 6G)iib ^j&ribeSl^ 6ijrr& (6rf) tb, 6$^ujirirj£j3&(6rTjL[) u u 9 6 iiirir QuiBuj kGIjS6ijir6ora(6rjjld gu(8tuir^lajB§>led Glamireutb @ 6 o r © © z euir ipmir&rra rsrrevr ld jp iQpetn miLjih gt6ot masr jd6 The opening day’s function concluded with the flute recital by Vidwan Sri N. Ramani, accompanied by Sri B. Dakshinamurti on Violin and Sri Upendran on Mridangam. Conference Souvenir To mark the special occasion of the formal opening to the public, of the Academy’s new auditorium and the 36th conference of the Academy, the Academy brought out a special Souvenir which contained a large number of contributions from musicians and 32 THB JOURNAL OF tHE MADRA& MUSIC ACADEMY [VOL. XXXIV others connected with the activities of the Academy and its work,, both from India and abroad : Dr. B. V. Keskar, former Minister for Information and Broadcasting and the Chairman, National Book Trust, Dr. V. K. Narayana Menon, All India Radio, Harold S.Powers,Music Department, PennsylvaniaUniversity,Philadelphia, Mr. Tzvi Avni, Central Music Library in Israel, Mr. George List, Indian University, Bloomington, U.S.A., Mr. ArturIsenberg, Ford Foundation, New Delhi. There were also messages from Dr. Henry Cowell, American Composer, Dr. Mantle Hood, Institute of Ethnomusicology, University of California, Mr. Jack Bornoff, Executive Secretary, International Music Council, Unesco, Paris. The special feature of the souvenir is an anthology of the important pronouncements and the observations made by openers and president-musicians on the occasion of the thirtyfive conferences conducted by the Music Academy, Madras, as also a collection of the opinions and tributes about the good work done by the Academy by musicians and participants and other important personages connected with the Academy’s work in the past. A complete uptodate list of the members of the Experts’ Committee, an account of the new building and the different departments of the Academy’s work and the detailed programme of the 36th Conference, also form part of the Souvenir. PTS. I-IV] THE XXXVlth MADRAS MUSIC CONFERENCE 33 Agenda of the Conference The following was the agenda of the 36th Conference : 1. Talks & Demonstrations:— (i) President Vidwan Sri Papa K. S. Venkataramiah —Violin Technique. (ii) Sangita Kalanidhi Sri T. L. Venkatarama Iyer. (iii) Sangita Kalanidhi Sri Musiri Subrahmanya Iyer. (iv) Sangita Kalanidhi Sri Mudicondan Venkatarama Iyer. (v) Sangita Kalanidhi Chittoor Sri Subrahmanya Pillai. (vi) Prof. R. Srinivasan—Scope of Theoretical Studies in Music. (vii) Vidwan Sri Veeriah Chowdhury 2. Presentation of old compositions :— (i) Rare Pada Varnas from Tiruvarur Temple Tradition by Vidwan Sri T. N. Chinnathambi Pillai. (ii) Rare Compositions of Uttukadu Venkatasubba Aiyar by Vidwan Needamangalam Krishnamoorthy Bhagavatar. 3. Recital o f new compositions :— (i) Vidwan Sri Padmanabha Rao of Mysore. (ii) Vidwan Sri P. K. Rajagopala Aiyar. 4. Pallavi:— (i) Sri Vidwan Sri Tiruchi Swaminatha Iyer and Vidwan Sri Madurai Krishna Iyengar. (ii) Vidwan Sri Vidyala Narasimhalu Naidu and Vidwan Sri S. Chandrappa—In Vilokita Tala. 5. Mridangam :— (i) Vidwan Sri Tinniyam Venkatarama Iyer—Mridangam Technique. (ii) Vidwan Vellore Sri Gopalachariar—Konnakol. 5 3 4 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV 6. Ragas etc:— (i) Sri B. Subba Rao—Kalyani Varieties. (ii) Vidw*an Sri S. Ramanathan—Pramana Sruti. 7. Veena :— Codification of Veena Technique and Teaching Methods. 8. Papers:— Vidwan Sri T. N. C. Venkatanarayanacharyulu, Guntur. Vidwan Sri V. V. Sadagopan—Some Aspects of Sampradaya. Kumari N. Shyamala—Parallels in Classical Carnatic Music and Folk Music of Tamilnad. Hindustani Music :— Pt. Omkarnath Thakur. Dr. Premlata Sarma, Banaras Hindu University. 10. Any other subject to be taken up with the President’s approval. Experts’ Committee Meetings THE FIRST- DAY 22nd December 1962. The Experts’ Committee meetings of the Music Academy, Madras, convened in connection with its 36th Conference, began this morning at the Academy’s premises. Vidwan Sri Papa Venkatramiah, President of the Conference was in the Chair. At the outset the President made a few introductory remarks and requested the cooperation of all the experts in the conduct of the proceedings. Dr. V. Raghavan gave an account of the subjects for discussions, papers and demonstrations included in the Agenda of the 36th Conference. There was a reception to the Philippine Cultural Delegation who were in the City. Tiruppavai The proceedings of the Experts’ Committee began with the auspicious recital b / Vidwan Sri B. Rajam Iyer, disiciple of PlS. 1-IV] THE XXXVlth MADRAS MUSIC CONFERENCE 35 Sangita Kalanithi Ariyakudi Sri Ramanuja Iyengar, of the Psalms of Tiruppavai in the tunes set by Sri Ariyakudi Ramanuja Iyengar, The recital included : Margazhi Thingal, Nattai; Vaiyattu, Gaulai; Ongi ulagalanda, Arabi; Azhimazhai - Varali ; Mayanai, Sri\ Keechu Keechu, Bhairavi; Undumada-Saveri; Chitram sirukalai, Malayamarutam ; Vangakkadal - Surati. Vidwan Papa Venkatramiah thanked Sri B. Raj am Iyer and paid a tribute to Ariyakudi Sri Ramanuja Ayyangar. Philippine Music and Dance The President then accorded a welcome on behalf of the Academy and the Conference to the members of the Cultural Delegation from Phillippines. Dr. Raghavan introduced the leader of the delegation Prof. (Miss) Lucrecia R. Kasilag, Dean of the College of Fine Arts of the Philipphine Women’s University, with whom, he said, he had the pleasure of participating in the Unesco Music Educational Conference, in Brussels in 1953 ; Mrs. Leonor Orosa Goquingco (Choreographer), Prof. N. V. M. Gonzales, (Novelist, Short Story writer), Prof. (Miss) Virginia Moreno (Poet), Prof. Napoleon V. Abueva (Sculptor), Mrs. Zuy Lay go (Painter) and Dr. Caesar Urtula (Choreographer), The President of the Conference and Sri K. Soundararajan then garlanded the members of the delegation. Miss Lucrecia R. Kasilag who then spoke said that she was acquainted with the Music Academy, Madras and its work through its publications and its Secretary Dr. Raghavan and she had been hoping to attend its Conference. Philippine music, she said, had received the influen ce of various countries. In the distant past, the Islands received the cultural influence of the Hindu-Javanese Kingdoms of Indone sia and their instrument Kacchapi was derived from this Hindu influence. After coming under the domination of Spain, they had taken to Western music. Filipino composers assimilated western techniques, though they remained basically oriental and sentimen tal in expression. Though they composed concertos, symphonies and operas in western style, they generally composed their works on folk themes of their own. Since 1946 when they came into their own, there had been a highly encouraging growth of musical 3 6 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL, XXXIV consciousness in Philippines and the increased number of music schools, musical organisations and performing associations, evidenced an era of renaissance of cultural affairs in their country. Speaking on Philippine dance, Mrs. Leonor Orosa Goquingco, the pioneer Philippine Choreographer, said that all materials of the indigenous Philippine civilisation were destroyed by the Spanish and it was a matter for research today to find out traces of the original culture of the Islands. During their history they had been influenced by the Srivijaya and Majapabit empires and then various other influences had come, Chinese, Arabic and Western. She also referred to a dance composition of hers on the legend of the Origin of the World which was based on a Hindu source. During their present visit she said that they had been inspired by Indian Culture and arts and themes, and that they, poets, novelists, dancers and composers had already planned several works based on Indian themes. Their leader, the composer had already a work based on Indian Rags. They had seen and learnt much from Bharata Natya and Kathakali compared to which their dance was just a baby. Philippine dance, she said, could be broadly divided into two kinds : Old tribal dances of the Islands still preserving their colour and which are done in households on occasions like wedding, funerals etc. These showed the influence of Indo- Javanese art and also of some Arabian modes. The second was dance which grew under European influence. But in recent years they were trying to create new forms and modes. Mrs. Leonor Orosa and some other members then sang some Choral music of Philippines to the accompaniment of Guitar by Prof. N. V. M. Gonzales who also explained the philosophical significance of the song on the Papiah tree. Thanking the Delegation and the two chief speakers, on behalf of the Academy and the Conference, Dr. Raghavan spoke about Indo-Philippine Cultural contacts, a comprehensive survey of which formed the subject of doctoral Thesis prepared under his Pts. i-iv] the xxxvith madras music conference 37 guidance in the University of Madras by a Government of India Research Scholar from Philippines, Mr. J. Francisco. Of all the countries of the world, Dr. Raghavan said, Ireland and Philippines were noteworthy for having musical instruments as their national emblem, the harp in Ireland and the Kacchapi Veena in Philip pines, the latter being derived from India. He presented to the leader of the Delegation on behalf of the Academy a set of the issues of the Journal of the Madras Music Academy and some of the Academy’s publications. Referring to the freedom movement in South East Asia, Dr. Raghavan mentioned the Philippine national poet and martyr Jose Rizal, who had roused the national consciousness through his literary works, was imprisoned by the Spanish and shot. Six days before his shooting, he composed his last poem of ‘Ultimo Adios’ which at the instance of the Philippine Government and the Indian Sahitya Akademi was rendered into the all Indian languages recently, and Dr. Raghavan presented to the Delegation copies of his Sanskrit version of the ‘Ultimo Adios’ published by the Sahitya Akademi. Thanking the Music Academy for the publications given to them, Miss Lucrecia Kasilag presented to the Music Academy some of their publica tions of Philippine music and dance. THE SECOND DAY 23rd December 1962. At the Experts’ Committee of the Music Academy convened in connection with the 36th Conference, assembled for the second day’s sittings this morning, there was a recital of rare composi tions of Uttukadu Venkatasubbaier and a talk and demonstration on * Konnakkol.’ The President Sri Papa Venkataramiah was in the Chair. Rare Compositions In the 24th Conference in 1955, the Academy had arranged for presentation of the compositions of the little known composer Uttukadu Venkatasubba Iyer whose songs in Tamil and Sanskrit on Lord Krishna had been brought to light by Vidwan Sri Needamangalam Krishnamurti Bhagavatar, Sin compositions had attained some vogue, particularly in the Bhajana circles. A further opportunity was arranged this year for the presentation by the same Bhagavatar of some more rare composi tions of this composer. The recital included Sri Vighnarajam in Nata, Anandanartana Ganapatim in Nat a, Nandasukumara in Darbar embodying parts of the expressions of the Gita Govinda, Vdsude- vaya in Sahdna, Aganitamahima in Gowla resembling Tyagaraja’s Pancharatna, Padasevana in Dipara (Janya of Natakapriya-Sa Ri Ga Ma Pa Dha Ni Sa, Sa Ni Pa Ma Ga Ri Sa), a piece from the Devi Navavarana in Anandabhairavi, Khanda Triputa beginning Yogayogeswari, the Vinayaka piece in the same Navavarana in the rare raga Samanta Jingala (Sa Ga Ma Dha Ni Sa-Sa-Ni Dha Pa Ma Ri Sa- Chatuh&ruti Ri) and Vanamali Svagata in Natakurinji-Adi, embodying Jatisvaras. The President thanked the Bhagavatar for preserving com positions of this rare composer and bringing them into vogue. Rare Ragas Incidentally the President, speaking on the question of rare or small ragas, either in using them for composition or in singing them in concerts, said that out of the way ragas could not be compared in Rakti with the well-known and much used ragas and the effort should be to expound the rakti-ragas and the well-known major ragas in all their beauty and fullness, rather than to indulge in the manipulations of the small ragas which had little scope and make the art more of a jugglery. Konnakkol The subject of * Konnakkol ’ had already been briefly touched upon in the 1951 Conference. Vidwan Sri Vellore Gopalacha- riar expatiated on this art in the morning session. He pointed out that this was an aspect of Laya or Rhythm which was a basic principle of all life and could not be ignored. It had its own artistic appeal and could be rendered in tune with the raga and without being a hindrance to the main musician. It could be rendered in slow tempo as well as in very fast tempo. But in all cases it should be clearly enunciated in each syllable and Pt§. i-iv ] the xxxvith madras music conference 39 at the same time done in a manner which was not violent and unhelpful to the main singer. Reciting some Sanskrit verses in metres of different rhythmical settings, the speaker showed the different gatis and recited * Konnakkol ’ for tjhe same. He sang Dasarathi ofTyagaraja in slow tempo and recited the Konnakkol for it. He appealed to the musicians as well as to the Academy and other institutions to give a place to * Konnakkol ’ in the concerts. Speaking on * Konnakkol *, Sangita Kalanidhi Mudicondan Sri Venkatarama I.yer mentioned ‘ Konnakkol ’ Venkatarama Iyer and Mannargudi Pakkiriya Pillai and said that it was due to Sri Pakkiriya Pillai that ‘ Konnakkol ’ became very wejlknown. His art was being preserved by his son Sri Vythialingam Pillai. He recalled the healthy competitive spirit which existed among musicians and the accompanists in the concerts in the old days and how it was a delight to listen to the rhythmic sections, especially when the great triad Messrs. Alaganambi Pillai, Dakshinamurti Pillai and Pakkiria Pillai vied with each other. There was an inherent delight in the display of rhythm and its patterns. Following the previous Vidwan, Sri Sethur Sundaresa Bhattar recalled the * Konnakkol ’ of Mamundia Pillai who had accompanied Konerirajapuram Vaidyanatha Iyer with whom Sri Mamundia Pillai prepared the ‘ Konnakkol ’ or Jatis for five wellknown compositions. The Vidwan then recited the Konippu for the piece Nenanduvedakudura as set by Sri Mamundia Pillai. He said he had learnt these directly from Sri Mamundia Pillai when he came to the Sethur Zamindar who took special interest in Tala. Sri Needamangalam Krishnamurti Bhagavatar recited the Jati set by the late Thavil Vidwan Needamangalam Meenakshi- sundaram Pillai for some rhythmical Tamil verses. He said that there was a practice of reciting these jatis for Tamil verses recited by Tamil pandits standing in front and this was called Sandakkuzhippu Varnam. Dr. Raghavan thanked the participants for the contributions made by them in the morning session. 40 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. X5QUV THE THIRD DAY ■ 25th December 1962. Today’s meeting of the Experts’ Committee of the 36th Conference of the Madras Music Academy was devoted to the President Sri Papa Venkataramiah’s exposition of ‘Technique of Violin playing and the exposition of ragas andkritis on the violin.’ There was a large audience of vidwans and rasikas. The President was assisted by his son Sri V. Tyagarajan on the violin and accom panied by Vidwan Sri T. K. Murti on the Mridangam. Sri Papa Venkataramiah referred to the great masters like Tirukodikaval Krishna Iyer and his own guru who had, so to say, laid the road for violin playing and the technique of fingering and bowing as suited to Carnatic music and its nuances. The President began his demonstration with a Varna in Kalyani and then played, with introductory expositions of the ragas, the following kritis: Mayamalavagowla - Merusamana, Sahana-Giripai, Poorvikalyani- Ninuvina, Bilahari-Na jeevadhara, Gangeyabhushani-Yevare Ramiah, Yadukulakambhoji-Eccharika, and in the end he played the Javalis Suruti-Mariayada, Behag-Samayam ide, and ended his recital with Senchuruti-Saranakamalalayat ti I. Vidwan Madura Subramania Iyer, paying a tribute to the President of the Conference, recalled his having been a co-pupi^ with him under Vidwan Karur Chinnaswami Iyer before he was with Sri Govindaswami Pillai. Sri Subramania Iyer also said that on the whole Sri Papa Venkataramiah had over twenty years of Gurukulavasa and stressed the importance of this training. He referred also to the path blazed by the pioneer violinists in Carnatic music and made special mention of Devudu Iyer. Not only the technique of bowing and fingering, but also the Kirtana- paddhati of the President was excellent. Sri Anantakrishna Sarma of Tirupati recalled the violin-duet concert by Sri Govinda swami Pillai and Papa Venkataramiah he had enjoyed in Mysore in the thirties and he said that he still remembered their impecca ble and beautiful renderings of kritis, particularly Merusamana and Giripai which were rendered that morning also. He particularly mentioned the rendering of Na jivadhara and its San gat is. Adding his tribute to the President and his guru, Sri S. Parthasarathy said Pts. i- iv ] t h e xxxvith MADRAS music conference 41 that the most important thing the violinists should learn from the President Sri PapaVenkataramiah and the technique of his late guru was that, for the achievement of continuity and ghana-naya and the production of a vocal quality, especially in playing on the Mandra string, full bowing was necessary. He said that the violin was a remarkable instrument and was capable of producing effects which were difficult even in Veena. Thanking the President and his accompanists, Sangita Kalanidhi Mudicondan Venkatarama Iyer said that when they listened to Sri Papa Venkataramiah that morning they felt they were listening all the time to Sri Govinda- swami Pillai. He also complimented Sri V. Tyagarajan and Sri T. K. Murti. On behalf of the Executive Committee, Dr. Raghavan thanked the President for giving his splendid demonstration on the technique of violin playing. THE FOURTH DAY 24th December 1962 At today’s Experts’ Committe meetings convened in connec tion with the 36th Conference of the Music Academy, with the President Papa Venkataramiah in the Chair, there was a recital of new compositions and a demonstration of a special pallavi. New Compositions Vidwan Sri P. K. Rajagopala Iyer of Ambattur presented, accompanied by Vidwan Chittoor Subrahmanya Pillai on the Violin and Vidwan Sri Tiruvayyaru Mani Iyer on the Mridangam, some compositions of his. One of these was on his guru Vidwan Tiger Varadachariar, two were in a new raga devised by him, Anandavalli, janya of Sihmendramadhyama - Sa Ga Ma Pa Ni Sa - Sa Ni Pa Ma Ga Sa and another in a second new raga of his called Karpurabharani, janya of Dharmavati - taking Sa Ri Ga Pa Ma Pa Da Sa - Sa Da Pa Ma Pa Ga Ri Sa. Thanking him on behalf of the Academy, Sangita Kalanidhi Mudiqondan Venkata rama Iyer complimented the efforts of Vidvan Rajagopala Iyer. Pallavi « Vidwan Tiruchi Swaminatha Iyer, accompanied by Kandadevi Sri Alagiriswami on the violin and Madurai N. Krishna Iyengar on the Mridangam, presented a Pallavi in double Tala, Khand,ajati 6 42 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XjtXlV Triputa, 9 aksharas with Chaturasrajati Rupaka, Tisra Gati> 6 aksharas in Sankarabharana followed by a Ragamalika. The performance was greatly appreciated and thanking him on behalf of the Academy, Sangita Kalanidhi Mudicondan Venkatarama Iyer and Vidwan Alathur Sivasubramania Iyer congratulated the Academy for providing an incentive to musicians to prepare and perform difficult Pallavis in the Conference year after year. Vidwan Sri Venkatarama Iyer said that the practice of displaying Pallavis with two or four talas was first begun by Tiruvayyaru Subrahmanya Iyer and brought into greater vogue by the elder of the Karaikudi Veena Brothers, Subbarama Iyer. Alathur Sri Sivasubramania Iyer referred to the fact that the father of the artist who performed the Pallavi this morning was Tiruvayyaru Subramania Iyer (violinist) who had learnt Tyagaraja kritis directly from Panju Bhagavatar and that his own father had studied for some time with Tiruvayyaru Subramania Iyer. THE FIFTH DAY 26th December 1962 When the Experts’ Committee convened in connection with the 36th Conference of the Madras Music Academy, Madras assembled this morniog with Vidwan Papa Venkataramiah in the Chair, there were demonstrations of rare and hitherto unknown compositions and of the traditional method of rendering Tana etc. Rare Padavarnas and Padas from Tiruvarur Temple Introducing Vidwan T. N. Chinnathambi Pillai of Tiruvarur, Dr. Raghavan said that Tiruvarur occupied an important place in the history of South Indian music and there were still vidwans and manuscripts and other materials there whose search would yield many discoveries. That morning they had before them a representative of Nagasvaram families attached to Sri Tyagaraja temple at Tiruvarur. There were a number of Padavarnas to be sung on specific festival days, and some of these have been published by Subbarama Dikshitar in his Sampraddya pradarSlni. But three Padavarnas which had not so far been brought to light would be presented that morning by Vidwan Chinnathambi Pts. m v ] t h e xxxvith MADRAS m u s ic c o n f e r e n c e 43 Pillai. These had been written down also for publication in the Journal of the Music Academy, Madras by Sangita Bhushanam Sri S. Ramanathan who had noted them in the course of his survey of music materials under the auspices of the Madras State Sangita Nataka Sangham. Vidwan Chinnathambi Pillai then rendered the three Padavar- nas in Purnachandrika-Rupaka, Suddhasaveri-Ata and Malavagowla- Adi. Though there was no definite evidence, it was believed that these were composed by Ramaswami Dikshitar, the father of Muttuswami Dikshitar. Tamil Padas onTyagaraja ofTiruvarur V Vidwan Papanasa Mudaliar had composed a number of Tamil Padas on God Tyagaraja some of which were in Ninda-Stuti style. A few of these had been known, but there were some which were sung on the days of the different festivals of the temple, e.g. Met- tavum nalla in Todi sung on Tiruvatirai and Patanjali-Vyaghra-pada Darsanam. .Vidwan Chinnathambi Pillai then sang the above mentioned Pada and others, Perum nalla-Pantuvarali, Idupol- Kalyani, Vasi Vasi-Sahana. His demonstration ended with the Sankarabharanam Nottu-Sahitya of Dikshitar on Tyagaraja begin ning Parvati, Complimenting Sri Chinnathambi Pillai, the President of the Conference Vidvan Venkataramiah referred to the pure traditional form of the ragas presented in the renderings and also the value of such rare old Sahityas and the efforts of the Academy to find them and bring them to light. Sangita Kalanidhi Mudicondan Venkatarama Iyer thanking the Vidwan for his presentation of the rare compositions said that further search for similar material in the musical families at Tiruvarur should be undertaken. Though 40 years ago a similar search would have yielded, in respect of persons as well as songs, a great deal of our precious musical heritage, there were even today some persons and manuscripts surviving there which could be salvaged and made proper use of. Sri Mudicondan Venkatrama Iyer also said that the Pada Perum nalla, was known also in Purvikalyani. 4 4 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV More Rare Pieces Vidwan Sri Chennakesavaiah of Mysore, pupil of the late Mysore Vasudevachariar, then presented a rare anonymous Varna in Natta-Ata, Marulai Unnadi, about hundred years old, the kriti of Patnam Subramania Iyer in Mandari-Misra chapu, Endukitu chapalamu and a Daru in Begada-Adi Tala, ' Tarijam Takitajam* with the mudra ‘Venkataramadasa’. With reference to the last piece Sri Sandhyavandanam Srinivasa Rao observed that its author was Veena Gururayachar of Vizianagaram, father and teacher of Veena Venkataramanadas and that the Daru was known to Prof. Dwaram Venkataswami Naidu and had also figured in the recitals of Veena Seshanna. New Pieces of Mysore Sadasiva Rao Vidwan Chennakesavaiah who had already given to the Aca demy a collection of unpublished songs of Mysore Sadasiva Rao for publication, presented then three more songs of the Composer which had come to light subsequently,—a piece in Lalita (with Sudda dhaivata) beginning Kamalakanta and two pieces in Begada Sri Raghukula Jaladhi and Sagarakanyaka. The President Sri Papa Venkataramiah expressed the appre ciation of the musical world toVidwan Chennakesaviah for the pains taken by him to unearth and bring before the Experts’ Committee, rare compositions like the ones they had just listened to. Of these the Mandari piece of Patnam Subramania Iyer was known to his late teacher, Sri Govindaswami Pillai and there was a slight differ ence in the Patha of his guru. It was also pointed out by Sri Raghavachariar of Kumbakonam that this piece was known also in the Parampara of the late Namakkal Narasimha Iyengar. Vidwan Veeriah Chowdhury then gave a demonstration of the correct method of rendering Kritis and Padas with due emphasis on Sahitya. He also gave a demonstration of the traditional style of Tanam singing. Sangita Kalanidhi Mudicondan Venkatrama Iyer thanked on behalf of the Academy, Vidwan Sri Veeriah Chowdhury and Messrs. Kunnakudi Vaidyanathan and Alleppey Raghavan who accompained all the three vidwans on violin and Mridangam. Pts. i- iv ] t h b xxxvith MADRAS music conference 45 THE SIXTH DAY 27th December, 1963 At the Experts’ Committee Meeting of the 36th Conference of the Music Academy, Madras held this morning, there was a discourse on the Padas of the Dasakuta Composers, another on the parallels between Carnatic music and Folk music of Tamilnad and a talk and demonstration on Mridangam playing. Padas of Purandara Dasa Introducing Sandhyavandanam Srinivasa Rao, B. A., B.L., All India Radio, who spoke on Key Tunes in the Padas of the- Dasa kuta Composers, Dr. Raghavan said that the speaker had specialised in Dikshitar’s compositions under Sangita Kalanidhi T. L. Venkatarama Iyer and by his Telugu-Kannada affinities, had been able to do some special investigation in the music of the Padas of Purandara Das and other composers of the Dasakuta. Sri Srinivasa Rao said that some thousands of the Padas of the DSsas in Kannada were in print and outside of the music circles here and in some parts of the Kannada country, there was hardly any interest in the musical settings of these Padas. Owing to the greater attention given to the words and the element of devotion, the Varnamettus of these Padas has been slowly lost. But as in the case of Kshetrajna Padas in centres in Tamilnad, where there had been patronage of music, the musical settings of Telugu and Kannada songs had been preserved. It was an interesting exercise for him to contact and by enquiries find out from unsophisticated Haridasas and old ladies who had been singing these Padas, a number of basic tunes of these Padas in which the correct forms of several Karnataka Ragas were preserved, though in a simple form. Sri Srinivasa Rao sang a large number of Padas in illustration and showed how the Ragas could be identified from the simple renderings preserved in them. In addition to the well- known Ragas, the Padas illustrated by him showed also rare Ragas like Saindhavi, Jenjhuti, Manji, and an elusive melody which he could later identify as the Hindustani Gara. Sri B. Subba Rao sang the Hindustani raga Gara to elucidate the identity. Speaking about the value of his findings Srinivasa Rao said that the basic or 46 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV key tunes of tbe Padas could be used to teach students of music the correct ov.tline-forms of the different Ragas. Congratulating Sri Srinivasa Rao on his exposition and his investigation into the Varnamettus of Dasarpadas, Sangita Kalanidhi Sri Semmangudi Srinivasa Iyer said that these old Padas and similar compositions provided, so to say, the Raga- sketches and he would commend the advice of the speaker that these might be used to inculcate in the young students of music the correct forms of the old ragas. It was an unfortunately increasing phenomenon today that the students of music were unable to bring out in a short compass the correct outline of a Raga. He said that it was through compositions that the Ragas could be understood and from this point of view he would even urge the Academy to bring out an edition with notations of the DSsakuta Padas. Folk and Classical Music Dr. Raghavan then introduced Kumari N. Shyamala who had, under a scheme of the Madras State Sangita Nataka Sangham, survyed and collected folk music prevalent in different parts of Tamilnad. Kumari N. Shyamala then read her Paper on the subject and illustrated with a large number of folk songs, point ing out the classical Carnatic ragas to which their tunes corres ponded. The folk songs she sang were taken from almost all the Tamil districts and from different communities in the plains, in the hills and other regions. They covered activities like agricul ture, festive occasions, lullaby, pilgrimage, etc., and included some of the wellknown types like marriage songs, Temmangu, Kavadichindu etc. She pointed out the folk parallel of the Carnatic ragas Kannadagowla, Kurinji, Mukhari, Sindhubhairavi, Punnagavarali, Manji, Senjurutti, Nadanamakriya and Gowlipantu. She also pointed out that in some cases there was a mixture of two ragas. It was also found there were parallels for some well-known compositions of the great masters in some of the folk tunes, e. g. for Tyagaraja’s Kshlrasagaravihara, there was a lali corresponding to it and for the same composer’s Mangalam in Ghanta also, there was a corresponding folk song. P t s . i - iv ] t h b x x x v ith MADRAS m u s ic c o n f e r e n c e 47 Sangita Kalanidhi Mudicondan Sri Venkatarama Iyer com plimented the Speaker on her work and the Madras State Sangita Nataka Sangham for having provided facilities for her research in this interesting and useful work. Mridangam Playing Vidwan Sri Tinniyam Venkatarama Iyer then spoke on the Mridangam, its practice and the art of playing it. He spoke about the types of wood, the measurement etc. for the manufac ture of the Mridangam and also of the SW-lessons for practising on the drum. He expatiated also on how to play Mridangam as an accompaniment in the different parts of the concert, kritis, svara-singing etc. .'A. Thanking him on behalf of the Academy, Vidwan Mudicondan Venkatarama Iyer said that the speaker was qualified in vocal music and Mridangam and that a knowledge of vocal music was a great asset to a laya-accompanist. THE SEVENTH DAY 28th December 1962 At the Experts’ Committee meeting held this morning under the auspices of the thirtysixth Conference of the Madras Music Academy, Vidwan Papa Venkataramiah in the Chair, there was a recital of Kandar Anubhuti in new tunes and a talk on and demons tration of varieties of Raga Kalyan in the Carnatic and Hindustani Schools. Kandar Anubhuti Vidwan Sri D. Chellam Iyengar of Salem, son of of Salem Doraiswami Iyengar, who was a member of the Experts’ Committee of the Music Academy, was introduced by Dr. Raghavan and the Vidwan sang 19 pieces of the Kandar Anubhuti of Saint Arunagirinathar set by him in 19 different Ragas. The vidwan also said that he had set tunes for the entire composi tion. Complimenting him, the President of the Conference observed that the tunes set by the vidwan were good and this 48 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV kind of effort was timely and very useful. He was accompanied by Sri T. M. Mani on Violin and Sri Kandaswami on Mridangam. Kalyan Varieties Sri B. Subba Rao of Nagpur then gave a talk and demonstra tion on Kalyan varieties. Introducing him, Dr. Raghavan observed that Sri Subba Rao had been cooperating in the work of the Experts’ Committee regularly in recent years ; with his equip ment in Hindustani as well as Carnatic music, he had compiled a large treatise called RSganidhi in which he had compared the Ragas of both the North and the South giving detailed treatment of each Raga ; with the help of the Central Sangeet Natak Akademi, the Madras Music Academy had taken up the publica tion of Sri Subba Rao’s Raganidhi. Speaking on the subject, Sri Subba Rao said that there was an increasing give and take between the two schools of the North and the South and he had been attracted to the interesting work of comparing the Ragas in both the schools. That morning, he was not confining himself to the Ragas of the Kalyani That or Mela, but was going to deal with all ragas having Kalyani in their names. He would classify them in seven groups from the point of view of their employment of Pratimadhyama or Suddhamadhyama or Suddha Rishahha or Komal Rishabha and similar considerations. He dealt with the following Kalyani varieties : Karnatic Kalyan, Hindustan Yaman, Sankara Kalyan, which reminded one of Carna tic Hamsadhvani, Durga Kalyan, where Durga corresponded to Carnatic Suddhasaveri, Samanta Kalyan resembling Mohana, Hamsa Kalyan which was a mixture of Hamsadhvani in arohana and Kalyani in avarohana, Bhup Kalyan or Suddha Kalyan, correspond ing to our Mohana Kalyani in which Sri Muthia Bhagavatar. had the composition Bhuvaneshwari, the rare Nada Kalyan, the Sri Kalyan, Syam Kalyan and Hamir Kalyani of the North, the Ananda Kalyan or Nanda Kalyan of the North, Purvakalyani of the North and the South, Pusha Kalyan in which there was a Kriti of Veena Kuppiyer, Candra Kalyan, Gorak Kalyan which went up to the Mandra ‘Ni’ and was more or less a mixture of Carnatic Suruti and Andolika, Hema Kalyani corresponding to our Begada, Pts. i-iv] the x x x v ith madras music conference 49 Jet Kalyani of the North and Adbhutakalyan, which, true to its name, did not use either ‘Ma’ or ‘Pa’. The speaker referred also to a piece of Muthia Bhagavatar in the last raga which he called Nirosthya because of the omission of ‘Ma’ and ‘Pa’ which were to be sounded between the lips (Ostha.) President Papa Venkataramiah, in thanking the speaker, said that professional musicians should admire the interest and enthu siasm with which Sri Subba Rao, Retired Forest Officer, had cultivated both the Hindustani and Carnatic music, in voice as well as Gottuvadyam. The President observed that comparatively speaking, Carnatic ragas had stricter rules regarding the use of notes and these ragas were also preserved in purity in the com positions. But he would like to point out that at present in many performances heard, Kalyani seemed to be wavering in its form and there was need to steady it in its correct form. The President also referred to the healthy give and take that had been growing between the North and the South and mentioned particularly the catholic and hospitable attitude of the South towards North Indian Ragas. Prof. Ranade of Poona expressed his appreciation of the sevenfold grouping of the Ragas having Kalyan in their names. He said that the grouping of ragas was essentially based on aeasthetic factors. So far as the forms and occurrence of the notes in the ragas were concerned, the imagination and the sense of the beautiful of the gifted artistes were almost the sole guiding principle. He observed that while he generally agreed with Sri Subba Rao’s treatment, he differed from him on smaller details. For example, the speaker did not mention that in the case of every mixed Kalyani in Hindustani music, there was also a ‘Nat’, e.g. Hema Kalyan-Hema Nat, Kedara Kalyan-Kedara Nat and so on, ‘Nat’ here referring to the Suddha scale and the Suddha notes being mixed with the notes of the other raga. He also mentioned the Kamod Kalyan, not referred to by the speaker. Speaking on the^subject of Sri Subba Rao, Pandit Omkarnath Thakur who also attended the morning session sang Bhup, Dipak and some other ragas of the Kalyan group mentioned by the main speaker. He said there were many schools and traditions and the practice in the past was that the Gurus never gave out the 7 5 0 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV name of the rare ragas. In illustration he referred to and sang the Dlpak which came under the Kalyan group. Omkarnath sang Shyam Kalyan and Purvikalyan and showed how the character of Svaras showed their appropriateness to the tine when they were intended to be sung. Thus by PurvikalyarA was meant ‘an introduction to Kalyani*. He also said that the terms Vadi, Samvadi etc. referred to relations among Svaras as such, but for guiding one on the ragas, tbe terms Graha, Amsa, Nyasa, etc., mentioned by Bharata, were more valuable. Pandit Omkarnath’s speech in Hindi was translated by his pupil Dr. Premlata Sarma of Banaras. Dr. Raghavan thanked Sri Subba Rao and the other North Indian vidwans and scholars who had participated in the discussion. THE EIGHTH DAY 29th December 1962 In the Experts’ Committee meeting held this morning in connection with the 36th Conference of the Madras Music Academy with Vidwan Sri Papa Venkataramiah in the Chair, there was a demonstration of a special Pallavi and then a talk and demonstration of rare kritis of Dikshitar. There was a large and appreciative audience which included Sri P. V. Rajamannar and Pt. Omkarnath Thakur, besides other Carnatic and Hindustani musicians and experts. Pallavi Vidwan Sri S. Chandrappa of Bangalore, pupil of Vidyala Narasimhalu Naidu, demonstrated a special Pallavi in Vilokita Tala, one of the 108 talas, in Sarasangi raga : the Pallavi was in 46 aksharas, one guru, two drutas and one pluta, and began on the third akshara. He was accompanied by Sri A. D. Zackeriah on the violin and Sri M.S. Ramiah on the Mridangam. Vidwan Sri Papa Venkataramiah complimented the vidwan and the accom panists on the demonstration. Dikshitar Kritis Sangita Kalanidhi Sri T. L. Venkatarama Iyer then gave a talk and demonstration on Dikshitar kritis which he said were THE XXXVIth MADRAS MUSIC CONFERENCE very valuable for the proper understanding and appreciation of ragas. Assisted by Sri Sandhyavandanam Srinivasa Rao and Vidwan Sri B. Rajam Aiyar, Sri Venkatarama Iyer sang an Athana Kriti on Lord GanQsa-Vamankasthitaya; Gowlipantu- Krishnananda Mukunda ; the Todi kriti from Abhayambika-navava- rana-Dak shay ani Abhayambike, which he compared with Tyaga- raja’s Endudakinado and in which he pointed out the beauty of the Mandra iDha'>; a piece in Sama, Annapurni; and another from the Abhayamba Navavarana, Sadasraye in Chamara (Shanmukhap riya). Sri T. L. Venkatarama Aiyar said that what was important was the raga-form which when properly brought out threw the sense of the svaras into the background ; if one always thought,of the svaras, the Raga-form would go into background and the speaker quoted in this connection the wellknown passage of Tirumular in his Tirumantiram: “ The elephant hid the wood, the elephant became hidden in the wood.’* He also said that ragas like Sama should be briefly dealt with and efforts to sing them very elaborately, would not be conducive to bring out their beauty. To illustrate the North Indian elements in Dikshitar’s compositions, Sri T. L. Venkatarama Aiyar then rendered Parima- laranganatham in Hamir Kalyani and Saundararajam in Brinda- vanasaranga. The President of the Conference Sri Papa Venkataramiah paid a glowing tribute to Sri T. L. Venkatarama Aiyar for his service to Carnatic music and particularly the compositions of Dikshitar. THE NINTH DAY * 30th December 1962 TV;»iC:' ' IdfUl , • /■) ? ' W •'i > - I v7 • T: K3 ^ When the Experts’ Committee, convened in connection with the 36th Conference of the Madras Music Academy met today under tbe Presidentship of Vidwan Sri Papa Venkataramiah, there were two talks with illustrations on Pramana Sruti and on some aspects of Sampradaya. Pramana Srnti Introducing Sangita Bhushanam Sri S. Ramanathan, who spoke on Pramana Sruti, Dr. Raghavan referred to his contributions to i 52 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV the previous conference and discussions of the Academy. Sri Ramanathan quoting from Bharata observed that Pramana Sruti, the difference in pitch between Chatuhsruti and Trisruti, could be mathematically calculated. In the Tambura, antara Gandhara is heard as an upper partial in the Shctdja string and Chatusruti Ri is heard as an upper partial in the Panchama string. Though the intervals between Sa-Ri and Ri-Ga are two semi-tones each, the two intervals vary by a minute interval, 81/80. He showed with the aid of a diagram how the South Indian Veena was fretted today. He observed that excepting Komal Ri and Komal Dha, the lowest pitch of the other notes were fixed on the frets of the Veena. The lower srutis of Komal Ri and Komal Dha, could be obtained on the Sa and Pa frets respectively, by flexing the string. Vidwan Sri Ramanathan then gave an exposition of the application of the Pramana Sruti as seen in a large number of Carnatic ragas where the change in the Sruti value of the same Svara brought out a new raga. Prof. G. H. Ranade of Poona observed that we were apt to approach Bharata through our current ragas, but that was not quite correct. The terminology relating to the svaras and ragas was full of different terms in which one might get lost. To under-, stand Pramana Sruti and the method employed by Bharata, he would suggest the method of starting with the Sa which was unshakable like God and then proceed to Ma, then to Pa and then to Ni and Ga. The value of Trisruti Ri and Dha could not be correctly assessed. Sruti was an accumulated effect and there was no direct means of knowing the Pramana Sruti. The musician’s ear and aesthetic sense was the best or ultimate guide. The srutis could not be exactly shown as to where one ended and another started. Dr. Premlata Sarma pointed out that the Trisruti could be got as the seventh sruti of Madhyama. She differed from the speaker that the lower varieties of Komal Gandhara were fixed on the Veena fret. Pandit Omkarnath said that he would deal with this question in his talk on the 31st morning. Pts. i - iv ] t h e xxxvith m a d r a s m u s ic c o n f e r e n c e 53 Complimenting the speaker for his research and his very apt illustrations, the President of the Conference Sri Papa Venkataramiah observed that ultimately Nad a eluded tape and though grammar was necessary for art, art which stood first. Sastra and Sampradaya Speaking then on Tradition and Sastra in music, Vidwan Sri V. V. Sadagopan of the Delhi University said that while both were important and were closely inter-related, there arose some times conflict between the two. Also the wide field of tradition preserved in different schools could not be exhausted by the Sastra. Our great musicologists like Subbarama Dikshitar while frying to define the ragas had expressly stated the difficulty of exhaustively describing the nuances of the svaras in particular ragas. There were details which could not be completely dealt with by the Sastra, but which the student of music should fill by close contact with the guru and by his own experience. Vidwan Sadagopan illustra ted his point by singing a number of ragas and pointing out their lakshanas of svaras and aroha-avaroha according to the texts and their forms according to their actual renderings by musicians. We were able to understand the form and the beauty of parti cular ragas by certain characteristic phrases and graces or Sthaya- vagas as the texts called them. Vidwan Sadagopan illustrated the point further with reference to raga-alapana. The President in thanking Vidwan Sri Sadagopan, agreed with the speaker’s observations in respect of the comparative role of Sastra and Sampradaya in the understanding of the ragas and their correct forms. ni.. . THE TENTH DAY 31st December 1962 When the Experts’ Committee meeting of the 36th Conference began this morning,there was a papere on Aesthetics and Philosophy of Indian music, a talk and demonstration on the Natural Scale and the Gramas and a recital of the new Hindustani compositions. The President of the Conference Vidwan Sri Papa Venkataramiah was in the Chair. 54 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV Aesthetics and Philosophy of Music Dr. Premlata Sarma of the Banaras Hindu University then read a paper in which she pointed out that the tenacity and resilience of Indian music had been due to its aesthetics and spiritual association and even students of its theory would profit by the knowledge of its underlying philosophy. Music had been described in the Sastras as a way to both Bhukti and Mukti and in her paper she dealt with the latter, viz., music as means to Moksha. Moksha according to Indian tradition was explained differently in different Darsanas and in her paper she explained this process according to the Saivaite approach and the philosophy of Vak (Para, Pasyanti etc.) which went to the Rig Veda itself. Thanking her on behalf of the Academy, Dr. Raghavan referred to the spiritual orientation of all artistic activity in India and to the fact that all the great composers had been saints and Tyagaraja himself had expressed the spiritual aspect of music in several compositions of his. I*JQ \ j? i' \ ,■ ?. ■ Gramas Introducing Pt. Omkarnath Thakur, Dr. Raghavan said that, apart from being one of the foremost performers in the field of Hindustani vocal music, the Pandit was also a scholar in Sanskrit and music literature who had devoted a considerable part of his life to theoretical investigation and to understanding the Sastra of music. He had embodied his find ings in a number of Hindi publications like Pranava Bharati. Dr. Raghavan pointed out that the general conclusion of Pt. Omkarnath Thakur was that Bharata was a far more safe and reliable authority than the later texts. Pt. Omkarnath Thakur began his talk with what he called an unforgettable observation of Bharata that the Madhyama was never to be lost, that it was the greatest Svara and indestructible (avinasi) and in North * Indian veena, the main string was tuned to Madhyama. The natural scale (major diatonic) was true to all times and places. He illustrated this with the reproduction of the singing of some birds whioh he listened to in the natural surroundings on the hills. He called these birds Nature’s Gandharvas and reproduced P t s . i - iv ] t h b xxxvith m a d r a s m u s ic c o n f e r e n c e 55 their sounds corresponding to Sa Ni Sa Dha and Ma Ri Ga Sa and the cooing of two birds replying to each other which he heard in Nepal and which answered to the Hindustani Darbari Kanada. He observed that the statement in the Sastras that the peacock sounded shadja and so on was worth remembering. At that stage it was pointed out by Prof. Ranade of Poona that in Ratnagiri he had listened to birds singing the notes in the Sa Ri Ga Ma Pa sequence. Sri V. V. Sadagopan said that on the South Indian hills, they had heard Harikambhoji in the sounds of birds. Pt. Omkarnath continuing his talk observed that from this natural scale shadja grama was derived from the Panchama of this scale and Madhyama Grama from the Panchama of the Shadja Grama with the Antara Gandhara becoming Dhaivata. He then demonstrated the Chatuhsruti Rishabha which is consonant with the Panchama, and the Trisruti Nishada consonant with the Madhyama. He said that by tuning one Veena to Madhyama and another to Panchama, the Trisruti Dhaivata could be obtained on the Madhyama Veena and the Chatusruti Dhaivata on the Pancama Veena. He also explained the Chatussarana as described by Bharata to illustrate the 22 srutis and the Pramana Sruti. Quoting from Bharata on the Pramana Sruti, he said that the terms Ayatatva and Mridutva meant the lower or the Apakarsha and the higher or the Utkarsha. He further said that the notes of the two Gramas described in Bharata were all obtained even bn the Veena of today and the Gramas and Jatis of Bharata were still present in the music of today. Sri S. Ramanathan pointed out that one musical scale mentioned in the Tamil epic Silappadikaram was the equivalent of the Madhyama Murchana of the Sadja Grama, and as the seven svaras were assigned positions in the Zodiac with their intervals, the values of the Chatuhsruti, Trisruti and Dvisruti intervals could be arrived at. Before concluding Pt. Omkarnath sang Bagesvari, which was a Ragini portraying the Nayika in separation from her husband (Proshitaptika) and consequently he said that the svaras of this raga should be so intoned as to bring out this emotional condition and the raga should not be destroyed by Murkhis and other displays. Pandit Omkarnath’s lecture in Hindi was translated into English by Dr. Premlata Sarma, and Sri Vidwan S. Ramana- 56 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VO L. XXXIV than and Smt. Vidya Sankar assisted in the demonstration with the Veena. Thanking Pt. Omkarnath on behalf of the President . of the Conference and the Academy, Dr. Raghavan drew the attention to the speaker’s observation that the Jatis and Gramas still lived in the present day music and said that certain other writers also had opined similarly; he said that while musical terminology had been changing, the musical facts remained with them and he hoped that with the establishment of the music departments in the Universities, there would be further study and research in Bharata’s text. New Hindustani Compositions Dr. Premlata Sarma, introducing Shri Balwantrai Bhatt, pupil of Pt. Omkarnath Thakur and Lecturer in the Music College in Banaras Hindu University, referred to his work as a composer. Mr. Bhatt had composed about 500 new Hindustani compositions which were in the course of publication., The compositions were mostly in Khyal style, and full of ideas and devotional feeling, as also lyrical themes like the rains, cuckoo etc. Sri Balwantrai Bhatt then sang some samples of his com positions and the recital ended with a ragamalika piece. In the composition in Lalit which he sang Pt. Omkarnath pointed out the three Madhyamas that occurred there, Suddha, Ekasruti (81/80) and Dwisruti (16/15) and demonstrated these three Ma-s. Sri B. Subba Rao of Nagpur thanked Sri Balwantrai Bhatt on behalf of the Experts’ Committee. THE ELEVENTH DAY 1st January 1963 At today’s meeting of the Experts’ Committee of the 36th Conference of the Music Academy, Vidwan Sri Papa Venkata ramiah presiding, there was a recital of new compositions, a talk and demonstration of Raga Alapana Paddhati and a demonstra tion on Tabla. There was a large audience. New Compositions Sri Vidwan P.K. Padmanabharao, pupil of Mysore Vasudeva- chariar, then presented some of his new compositions, Varnas, P t s . i- iv ] t h e x x x v ith MADRAS music conference 57 Kritis and Tillanas. The pieces were rendered by two of his pupils D. Nagaratna and A.S. Padma. The special feature of his compositions, as the Composer explained, was that the theme in all of them was purely devotional without introduction of the Sringara element. The pieces rendered were a Varna in Kalyani- Adi in Vilamba Kala, another Varna in Nata-Adi, a Kriti on Vinayaka in Purnachandrika-Rupaka, another Kriti on Ganesa in Nagaswaravali-Misra Jampa, a Kriti Janaranjani in Ragaranjani- Khandachapu, three Kritis in three rare ragas of his own, Siva- kambhoji, Janya of Harikambhoji (Sa Ri Ga Ma Ni Ni Sa-Sa Ni Pa Ma Ga Ri Sa), Indumati (Sa Ga Ma Dha Ni Sa-Sa Ni Dha Pa Ma Ga Sa) Janya of Kamavardhini, Harasarupini, an Oudava raga, janya of Harikambhoji and Behag. The President of the ‘Confer ence Sri Papa Venkataramiah complimented the vidwan on his new compositions. Raga Alapa The President then requested Sangita Kalanidhi Sri Mudi condan Venkatarama Iyer whom he described as a doyen in the Carnatic field to give his exposition of the technique of developing the raga. Vidwan Sri Mudicondan Venkatarma Iyer accompanied by Vidwans Tiruvalangadu N. Sundaresa Iyer on the Violin and Sri A. Kalyanasundaram on the Mridangam then gave a demon stration of Raga Alapana Paddhati. Sri Venkatarama Iyer said that there was a plan in developing raga in Alapa by proceeding gradu ally in the three registers, Mandra, Madhya and Tara, a feature still happily preserved iathe Hindustani style. Sri Venkatarama Iyer said, it hardly redounded to the credit of the vidwans to say that they were adapting to the taste of the listeners. It was their duty to educate the listeners’ ears. The technique of raga development laid down in the texts was worth following. That the raga was developed very elaborately in the past was known through several anecdotes. He said that it was not an improvement to have so many kritis in the concerts of today. Formerly during concerts of the great masters of the last generation, there were only five or six pieces altogether, and greater time was given to the development of ragas. Sri Venkatarama Iyer then explained the several stages of raga-development like 8 58 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV Akshiptika, Ragavardhini, Vidari, Makarini and St hay i. Choosing Todi for illustration he said that for elaborate treatment only the greater ragas should be chosen and not the smaller ones. He then gave a demonstration of the different stages of the raga develop ment. His recital concluded with the rendering of an anonymous Ti liana in Sankarabharanam. Thanking him, the President of the Conference referred to the great erudition of Sri Venkatarama Iyer and expressed his hope that, in the Academy’s Teachers’ College, the special Advance Classes which Sri Venkatarama Iyer was conducting would be taken advantage of by more students and young aspirants. Tabla Sri Santa Prasad of Banaras who accompained Pt. Omkar nath Thakur and Pt. Ravi Shankar in their performances in the Conference series, excelled himself at this morning Experts’ Committee Session when he delivered a talk and gave a demon stration on Tabla and its technique of playing. Sri Santa Prasad came of a family of Tabla players, his grand-father and father having been famous Tablaists in their time. Sri Santa Prasad is one of the top-most Tabla Vidwans of the North who has toured extensively in Europe as member of the Indian cultural delegations sent abroad. Sri Santa Prasad played Tintal (16 Matras) and showed Peshkar, Gat, Chakradhara, Tukda etc. The basic Teka} Nadrindinna, was shown by him according to the three Gharanas of Delhi, Banaras and Lucknow. His grand father had striven to create a distinct Banaras School of Tabla playing. After this, he played a remarkable Paran relating to Rudra and his terrible manifestation in Dakshayaga. He showed also according to the Banaras style a Paran signifying thunder and lightning. Another remarkable Paran played by him was done with a closed first on the right hand which difficult feat, he said, he had mastered after some years of strenuous effort. He demonstrated the layas Atita, Anagata, Sama and Vishama and played for the following Hindustani Talas: Jap Tal, 10 Matras (Jampai)t Rupak, 7 matras (Triputa) and Ganesa Tal, 11 matras. Sri Santa Prasad then narrated two anecdotes, viz. how in Pts. i-iv] the xxxvith madras music conference 59 ' t Gwalior Court a Paran had been played with only the right hand and another in the Oudh Court where the celebrated composer and Nawab, Wajid Ali Shah, asked the Tabla-player Haji Vilayat Ali Khan to play a Paran which would send him to sleep. Both these were played by Sri Santa Prasad. The President of the Conference requested Vidwan Palghat Mani Iyer who was present at the Tabla demonstration to speak; and Vidwan Mani Iyer, in thanking Sri Santa Prasad, observed that the latter’s hands knew no fatigue and were capable, according to the occasion, of soft, sweet, graceful and fast execution. Sri Mani Iyer added that there was no use of comparing the Mridangam and Tabla as the make and qualities of these two drums differed. In the very make of the Tabla, there was a pleasing quality. In his experience of Tabla vidwans, Sri Mani Iyer said, he had seen that the two-finger-meettu was very common to the Tabla-players, but he was glad to find that in Santa Prasad’s playing, there was greater employment, as in the Carnatic Mridangam, of all spread- out fingers. He said that the artist was one of the foremost Tabla and Laya Vidwans of the North. Sri Santa Prasad, in acknowledging, said that in the whole of India Sri Mani Iyer was known as a great master of the Mridangam of the South and during his tour abroad, he had even there heard Mani Iyear’s name spoken of in foreign countries. Sri B. Subba Rao and Sri M. Janardanan translated Sri Santa Prasad’s Hindi, speech into English and Tamil. THE TWELFTH DAY {January 2, 1963 ) At the last day’s meeting of the Experts’ Committee convened *n connection with the 36th Conference of the Music Academy, Madras, with Sri Papa Venkataramiah as President, there was a demonstration of rare old compositions, a paper on the scope of theoretical studies in Music and the concluding function of the Experts’ Committee meetings. -rwaa* Valli Bharat am Introducing Sri Sundaresa Bhattar, Asthana Vidwan of Seithur, Dr. Raghavan mentioned his participation in the last 60 ^ THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVI year’s Conference and his presentation at that time of a few of the compositions in the Valli Bharatam of Kadigai Namaccivaya Pulavar. This work, written for dance-drama, contained also pieces worthy of singing in concerts and Subbarama Dikshitar himself had set the tunes, svaras and jatis for some of tbe pieces in this Tamil composition. For the present session Sri Sundaresa Bhattar had prepared six other pieces from Valli Bharatam which he sang, asssisted by Vidwan Sri B. Krishnamurti. At the outset he sang a Varna in Anandabhairavi-Adi composed by him with words in Tamil by Sri Appavu Kavirayar, a class-mate of Kavadi- chindu Annamalai Kavirayar. The pieces rendered by them from Valli Bharatam were one in Todi-Misram onNambirajan discover ing Valli, a piece in Senchurutti-Tisram and another Devagandhari- Adi on Valli at the Tinai-farm and two other pieces, in Yadukula- Kambhoji-Adi with svara-sahitya. The recital ended with a Villupattu in Punnagavarali occurring in the composition. Thank ing him, the President Sri Papa Venkataramiah referred to Sri Sundaresa Bhattar’s association with the late Sri Nayana Pillai of Kancheepuram and his proficiency in violin, vocal and Pallavi singing/ ’ ' ' ' : > ; Ao t Musicology Prof. R. Srinivasan then gave a talk on the scope of theoretical studies in music, touching upon the fields of historical, biographical,psychological, mathematical, acoustical, therapeutical and pedagogic aspects in the study of music. Prof. R. Srinivasan pointed out the degree to which these enquiries could be pursued with advantage to the understanding and appreciation of music as an art and the way in which these studies could be taken more and more away, from their ultimate usefulness to the practice or enjoyment of the art. He dealt particularly at length with the mathematical investigation into the ratios relating to Srutis and Svaras and the elusive nature of the Srutis and Svaras as they occurred when the ragas were actually sung. He pointed out that the exact mathematical value could not be dogmatised but could be stated only with the addition of an indefinite plus or minus to the numerical value. Thanking him, the President said that he endorsed the view of the speaker and added that in fact in several Pts. i- iv ] t h b x x x v it h MADRAS m u s ic c o n f e r e n c e 61 of his observations he had emphasised this point during the discussions in the Conference. r , f ■ . 'A«?: •, ’ ;' r *.s * Jf .1 Philosophy of Music Dr. Raghavan then communicated a paper sent to the Confer ence “ Historical evolution of the Philosophical Concept of Indian music ” by Swami Prajnanananda of Calcutta who could not attend the Session. President's Concluding Speech Bringing the proceedings of the Conference to a close, the President thanked the various participants in the discussions and demonstrations at the thirtysixth Conference. He sayi that he would in conclusion stress three points : firstly he would emphasise again what he had said about Apurva ragas having less scope than the major ragas for expositions in concerts. Secondly he would emphasise again that the theoretical and scientific studies were no doubt very useful, but they had their own limits. The Sastraic factor could not take a crude form and could not be reduced to certain formulae which, however useful for reproduc tion for examination purposes, would require to be augmented substantially by practice and anubhava with the masters to make it acceptable for artistic expression. He instanced the case of Begada raga and the way in which he learnt it with his Guru and how, here as elsewhere, though a particular Svara was acade mically mentioned in the Lakshana of the Raga, the finger was actually on a different Svarasthdna by which alone the raga was correctly brought out. Sastra, he said, should not be used for mere argument’s sake. The third point which he would emphasise was the extremely difficult role which an accompanist like the violinist had to play in concerts. His responsibility was great and the imagination and efficiency demanded of him were greater than of others, as he had to accompany closely and all through the concerts, whatever the main performer sang according to his own plan and preparation. Condolence A condolence resolution was then adopted, members standing, on the loss sustained by the music world in the demise of Mri- 6 2 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV dangam Vidwan Sri Palani Subrahmanya Pillai, Sangita Kalanidhi Sri Palladam Sanjeeva Rao, Nagasvara Vidwan Sri Vedaranyam Vedamurti, Mridangam Vidwan Sri Palghat Subbier and Vidwan Sri Ennapadam Venkatarama Iyer. The President referred to the attainments of these Vidwans who were no more with them. Journal Dr. Raghavan then announced the publication of the volume XXXIII (1962) of the Academy’s Journal. ■;.v* Concluding Function The concluding function of the 36th Conference of the Aca demy was then held. On behalf of the Academy Sri T. V. Rajagopalan, Secretary, garlanded the President. Sangita Kalanidhi Sri T. L. Venkatarama Iyer, Vice-President of the Aca demy, recalled his continuous association with the Academy’s work since its inception and the difficulty they had in the begin ning in bringing together musicians and organising these experts* discussions in which kind of work the Academy might be rightly said to have pioneered. Expressing his appreciation of the successful way in which Sri Papa Venkataramiah had conducted the 36'th Conference, he said that performing musicians were first diffident to take part in these discussions, but eventualy they were, like the President of this year, able to conduct the Conference in a successful manner. He appealed to the Vidwans to come together at the Academy in a more complete manner and enrich the work of the Academy. On behalf of the Andhra Vidwans Sri Veeriah Chowdhry expressed his appreciation of the work of the Experts* Committee and the series of performances and mentioned particularly the importance of the junior concerts organised by the Academy. Speaking on behalf of the Mysore Vidwans, Vidwan Sri P. K. Padmanabba Rao said that the participation of the North Indian vidwans was a highly welcome feature of the Confer ence of the Music Academy which had become a Sangita-Prayaga in which the two rivers of Hindustani and Carnatic had a real Sammelan. Sri B. Subba Rao expressed his appreciation of the great music interest in Madras, where music and musicians from different parts of the Country flowed in during the season. He had Pts. i - iv ] t h b xxxvith m a d r a s m u s ic c o n f e r e n c e 63 been a close student of the Academy’s discussions and Journals and had profited greatly by them. As regards the value of the theoretical and scientific discussions, he would only say that the Srutis and Svaras were like God, who might not be located but whose presence and the enjoyment of whose blessings were all the time there among them. He paid a tribute to the way in which the President of the Conference not only conducted the proceedings but also gave a splendid solo recital. On behalf of the Academy and its executive, Dr. Raghavan thanked the President of the Conference for accepting the Presi dentship and conducting the proceedings, to the Maharaja of Mysore for opening the new Auditorium and to the Hon’ble Sri M. Bhaktavatsalam for opening the 36th Conference. He thanked the Central Sangeet Natak Akademi for their help and the vidwans from all over South and Pandit Omkarnath Thakur, Pandit Ravi- shankar and Shri Santa Prasad and also other Hindustani scholars from the North. He thanked the authorities of the local government, Madras State Sangeet Natak Sangham, the Corpora tion, the Police, and the Departments of Electricity and Telephone, the All India Radio, the Press, the Madras Boy Scouts Associa tion, Bharat Scouts from P. S. High School, Vidya Mandir Scouts, Rama Scouts, ‘C’ Scouts from the North Madras and Viveka Scouts, Vidwans who adjudged the various competitions, the members of the Executive who were in charge of the different departments of the work of the Conference, Sri G. Narasimhan of the ‘ Hindu’, Messrs. T. V. Sundaram Iyengar and Sons, Sri S. S. Vasan and the public and the patrons of the Academy. The function concluded with a group photo of members of the Executive and Experts’ Committees and the participants in the proceedings of the Conference. The Sadas The Sadas of the Conference of the Academy was held on ‘ the 3rd January 1963. Sangita Kalanidhi T. L. Venkatarama Aiyar, Vice-President of the Academy and former President of the Academy Conference presided over the Sadas. The invocation was sung by Vidwan K. V. Narayanaswami. 64 THB JOURNAL OF THE MADkAS MUSIC ACADEMY [VOL. XXXIV Sri K. Soundararajan, Secretary, read the announcement convoking the Sadas and also the additional messages that have been received in connection with the 36th Conference and the new building of the Academy, from Sri D. Sanjeeviah, President of the Indian National Congress, Chief Minister of Panjab, the Kalakshetra, Adyar and Vidwan Sri Ankiah. Dr. Raghavan, Secretary, welcomed the gathering of the musicians and rasikas constituting the Sadas. He also welcomed Sri T. L. Venkatarama Aiyar and said that as one connected with the Academy and its work from its inception and one of the senior Kalanidhis of the Academy, he was most fitting to adorn the Presidentahip of the Sadas that year and to admit Vidwan Sri Papa Venkataramiah to the galaxy of the Kalanidhis of the Academy. Referring to the vidwan to be honoured, Dr. Raghavan said, that like all practical musicians, the President of the year was also first somewhat diffident about conducting the Experts’ Committee proceedings and discussions, but as each day of the Conference proceeded, his participation was becoming more pronounced, effective and significant. Dr. Raghavan referred especially to the masterly demonstration of the violin technique and the recital of the rare compositions that the President gave on one of the mornings of the Experts’ Committee meetings. Sangita Kalanidhi Mudicondan Venkatarama Iyer, a former President of the Academy’s Conference, read the citation on Vidwan Papa K. S. Venkataramiah. He then presented the Vidwan-President to the President of the Sadas and requested him to confer on him the title of the Sangita Kalanidhi. Vidwan Sri K. S. Venkataramiah The Citation Bom on 12-9-1901 at Karur, Trichinopoly District, as second son of the well-known violin Vidwan Sri K. N. Srikanthiah. Learnt first lessons in Violin under his father. Continued the training under Sangita Kalanidhi Karur Chinnaswami Iyer. Later underwent Gurukulavasam for thirteen years with Malaikottai Sri Govindaswami Pillai. Had played along with his Guru, * 2 5 PTS. I-i v ] j THE x x x v it h MADRAS MUSIC CONFERENCE 6$ Govindaswami Pillai in several of his solo Violin Concerts. Had played Violin in several vocal concerts of leading Vidwans for over three decades. Had been Asthana Vidwan of Travancore State since 1941. One of the foremost Violin Vidwans with an unbroken and distinguished career, “ Papa,” as he is fami liarly known, is well-known for the intensity and bhava of his playing. 4 Sri T. L. Venkatarama Aiyar then read the conferment state ment and presented him the insignia of the Kalanidhi, the gold medal which he was autho rised to wear and the diploma. Sangita Kalanidhi Papa Venkataramiah was then felicitated on the honour conferred on him by Dr. V. K. Narayana Menon, Vidwan Alathur Sivasubrahmanya Iyer and Prof. G. H. Ranade of’ Poona. They all paid their tributes to the mastery of the art and the technique of violin playing of Vidwan Venkataramiah. Sangita Kalanidhi Venkataramiah then replied thanking the Academy for the honour done. He mentioned particularly the help he had received from the Secretaries and other office-bearers of the Academy in the conduct of the Conference. Referring to the important work done by the Academy, he mentioned particularly the encouragement given to junior vidwans to exhibit their talents during the afternoon sessions of the Conference, and said that the entire world of junior musicians has to be grateful to this sustained effort of the Academy for promoting the raising talent in the field of Carnatic music. He reiterated the two points which he had mentioned in his address and during the discussion viz., that greater ragas which give more scope to the musicians deserve more attention than the apurva ragas and that the practice and anubhava accounted more for the mastery qf the ragas in their exposition than mere theoretical knowledge. He referred 9 6 6 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV again to the difficult role which violinists as accompanists had to play in the concerts and the cooperation that should subsist between the main musician and the accompanist. Referring to the honour conferred on him, he said that it was due to the blessing of gurus like * the great Govindaswami Pillai and Tirukodikaval Krishna Iyer. Prizes Messrs. T. V. Rajagopalan and P. S. Ramachandran then presented the winners in different competitions held in the 36th Conference and the Sadas President distributed the medals and prizes to the winners (see list at the end). ; , ;n Teachers’ College of Music The Principal of the Teachers’ College of Music, Music Academy, Madras, Sangita Kalanidhi Mudicondan Venkatarama Aiyar, then presented the successful students of the College who had passed the Teachers’ Certificate Examination of the Govern ment of Madras, including the winners of practice and theory prizes. Special awards : Dr. Raghavan referred to the special prizes awarded by the Academy for the encouragement of the junior vid wans. The prizes were awarded in the names of T.V. Subba Rao, former Vice-Principal of the Academy awarded by the Executive of the Academy, Dr. Henry Cowell who had himself endowed th| prize out of the royalties of his Madras Symphony and Vidwan Semmangudi Sri Narayanaswami Aiyar endowed by Sri V. Pan- chapagesan. He requested the President to give away these special awards to the junior vocalist, mridangist and violinist adjudged the best from among the junior vidwans who had participated in the 36th Conference. (See list at the end.) ; o; Presidential Speech &«;■:.-.v j : > The President of the Sadas then delivered his Presidential Address. In the course of his speech Sri T. L. Venkatarama Aiyar referred to the origin and growth of the Academy add the part played by himself and others in building up the academic and artistic work, which apart from the organisational side was the most important thing. He said that it was no doubt necessary that li/'W JL i 4 fii f w O i J ♦ i* si. .14 » * li'A lfJ-**1 i-‘‘t 1 -r ■ J PTS. I-IV] ! TUB xxxvith MADRAS MUSIC CdNFEREtfCfe aWT the Academy should have more aud more financial support and a building such as the present one, but the chief reputation of the Academy consists of the academic work and the standards in the art which they were able to maintain. This he said was perhaps useful to remember on that occasion when it appeared the Academy was as it were developing into a new phase of its activi ties. It was the supreme concern of the old and senior members of the Academy like himself that this aspect of the Academy and its work should always be kept in mind by those who are working in the Academy at present. He paid a tribute to the eminence of the President of the Conference Sri Venkataramaiah and mentioned that by virtue of his own attainments and by the train ing which he had under the masters like Sri Govindaswamr Pillai, he was most fit to be the recipient of this honour from thej Academy. He appealedjx> the younger musicians to keep before them the ideals of such seniors and veterans in the field and to practise music as devotees of Nada rather than take it merely as their means of livelihood. 1 • 'f. r! ■ • X* | Vote of Thanks Sri K. R. Sundaram Aiyar, the Treasurer of the Academy* thanked all those who had made the 36th Conference a splendid success that it had been. He referred again to the interest which Sri T. T. Krishnamachari had taken in the building programme of the Academy. He assured Sri T. L. Venkatarama Aiyar that they would always cherish the ideals and the programme of work which their senior colleagues associated in the past with the active work of the Academy had placed before them. These ideals he said were most essential things and they could ill afford to forget them. fM I O I LIST OF PRIZE WINNERS H JUNL F H MDA MSC CDM [O. XXXIV [VOL. ACADEMY MUSIC MADRAS THE OF JOURNAL THE Competitions Donors Winners Vocal Music Rajalakshmi Memorial Medal awarded by I Prize: S. Rajalakshmi. (Ladies) Sri K. V. Ratnam Iyer. II Prize : Padmalochana. Ill Prize : Rukmani Mani. Veena Veena Dhanam Memorial Medal endow I Prize: K. Muthulakshmi. ed by Sri M. Sudarsanam Iyengar. II Prize : G. Kamala. Modern L. Muthiah Bhagavatar Memorial Medal I Prize: Jayalakshmi Santanam. Compositions awarded by Sri T.L. Venkatarama Iyer. II Prize: Padmalochana. Maharaja Svati Murti Memorial Medal endowed by I Prize: N. C. Soundaravalli. Tirunal Compositions Sri R. K. Murti Memorial Committee. II Prize : S. Meenakshi. Purandaradas Endowed by V. S. S. K. Brahmananda, I Prize : G. S. Santha. Padas Tobacconist, Jaffna (1850-1950). II Prize : C. R. Prema Kshetrajna Padas Jeshinglal K. Mehta Memorial Medal I Prize : Sumitra Ratnam. awarded by Surajmals. II Prize: S. Meenakshi. Pallavi Singing Dr. Sankaranarayana Iyer Memorial I Prize: N. C. Soundaravalli Medal endowed by Dr. S. S. Krishnan. II Prize : V. R. Shyamala. LIST OF PRIZE WINNERS . -V TE XVt MDA MSC CONFERENCE MUSIC MADRAS XXXVIth THE I-IV] !. Competitions Donors Winners Sanskrit Compositions The T. R. Venkatarama Sastri Gold I Prize : N.C. Soundaravalli. & Medal awarded by Sri T. V. Rajago palan. Raga Singing Rajaratnam Memorial Medal awarded by I Prize: Jayalakshmi Santanam. Sri S. Natarajan. % e) Divya Prabandham & Tevaram Sri Vijayaraghavalu Naidu Memorial I Prize: Jayalakshmi Santanam. Tiruppavai Medal, awarded by Vijaya II Prize: Sumitra Ratnam. raghavalu Naidu Memorial Religious & Charitable Trust, Edamanal, Sirkali. Tamil Songs ■&L mSl '9 The “ Amarar Kalki ” Tambura Prize I Prize: Vegavahini. endowed by Sri T. Sadasivam. II Prize : C. R. Prema & N. C. Soundaravalli. Junior Vocal Vidvan Sangita Kalanidhi Sri T. V. Subba Rao Ariyoor Sisters. Memorial Prize awarded by the Execu tive Committee of the Music Academy. Meenakshi Viswanathan. Junior Violin Vidvan Semmangudi Narayanaswami Iyer Memo rial Medal for the best Junior Violin Vidvan, awarded by Sri V. Panchapa- gesan. J. Viswanathan. Junior Mridanga Vidvan Cowell’s prize for the best Junior Mridanga Vidvan awarded by Dr. Henry Cowell, U. S. A. 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Gradually, opinion has been veering round to this view and it can be said that at the present time there are few sceptics left to subscribe to the superficial study of the Sastra made by Pt. Bhatkhande. Once more the Northern part of our country is united with the Southern in subscribing to the Sastraic theory of music. There is hardly a serious student of musical theory in the North now who will not be inclined to agree that the ancient Sastra embodies eternal truths and principles profound and comprehensive enough to regulate musical forms and practices of Indian classical music of all time. The Bhatkhande episode, however, is a,pointer and a portent. - The recent come-back which traditional musical theory has staged is one whose lesson cannot be dismissed lightly. Although writers • tried to give new turns to different aspects of theory from time to rime in the past, they never ceased to rely on the spiritual aesthe tics of music in order to establish their points of view or to counter those of their contemporaries or predecessors. In this particular case, however, neither Pt. Bhatkhande in putting forward his new theory nor those who rebutted him had recourse to traditional musical aesthetics for inspiration, approach and procedure. As far as can be ascertained this was the first occasion in Indian history that theory had been divorced from the aesthetics of music. In a sense it was inevitable because musical practice in northern India had become confined generally to a class of illiterate artists. Anyhow, it was a significant development and one the possibility of whose re-emergence in the future cannot be lightly brushed aside. For, the opponents of Pt. Bhatkhande tackled him on only one of his two declared fronts and though Pt. Bhatkhande’s attempt at discrediting the Sastraic theory was aborted and defeated on the front of practical art, nobody would seem to have grappled with him on the front of aesthetics. Consequently, the fundamental outlook and approach which underlined his treatment of musical theory independently of its aesthetics were not challenged or countered and continue to remain a potential danger for the survival of Sastraic theory of music. It remains still to be recognised that Indian musical theory is dependent entirely on the aesthetics of that music for its tenacity PTS. I-IV] TRADITIONAL INDIAN MUSIC AESTHETICS 85 and resilience. It is highly desirable that the aesthetic base of Indian musical theory should be recognised and receive increasing attention in interpretation of that theory. It is the purpose of this paper to draw attention to this desideratum and to make an attempt in a humble way towards supplying the desideratum by outlining as a first step the Sastraic concept of Bhukti and Mukti as the aesthetic ideal of music. It is not feasible within the com pass of this paper to attempt a detailed exposition of the relation ship between the principles of technical theory of vocal music or instrumental music and these ideals of musical aesthetics. For, in the present circumstances it is more important as a first step, to out line a brief sketch of the field of musical aesthetics. Treatises on musical theory uniformly make an unmistakable avoWal of the aesthetic basis of their origin. Once the outline of musical aesthetics is accepted, its application for interpretation of the terms and concepts of musical theory will be rendered easier. As far as I am aware no attempt has as yet been made to outline the philosophy of Indian musical theory. I crave the indulgence of the learned audience for a hearing o f the subject from me, a person not really qualified for the difficult task which I have set to myself. I am confident, however, that much of the air concerning the subject will be cleared by this paper. There are some musicians who believe that if their music conforms to musical theory, it ipso facto conforms to traditional aesthetic* of the S'astra and may be expected to bring them Bhukti and Mukti automatically. To them my humble submission is that it is not so. We are thankful that our artists (specially of northern India) have begun to respect Sastraic theory, but the distance from theory to aesthetics is a long one indeed. Indian musical theory has a hidden and inner aspect also, which is related to spiritual aesthetics. It is not given to any artist, however adroit and skilled in the art, to realise the aesthesis of traditional Sastra unless he accepts the Sastraic values and strives for their realisation. It will be neither politic nor useful to dilate on this topic at this stage and I should now proceed straight to set forth the remarks which I have to make on the subject of my choice. 8 6 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV //. The spiritual approach of the Sastra Aesthetics is a branch of philosophy and is concerned with problems of value or ends. Musical aesthetics deals with philosophical ends and ideals which the theorist or the practitioner has to keep in view and strive for. Avowedly the philosophy of the Sangit Sastra is religious and aestherically it teaches that the ends and ideals of music are ‘Bhoga’ and ‘Moksha’ through a process of interpretation of musical theory in accordance with religious esotericism. The terminology of musical theory had been devised by divine personages so as to yield a set of double meanings, one to suit the requirements of the secular and the other those of the religio-philosophical approach. The former approach was meant to be preparatory for the latter and secular interpreta tion of theory was intended to serve a provisional purpose and to suit the needs of the theorist or the practitioner until he came to accept the religious values and opportunity arrived and appropriate facilities became available for their realisation. Willing guidance of a God-realised person the Sad-guru was the chief factor in these facilities. III. What is meant by the word ‘Sastra’ ? The very first question that arises before considering any topic of Sangit Sastra is, what is the exact significance of the word ‘Sastra’ ? In colloquial usage the word is taken to mean science or any systematised knowledge. While this connotation is not invalid, really much more is implied. A special and profounder significance is denoted by the definition ‘SASATE TRAYATE CA*. The Sastra disciplines (sasate) and protects (trayate). The discipline is of the soul which necessarily is supra-physical and supra-mental, hence esoteric. And the protection needed for the soul is against Maya which degrades it, and causes suffering. The Sastra thus is essentially the science of Mukti and the bliss or Ananda that accompanies it. Since ‘Bhoga* according to the Sastra is a lower form of Ananda that follows automatically in the stages leading to the final stage of Mukti, ‘Sastra’ is a science of both Bhukti and Mukti. The aesthetics of Sangit Sastra is therefore implicit in the very definition of the word “ Sastra ” , which prepares the student 4 H P t S. I-i v ] TRADITIONAL INDIAN MUSIC AESTHETICS 87 in advance for an anticipation of the true nature and scope of the Sastraic teachings. The philosophy of Bhukti and Mukti has several facets, though it has its roots deep in the Vedas and Brahmanas. The two principal facets are the Saivite and Vaishna vite. These are the two schools whose teachings form the basis of the bulk of the Sangit sastra. I have borrowed from Saivite philosophy mainly in formulating my remarks on the present occasion. In regard to Bhukti, I would specially emphasise the point that it does not imply enjoyment of any gross worldly object. Nor does it imply the subtle enjoyment of psycho-physical emotions which comes as a result of the surface cultivation of sectflar art. It comes necessarily in the course of Sastraic discipline leading to Mukti and is an incidental circumstance thereof. For this reason it is more convenient to take up first the process of realisation of Mukti through musical sound. IV. The process of ‘Bandhana or Bondage* In his innate form every soul has the same powers as Siva, and is eternally emancipated. By a gradual alienation of His Ananda aspect, Siva gives rise to a certain power known as Kala, a form of his Cit S'akti which in turn gives birth to the subject- series of powers known as Vidya (limited knowledge), R5ga (choice of one object to the exclusion of others), Niyati (subjec tion to the laws of cause and effect) and Kala (succession in eternal experience). Kala, the principal of these five l i m i tin g powers, is itself the power of limited action, ‘kincit kartrtvam’. It is not an inert principle like Prakrti, but is the Ichha S'akti of 3iva, Cit in character, essentially of the same stuff as Siva’s Swatantrya or Unmana S'akti. She not only produces an enjoying desire in the Jiva but creates a vast variety of objects of enjoy ment too. Just as she produces the five limiting powers of Jiva’s action, she also produces the categories of Prakrti, and is thus responsible for both the subject and object series of Maya which fetters the Jiva’s power of action. By His Ichha Sakti Siva thus produces both Jiva, Maya (the five subject series, Kala, Vidya etc.) and Upadana Maya (known as the categories of Prakrti). These 88 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV two Mayas bind the Jiva. Maya clings tenaciously to the Jiva as a kind of ‘tight jacket’, (kancuka) and causes him to be stripped of all his innate potentialities ‘apahrtais'varya-sarvasvam’. The Jiva conceives himself as an individual being. This is how the Jiva is set on his career of worldliness. In Saiva philosophy he is here after known as ‘ Pralaya-kevala’, i.e. doomed to endless cycles of births and deaths according to the fruits of his good and bad actions. At the end of each cycle he lapses into ‘pralaya’ and emerges into cosmic existence at the beginning of the next cycle. Such a *Jiva is also called a ‘Pas'ir in Saiva Philosophy, because of his being subjected to ‘pasa’ or the snare of Maya. The Pas'u does not know the Matrka S'akti of S'iva’s ‘aksubdhatva’ (unperturbability), which is the repository and ultimate source (yoni) of all mantras and Vidyas. \/M atri = mother, an d \/k a = not knows, according to grammatical interpretation. The Pas'u is, therefore, one who does not know the Mother. The limiting power of Siva’s S'akti known as Kala operates from the level of N&da which regulates the Jiva’s kriya s'akti, and it will be seen that the process of release from bondage also involves going back to that level, so as to be re-established in the Jiva’s innate powers of omnipotence (sarvakartrtvam), omnisci ence (Sarvajnatvam), all completeness (Purnatvam), everlastingness (nityatvam), all-reachingness (vyapakatvam). These five powers under the influence of Maya sakti had become atrophied into Kala, Vidya etc. mentioned already. The following quotations from the Sastras illustrate these remarks regarding the nature of Kalas. ffor imtai i fe a re d w i h t I n (eTHnaft IX. 203) WTfiW I «§- An PTS. I-IV] TRADITIONAL INDIAN MUSIC AESTHETICS 89 f^ftORrar 3|S5T I h m \ i ^ z ft*i w h ^ n (?F5T!»t% 213-14) V. The process of Mukti or Release from Maya Just as S'iva’s Ichcha. Sakti was at the root of the Jlva’s bondage, His very same S'akti is instrumental in his release or Mukti. When Para Brahman chooses to grace the Jlva* with worship, the means of his Mukti, He manifests Himself as the unconditioned “Lingam”, without any concrete form, as a column of light, *' Tejah-StambhSyamanam ” , which according to Saivism is the highest illumination of Cit, “ ParamS Jyotih ”, characterised by Ananda (Bliss), and Sattva (existence), throwing out an efful gence of a million suns. The ‘Lingam’ cannot be perceived by the ordinary senses for which purpose a pure mind is required. The Lingam comprises Nada, Bindu and Kala. Himself the Lingam is Nada or elemental sound, and His basis or supreme sakti is the Bindu, ‘tat-plthika’. Nada and Bindu become united in Kala, which power runs through all beings like oil in sesame or fragrance in flowers. Kala can be seen by the grace of the guru. The Lingam withdraws into himself all the extended worlds of names and forms at the time of the cosmic dissolution, and brings them forth at the beginning of a new creation. (The correspond ing deity of the Vaisnavas is Mahavisnu or KSranodasayl Visnu.) By the grace of the Sad-guru, the five effects of Maya Sakti which had fettered the Jlva to the bound state turn on the reverse path of Mukti, and instead of keeping the Jlva ‘‘cribbled, cabined and confined ”, undertake a purifying role, and gradually rehabili tate him in his innate status. Then Kala bestows the power of performing religous duties such as worshipping the Lingam and meditating on Him. Vidya confers Tattva-viveka. Raga, instead of 12 9 0 THB JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXfclV causing attachment to the fleeting objects of the world, engenders Bhakti, or true attachment for the Lingam. Niyati attaches him to devotional exercises and Kala enables him to establish a synthetic relationship between successive teachings of the preceptors of different ages. VI. Speech and song Both speech and song can be engineered by Karma-vasana born out of Karmas done in previous births. They will then be governed by the Maya S'akti, also known as Jiva Kala mentioned above. Such speech and song will be limited to a restricted field as has already been explained, and will be a link in the chain of activity (Karma) which compels the soul to be perpetually moving in the cycle of births and deaths. Such speech and song will be productive of pain or pleasure according to the guna of MBy5 S'akti which impels it at a particular time. If the guna is Sattva (mixed with rajas or tamas for it cannot be pure sattva so long as Maya sakti is operating), the effect produced will be pleasurable, otherwise if rajas and tamas are the impelling forces the results will be pain or inertia. So long as Maya S'akti or Kala has sway, speech and song do not know the source from which they originate and will merely be related to the experience * of the material world and even though they may have the Divine as their object they will be expressing things of matter and not of divinity. Such speech and song will be * Jada ’ or changeable and perishable, devoid of the divine attributes of eternity of existence, knowledge or bliss. As against such speech and song there can be another variety impelled by Mukti-Vasana (which includes Bhukti as will be explained shortly) which will have for their object entities and experience characterised by eternity of existence, knowledge and bliss. The speaker will then be speaking out and the singer singing what he is perceiving in spiritual vividness inwardly, and the object will be letting others know what he beholds and perceives in the wonderland of his spirit or Atman. VII. Divinity, the source o f speech and song At the apex is the one (Ekam) of the highest effulgence, hence known as Eka-lingam in one of the schools of Saivism. PTS. I-iv ] TRADITIONAL INDIAN MUSIC AESTHETICS 91 His samvid is * VSsavamekatvam ’ (of the character of oneness in opposition to plurality). In this form Siva has no desire to enact any play with the Jivas. When such a desire arises His forms are those of Maheswara and la'vara. As Mahes'vara Lingam His Maya S'akti serves Him by creating a desire of enjoying the non self in the Jivas, when Kala and other Saktis spoken of above comp into play. As Is'vara, Mahesvara brings about cycles of creation and dissolution of material worlds through the instrumentality of Nada taking the form of Vak, Prana and Manas. . VIII. Para Vak Para Vak is a Vedic and Upanishadic concept. Verse 45 of hymn 164 of the first Mandal of Rig Veda says Vak is measured in four divisions which only the Brahmins possessing the keenest intelligence know. Three quarters of it are concealed. It is only the speech of the fourth kind that men utter (or singers sing). Articulate speech (or song) which is composed of words formed by a combination of letters in different orders expressed in the form of a judgment (like “ this is a jar,” Ayam ghatah) means a breaking up of this original unity of “ total experience ” into the twofold aspect of the predicate, which stands for the idea (vacaka) and the subject, which is the objective reality (vacya). This process of breaking up of the original existence of unified reality into two distinct but co-related worlds of Vacaka and Vacya must necessarily presuppose the internal activity of a living intelligent principle, which thus branches off into two seemingly opposite directions. This energy of ideational move ment at the back of all speech-activity is styled as Para Vak, or Vimars'a or Matrka sakti. This Matrka aakti is described in the Tantras as taking various forms. One definition ascribes eight forms to it. "Brahmi Mahes'varl Caindri Varahl Vaisnavl tatha ; KaumSrl caiva Camunda Carciketyasta-matarah.” This S'akti is said to be very beneficent to the Jivas. She is “ Abhaya varadayinl, AsurasamhSrini, and Bhogaiavaryadayini” i.e. Bestow 92 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV er of fearlessness, Destroyer of the Asuras and Bestower of Bhogais'varya. This £akti though free from the blemish of the three Gunas, cannot bestow divine service or worship. It lies at the root of the Prana s'akti and is Cit by nature. This S'akti radiates speech in two different ways namely nitya, or eternal and anitya or temporal. The former takes the form of Mantras and Sastras and the latter that of the language serving the ordinary purposes of life. qTsfq m w ! srafrsw: « f|^:— t^r rt q f w {qrqiqrq>r i n«uorf 3 qr i erar slqi qmrt fqasai: ii One should not dedicate the mantra to the Purusa or the Supreme Truth but to S'iva’s 3akti only because Purusa and Para- tattva are not conducive to Bhoga or Moksa as the Purusa is inactive and the latter is immovable. A? PTS. I-IV] TRADITIONAL INDIAN MUSIC AESTHETICS 93 =T ^ ^ I 3FS^Tf%fa^m 3 (I To use a Vaisnavite simile Para Vak is just like the calm and glassy surface of a great ocean before a tempest begins to break out, when no change or disturbance such as billows, foam or bubbles is to be found. Or, to use a Saivite simile the Para Vak in its undifferentiated character is like the liquid within a peacock’s egg (mayuranda-rasavat) where the different limbs of the bird with the variegated colour of its feathers remain in a form of total non distinction. The real purport of these similes is that the entire range of sounds (S'abdarasi) and the extensive body of -scriptures lie dormant in the womb of Para Vak without any distinction of word (pada) and sentence (vakya) etc., or saregams and songs. Par5 Vak, S'iva’s Vimarsa s'akti, speaks out (vakti) the universe (vis'vam) as it were, by means of ‘pratyavamarsa’ or a kind of suppressed internal discourse involving self-cognition. Also , etc. (f^Wf^TfTR V. 1.5.13.) In this all-transcending nature of S'akti or energy in suspension, Vak so completely shades off into the supreme Cit (cidekas'arana) that her character of ‘sabdana’ or ‘abhijalpa’ can hardly be distinguished. PaSyanti Once disturbance starts in the oceanic calmness of Para Vak, the next stage is Pasyantl which contains within herself in a highly subtle and self-luminous condition (antah-samujjvala) all the various sounds not yet cognised as different letters or svaras (vartia-rupanusandhana-viraha). It is the condition in which Supreme Energy stimulated by her self-dependence is willing to be externalised and as a self-luminous seer envisages the whole course of her evolution as the universe of objects (Vttcya) which 94 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVI has yet taken up the Vacaka order (krama). In this stage, there fore the division of Vak into the two factors of thought and experience is still in a germinal state: * 4 B S ' (Jayaratha’s Commentary on TantrSloka 3-236) Madhyamn From the undifferentiated Pas'yantI, Vak next passes on to the Madhyama stage. In this stage the order of V5cya and Vacaka is neither fully developed nor totally un-evolved, but is capable of being dimly perceived by the intellect only. She is the link between PasyantI and Vaikharl, hence called the middle one between the two or Madhyama. According to Pauskara Agama, Madhyama is beyond the guidance of Prana-Vayu. «T«jirra *?r i This stage is explained by the beautiful illustration of the pod holding the grain (S'imbikSphala nyaya). Para assumes the name of Madhyama when it has entered the stage of Buddhi acting as the determinative of the series of desires and ideas, and holds the group of letters in itself, as the pod does the grain. Vaikhari The last stage is Vaikharl, deriving its name from ‘vikhara’ the body. Now Vak is guided by Prana and Udana and striking against the different vocal organs, such as heart, throat etc., comes to be expressed as gross syllables. Here Jlvakala of S'iva as an effect of Maya S'akti with the other effect Raga, Niyati, Kala and Vidya reach their climax for the bound soul in turning his speech or song away from God. Similarly for the godly person, his speech arrives at the last point of its career. In this stage the order of manifestation as Thought and Experience and their mutual distinction become completely clear. 'S o P t s . i - iv ] TRADITIONAL INDIAN m u s ic a b s t h b t ic s 95 W ^ s^ T ^ U I (Jayaratha on Tantraloka 3-226) The gradual evolution of Vak through all the three stages of Pasyantl, Madhyama and Vaikhari is thus explained by Bhaskara- carya in his commentary on the Lalitasahasranama by the illustra tion of the growth of a plant from the seed While the Para Vak is mere sound in the potentiality of a seed, Pas'yanti is seed beginning to sprout, the Madhyama is the sprout into two leaves not yet separated, and Vaikhari is two leaves separated but joined at the root.” * All these stages of Vak are at bottom nothing but a streaming forth (prasarana) of the Supreme S'akti of S'iva, which never loses her essential character of Perfect Egoity (Svabhava-pratyava- mars'a). These three stages of Vak represent Ichha, Jnana and Kriya S'aktis. Their source is either the Matrka S'akti or the Maya S'akti each deriving its existence from S'iva Svatantrya or Unmana S'akti. It has been seen from the above detailed account that Saccid- ananda Para-Brahman’s Ananda-S'akti first becomes alienated leaving scope for the Cit S'akti’s play which in turn allows the Sat 3akti whose manifestation is the Praija S'akti to act along with it at the last stage of its operation. IX. Bhukti and Mukti It remains now to understand the words Bhukti and Mukti and the processes of their achievement. Bhoga has different con notations. Ordinary sensuous enjoyment is one connotation. The senses are known as ‘adhyatma’, their objects ‘adhibhuta’, and the gods controlling them ‘adhideva’. No sense is capable of action unless the relative Deity is favourable. The ‘TriputP of ‘adhibhuta’, ‘adhideva’ and ‘adhyatma’ is inviolable. The three must act together, otherwise there can be no ‘Bhoga’. We have seen already that Vak is the director of Prana and the latter of Manas, which means that if Vak is propitious, Prana and Manas 9 6 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXlV including the senses cannot but be obediently justified. Now, the gods arise from the Sun, which arises from Prana according to the following passage in the Kathopanishad: “ Yatrodeti Stiryoastam yatra ca gacchati, tarn devah sarve arpittas tadu natyeti kascit” i.e. PrSna is the Brahman whence the sun rises and wherein it sets and wherein are appointed all the gods. This shows that gods whose help is required for enjoyment of worldly objects are propitiated if Prana Is propitiated. Further, the material objects are all constituted of Prana. The senses hankering after material objects are subservient to mind and will be gratified if Prana is favourable. We know that Mind is subservient to Praiia and Prana to Vak. It follows that through the propitiation of Vak material enjoyments can be obtained. Thus Vak controls the Triputl. I have said already that obtaining material objects through worldly-minded Karma is different from obtaining them by the propitiation of Vak, through Matrka S'akti i.e. esoteric worship. The connotation of ‘Bhoga* considered above is in accordance with the Samkhya S'astra. There is another connotation which refers to senses controlled not by Mind but by the soulr the Atman and have for their object not material but spiritual entities. This is called “Parama Bhoga” or Camatkara. At the level of the soul, Camatkara is perceived, with the perception of the Sattvika Vikaras ‘as'ru’, ‘kampa’ ‘pulaka’ etc. Here also Vak is the factor inducting the soul Godward, and CamatkSra arises by contact of soul with God. These two kinds of Bhoga can be obtained through esoteric Vak Sadhana or Gita. We can now consider Mukti i.e. how it can be had through Vak. Mukti has been defined variously. One school of S'aivism defines it a s ; “ PSsupata-dharma-acaranena Pasupati-samipa- gamanam” i.e. Through the observance of Pasupata-dharma, going near Pasupati. We have seen already that when God is pleased He arranges the initiation of the Jiva into the esotericism of the mantras requisite for His worship. The initiation is done by the Sad-guru. By constant single-minded practice the Jiva is gradually rid of the worldly desires and cultivates a taste for Parama Bhoga or Camatkara referred to above and finally acquires fitness for PTS. I-IV] TRADITIONAL INDIAN MUSIC AESTHETICS 97 eternally abiding in closeness tq Siva, the Lord of. pas^us. In other words Samipya-Mukti, one of the four forms of Mukti is realised1Jigfei^v X. Concl usi on The aesthetics of Sangitasastra is essentially the aesthetic of Bhukti and Mukti. This is the foundation on which the entire musical theory is built. To understand and explain how each term and concept of musical theory is derived from the doctrine of Vak is the task, which yet remains to be attempted. To the extent that this task is completed, will it be possible to ensure against liability of musical theory to the onslaughts of so-called ‘‘ scientific ” experimentalism. Intrinsically, the aesthetics of Indian musical theory occupies a unique position in the world of musical art. It has no parallel and is bound to evoke respect and admiration wherever it receives publicity. In our own country it must exercise a sobering effect on musical practice and a widening of musical outlook. For con tribution to Indian cultural renaissance it is perhaps the most important single factor at the present time. I have to make a few observations concerning the approach to and methods of Indian musicological studies before I conclude. The first question that arises in this connection is, what is the call of the assthetics of our music ? It is the call of the Divine to the musician and the musicologist to strive for his soul achieving the sublimities, beauties and rapturous ectstacies of the Supreme—the Satyam, Sivam and Sudaram. TheTantras and Agamas are full of accounts of divine bliss obtainable through spiritual discipline of divine sound. This is the Divine call of the Sastra for Mukti. It is also a call to the musician to know that his voice, mind and body respond spontaneously both to cosmic and extra-cosmic rhythmic processes and patterns enabling connections to be established with both the sensed and un-sensed worlds which open up to him undreamt of avenues of sensory felicity. This is the Sastraic lure of Bhukti. What about methods of studies in musicology ? I have found much intereest in the study of the Sastra of Sangit by applying the 13 * 98 THE JOllRNAt OE tHfe MADRAS MUSIC ACADEMY [ V 6 l! XXXlV . nlethods of Nirukta (etymology) and darsana (philosophy) and Tantras. And I am sure the subject is full of fascination for any body who cares to follow these and kindred methods with patience and perseverance. A vast field exists for study of absorbing interest for the musicologist if he attempts to discover and establish an interpretational link between musical theory and the twin ideals of Bhukti and Mukti and the spiritual process of realisation of this ideal. SmBiVvm ivv pyj's aif TSHEsa One or two examples will be of interest* The Sastra says that one who hears the divine sound or voice inwardly, which by its nature is not audible to others, sees also a beautiful form of that sound or voice. He is a deva, and ‘caksu-srava’ or one who sees the image of the inward sound or voice with the inner eye and simultanously hears the same. Now, how interesting it is., to accept this as a hint for interpreting the pictorial versions of ragas and raginis, which have so long been taken by Indologists as being mere creations of the painters’ fantasy. Similarly we obtain a key to an understanding of the distinction between Margi and Desi Ragas and Talas, which distinotion is the fundamental concept of traditional S'astra, but has baffled scholastic attempts at explanation. Reading the derivative significance of these terms in the light of the Vedic doctrine of Para Vak, we are led to the hint that when the goddess of Vak leads a soul to the Divine, we have Margi Sangita, and when she impels dissemination of experi ence thus obtained for the benefit of others through Vaikharl Vak, the Sangit becomes Desi. MSrgl is derived from the noun Marga- nam meaning search and Deal from the root Dis (f^r meaning to spread. The difference is thus due to the choice of objective. 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(BX60T SOXX060)045(60lb Qa>TG> 6Sl Q pip00]d; Q45X6X(60SlGp6O*. 4*X6W$Xlb P t s . i- iv ] SOME ASPECTS OF TRADITION 109 ( erOtjDUirt&iruJib (86ujpj6resr j d l l &t t uurresrenLnemiii eSIgiuirfrg a 6if)i— ib 6usrror«filt—nri!£6uirripj practical musicians m nrQ us ^esjiraier^ag £§)jr6osr«B/__uy/i) 6f>ULj(Smrra&l (Suirgtaa qjsiueo (8 6U6wrr(Slui. 6& gtumm gJsSatgnjag mar&sr Qeireoeug: 6n)/H Q g g £>60 k9 orjdulLi^-Q^uuGg mmb (Lpe'ar fag6orusieja&?l60 Q&ujg uiraQiu GQ(8&6y.ih. uiraSluj g&ssg effqm)# gji^aatruseo mir(8giruirerv&ur Qatii gj uQ^inixuresr m gus&ssi— erasr jni $iurrau(njibiisib (SurrsarjD &l!5(9)({rja Q « IT 6TT 6TT (8 6SJ 6 W T ® l b . ptbLfrrasisu &(rrjj& o-g gu>ira& Gairgg]£ Q&iTGm®, ^ g s s r mir, < a f® j S a > wmressg 60u9aa6Sli—G6sj6mr®ib. H-.6060 rrausir&sr l d s s t git— &sr, a&r goss g(8iu 6?dg i&Sssrgg] t - 0 @ ® 0 1 Hr. tj?$ ir musts)] a (g ^sueir grr&sr (g&uirirg g a Glair® g g a&sfla&irruGuir&O mmb iSjDgag 6ugmja(B6sj66tsT®ib. * 6T G0(860 IT IT US60T $ 6$Jlb IB g IT IU IT i£t UJTILJ 6rr6TT J ITUS6Sr m m b g l a l g g ja Glair® @ 0 musag &-uGgaibQaiumgrra 6pggirguiriug6osg mir6tn£§),©«) air&ftrrSlGjDssT. (ysgeQ&'s (8 g&ysmiuiresr g ] fy(LgiEiatr6or qpeasguSeb 6i0ir ga tb . aQfjJs! a -g g ib , 60 uj a g g ib , ansa a g g ib , 6£l6rrtbuair60 6rd v\ 0 Prof. R. Srinivasan The study of music from the academic and cultural standpoint is one of absorbing interest. A person may not be a singer or an instrumentalist, and yet may take in the study a good deal of interest, at times greater and keener interest than a performing musician. Such a study has come to be known as “ musicology “ Musicology ” is a word which has come into use quite recently ; standard modern dictionaries do not contain this word; it is the Oxford Compendium to music that refers to it and explains its meaning. Considering its recent origin the amount of currency it has gained is remarkable. The word may be taken to cover all knowledge relating to music except actual perform ance. It has a very wide range and covers topics of great cultural and aesthetic interest. Generally people mean by musicology only the theoretical aspect of music such as the shrutis, mela-scheme, derivation of janya ragas and so on. This is only a minor part of musicology. Let us consider in a general way some of the aspects covered by musicology. 1. .Historical: As human society evolves, its ideas and reactions to outside world also evolve, it gets wider and ever- widening experiences; and so its concepts of right and wrong, beautiful and ugly, justice and injustice also evolve. Of course there are certain fundamental basic truths which are eternal and unchanging. Apart from these our reactions in general to the objective world and our sense of values evolve as our life, our soul, evolves. And so music, an effective expression of the soul of a nation, also evolves. The music of to-day is certainly differ ent from what it was in the time of the Ramayana or the Mahabharata; but it has evolved out of the ancient basic pattern. Any one interested in the study of human evolution in its various aspects cannot but be fascinated by a study of the evolution of our musical ideas leading up to the present. A knowledge of this background will help one to handle the present day music in correct form and in right perspective. P t s . i -iv ] t h b s c o p e of theoretical st u d ib s IN MUSIC i l l 2. Mathematical: A study of shruti-intervals is greatly helped by mathematics. Also the possibilities of further evolution of our raga system and tala system can be explored with the help of mathematics. Without actually counting one by one we can say how many janya ragas of a given pattern can be derived from a scale. In tala manipulation it is mainly a matter of arithmetic, but aesthetic considerations limit our choice. An elementary knowledge of permutations and combinations will be of benefit in this line of study. Just as a problem worked at a desk by a scientist led to the discovery of the planet Neptune, it is quite possible that some purely mathematical relation may suggest some new possibility in the field of music. Mathematics and music have gone hand in hand in ancient Greece. Plato insisfed on a knowledge of music and mathematics on the part of any one who sought admission to his school. Similarly Pythagoras laid down the condition that a would-be pupil should know geometry and music. I frequently refer to the three ‘M’s, Music, Mathematics and Mysticism; music and mathematics together lead to true mysticism. 3. Scientific (Acoustics): Music is based on sound and a knowledge of sound from a scientific standpoint will be an advantage. For a performance to be completely effective several factors need to be considered and utilised. Voice production (of the kind required for the particular system of music in view) can be done scientifically more quickly than otherwise. The concert hall has to satisfy certain conditions if the music performed is to come opt at its best. s ' ■ Especially in dealing with musical instruments and their structure some scientific knowledge comes in handy. A knowledge of the quality of the material used, of the principles underlying resonance, of the laws of vibrations of strings and air columns and such other matters is very valuable. Of course some people deal with instruments in an empirical way, but a scientific approach will save time and ensure correctness. 4. Geographical: Some persons may wonder where geography comes in here. But a little thought will explain the 112 THE JOURNAL OF THE MADRAS MUSlC ACADEMY [VOL. XXXIV point. It is a well-known fact that climatic conditions of a place have a great influence on the voice and the materials used for instruments. It has been observed that in certain areas the voice has a natural tendency to be nasal; the climate at times influences even vocal inflexions. The languages spoken in these areas bear the stamp of this climatic influence. Similarly in some climates the average voice is subdued, soft and mellow, while in some other places it is bold, vibrant and forceful. This is an interesting branch of study which it is worthwhile to take up for serious research. 5. Psychological; All fine arts directly act on human emotions and music especially has profound influence on our inner nature, feelings and thoughts. This has been recognised at all times. Ragas, or melody moulds, are unique aesthetic entities, each with its characteristic influence and emotional effect. To subdue an angry cobra, to calm a truculent child, to quieten a troubled mind, music is an effective weapon. The vibrations set up by music do not stop with the ear ; they induce vibrations in our subtle nature ; the entire human nature is affected by them. This aspect has not received much attention. There are many yet unrecognised effects of music whose study will yield wonderful results; a new vista of knowledge will open out, to be put to use for the welfare of human society. We hear now-a-days of colour being used for the curing of mental diseases. In mental hospitals it is found that colour plays a very important part on various types of dementia. It has been found that red-coloured glass for window shutters tends to put more activity into people who are suffering from mental langour, morbidity, etc. In the same way, it is quite possible that different types of music may be used as treatment for various types of mental disorders. Any disease is in essence an abnormality and all treatments are attempts to introduce normal conditions where abnormality exists, and music to my mind can be used to minimise such abnormalities. I do not see why, in a mental hospital, there could not be a “ Todi” ward, or a “ Kalyani” ward, or a “ Mohanam ” ward for those people whose abnormal conditions stand a chance of being influenced for the better by these P t s . i- iv] th b sc o pe o f theoretical st u d ie s i n m u sic 113 particular ragas. I am sure that turbulent lunatics could to a very large extent be made amenable and to some extent quietened by Neelambari or Yadukula Kambhoji. Similarly cynical and morbid temperaments could be enlivened by At ana or Begada. This is a field of investigation which is worth being taken up by people who are really interested in musical art. As an example of the characteristic quieting influence music has on unruly natures I may mention an experiment tried and found effective in a school of Madame Montessori. A teacher who found one class particularly turbulent started giving music and dancing lessons to the pupils. The result was remarkable; they gradually became quiet and well-behaved. When one of the pupils was asked why she left off jumping about she simply looked up and said, “ It isnt’t nice to jump.” That small phrase of the pupil sums up the potency of music. It may also be mentioned here that “in prisons, too, some remarkable results have been achieved with music. Prisoners have been turned from a resistive attitude toward a willing and co operative frame of mind.” 6. Physical effects and musical therapy: Abnormal powers have been ascribed to music. It is said that Muthuswami Dikshitar brought rain by singing the raga Amritavarshini. I have actually seen rains being brought about by chanting the Varunajapa. The raga Megharanjani also is considered capable of bringing about cloud-formation in the sky and subsequently rain. We have the following traditional story about the raga Deepak. Gopal Naick was an expert musician in the court of the great Akbar. One day Akbar was asking Gopal Naick whether he really believed in the mysterious powers attributed to music and particularly about the alleged power of Deepak to kindle fire. , Gopal Naick affirmed his belief in those powers. Akbar chal lenged him to demonstrate the power of Deepak to produce fire. Gopal Naick said, “ Sire, I can prove it; but the moment I sing the essential part of the raga I shall be consumed by fire.” Akbar could not believe; but he suggested a demonsration with adequate safe-guards against fire, and said, “ Gopal, I suggest that you 15 114 . THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV stand neck-deep in the river Jumna and sing. Certainly no fire can consume you then.” Gopal Naick was not however so sure, but he was intent on removing the doubts in the mind of the Emperor regarding the powers of music. So he agreed and started singing Deepak raga standing neck-deep in the river. The story goes that when he fell into the proper mood and sang the charac* teristic phrases of the raga, his body burst into flames and was reduced to ashes in an instant and the ashes were washed down the stream. That was how Gopal Naick met his end. The power of music to cure diseases has been recognised even in ancient times. Centuries ago, Muhammad Shall was practising musical therapy, and was prescribing musical melodies For certain diseases. Musical therapy has come to stay. We are now told that a Russian Professor claims that “Music is capable of improv ing the sight by as much as 25 per cent.” It has also been reported that bag-pipe music saved the life of a wounded Scotsman. They have been able to oure some specific ailments like head ache by the use of music. Time is not far off when doctors will prescribe music instead of medicines, at least for some of the common ailments. A Chinese book speaks thus of good music \ “ ...... Under the effect of music, the five social duties are without admixture, the eyes and the ears are clear, the blood and the vital spirits are balanced, habits are reformed, customs are improved, the Empire is in complete peace.” Here is a fascinat ing line of study and research of great practical value. 7. Pedagogy: The teaching of music is another interesting branch of musical studies. This subject has received little attent ion so far. There is no point in bemoaning the passing away of the old gurukula system. We cannot bring it back. An intelligent system of musical instruction related to the nature of the musical art on the one hand and the psychology of the learner on the other has to be evolved. Nowadays people who study music are not all out to become professionals; many study the art in the college stage with a view to acquire the power of intelligent appreciation of the art and help its cultural growth. Hence the accent in such cases is on the cultural rather than on the performing side. So the scheme & PTS. I-iv ] THE SCOPE OF THBORETICAE STUDIES IN MUSIC ? ! 115 of musical studies has to be planned so as to meet the needs of the various groups of people who come to study music. Musicology deals with all these aspects and many more. But all this will not serve any useful purpose unless it helps the art to grow and expand into wider fields and “ pastures new”. The performing artist is as important for this progress as the musicologist; these two groups must co-operate and work in am ity; only then the progress of the art on right lines will be assured. I have often heard people belittle the value of musicology and ask, “Where does all this theory and academic study lead us to? We are concerned with the art as practised. If a perspn without bothering his head about all this musicology can sing well and correctly, will that not do ? After all the final aim is to sing or play well.” Quite so. In music we have always had the lakshya and the lakshana, and it has b s;n held that lakshya is the more important. But what maintains the correct standards in lakshya is lakshana. For the proper development of music lakshya and lakshana must go together. I know there are some who can sing a raga very well, without any knowledge of swara. We say, he sings from “ lakshya ” . They are popular singers too. But can we call them “musicians”? Certainly n o t; we may call them singers. Some children learn to sing from hearing gramophone records. Some of them have a good voice and reproduce the record with remarkable accuracy. Can we on that account say that they know music ? Something more than mere skill in singing is needed to make “music” out of “ singing” . And so our ancients called music a v/t/ya as well as a kala. Fundamental principles covered by musicology find adequate and proper expression in practical music. One should help the other; to divorce one from the other is the greatest disservice one can do to the Great Muse of Art. Books on music which have come down to us from our forefathers are all books on lakshana, are treatises on musicology and not books of songs written in swara-tala notation. We value them because they are lakshana-granthas. The lack of co-operation between the musicologist and the performing musician (the professional) which characterises the present day world of music has led to an undesirable state of affairs. In the 116 THB JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV words of the late Mr. K. V. Ramachandran, “ Intuition is all but dead and the materials of the art are lying about us in chaotic confusion, not understood and not cared for; and the art has stopped at the level of the professional executant, with whom the art is a means to an extra-musical end. The executant is like an actor preoccupied with the tricks of manner and inflexions of voice, more than the message of music... The professional musician is too much in the picture and he has revealed an amazing capacity to throw music itself into the background.” He goes on to say, “ One need not be surprised that under the present day conditions our music which was once a hyperaesthetic poetry, has turned prosy and bids fair to end itself as a debased and impoverished jargon ; and all theoretical dis agreements of the present just relate to the tweedledum and tweedledee of that jargon,” When we think of the dramatic art we think of Kalidasa, Bhavabhuti, Shakespeare, Goethe and so on and not of particular actors who acted the drama and rendered the characters. But in the music of the present day undue accent is laid on the “ performing ” to the neglect of the inspired art of which the performer is, in most cases, an inadequate exponent. Inspired makers and codifiers of music will remain for ever as great figures in the pages of history while popular singers may be for gotten. Music, because its appeal is primarily to human emotions, cannot cut itself away from intellect. It is in the synthesis of Intellect and Emotion that Intuition, which is above both but includes both, is born; and true Music has its basis in Intuition. Of late however there has been a tendency to bring in all kinds of things into musicology which have nothing to do with music, either in the lakshyam or lakshanam aspect, such as whether Tyagaraja wore a turban or not when singing, whether the ear-ring of Sama Sastry was in diamond or ruby, whether a much known composer was fond of arSM6nu Potentialities of Music : Investigations made & reported on. 1. Musical Therapy now recognised. Muslims specialised in this. 2. General Health improves under musical influence. 3. Computing Machines relating to music. 4. Trees which were famishing were revived by music. 5. Music used as tonic. 6. Music helps growth of plants (Research at Annamalai University). 7. Music as cure for crime. 8. Unborn babies react to music. 9. Dying^man restored to life through bag-pipe music. THE HISTORICAL EVOLUTION OF THE PHILOSOPHICAL CONCEPT IN INDIAN MUSIC. The philosophical concept evolved in the field of Indian music in relation to the historical evolution of the musical sound, which constructs the forms of svara, rdga, grama, murcchana, alamkara, tana, mela or melakarta, varna, etc. The sound has been regarded as the fountainhead of music. We, for the first time, come across the concept of causal sound or nada in a very definite way in the 5th-7th century A. D. in Matanga’s Brihaddeshl. But this concept or idea evolved before the Christian era, in the days of the Mahabharata (300 B.C.), as we find in the Sivamedhika-parva, 53.52-54, the sound has been described as the quality (guna) of the ether (akasha), and even the seven tones like sadja, rishabhat gandhsra, etc. have been described as the attributes of the ether. The Mahabharata has stated, Tatraika-guna akashah shabda ityeva sa smritah I Tasya shabdasya vaksyami vistarena bahun gunan || Shadjarshabhau gandharo madhyamah panchamah smritahl Atah-param tu vijneyau nishado dhaivatastatha || shabda akasha-sambhavah I So it seems that Matanga, being an eminent author on music, has borrowed his philosophical idea of music i.e. of the musical sound from the Mahabharata. But it is interesting or rather strange enough that Bharata of the Natya&astra fame and his followers like Kohala, Yastika, Dattila, Durgashakti, Vishakhila and others have not clearly dealt with this idea of musical sound in their works. However it can be said that the philosophical concept of Indian music evolved long before Bharata, Matanga and others and it was practically introduced in the system of Indian music in the 5th-7th centuries A. D., in the following manner, as has been described by Matanga in the Brihaddeshl: IdSntm sampravakshyami nada-lakshanam uttamam | Na nadena vin& gttam na nadena vinS svarah || Na nadena vina nrittam tasman nadatmakam jagat | PTS. I-IV] PHILOSOPHICAL CONCEPT IN INDIAN MUSIC 119 Here we notice two kinds of idea, one Vaishnavite and the other, Tantric. As for example, Nadarupah smrito brahma nadarflpo janardanah I Nadarupa par&shaktir-nadarupo maheshvarah ll Again the Tantric idea regarding the origin of the causal sound or nada, evolved in this period. As for example, Yad uktam brahmanah sthanam brahma-granthischa yah smritah l Tanmadhye samsthitah pranah pranat vahni-samudgamah I 1 Vahni-maruta-samyogan nadah samupajayate I ! Nadad utpadyate bindur-nadat sarvam cha vanmayam II Here the idea of origin of the causal sound of music grew in this way: the vital air or prana resides in the brahmagranthi (navel base), and from the vital air, the fire or heat-energy evolved, and with the admixture of the vital air and the fire or heat-energy, the causal musical sound, nada evolved. In this period, we come across the evolution of five grades of sound-units from the one basic sound. Matanga has described it in the following manner : Nado’yani nadaterdhatoh sa cha pancha-vidho bhavet I Sukshmas'-chaivatisukshmas' cha vyakto’vyaktas cha krtrimah ll That is, sukshma, atisukshma, vyakta, dvyakta and kritrima (subtle, most subtle, manifested, unmanifested and artificial) sounds evelved from the nada. The sukshma or subtle sound is known as *guhavasV i.e. residing in the depth of the subconscious mind, and when it manifests itself in the breast (hridaya)t it comes to be known as atisukshma or most subtle. Again, when the sound is manifested in the throat (kantha) or manifested, and when it is evolved in the palate, it is known as vyakta or unmanifested, and when it is manifested in the mouth, it is known as artificial. Matanga has said, Sukshma-nado guhavasl hridaye chati-sukshmakah I Kanthamadhye sthito vyaktah avyaktas taludeshake || Kritrimo mukhadeshe tu jneyah panchavidho budhaih I 12 0 THE JOURNAL OP THE MADRAS MUSIC ACADEMY [VOL. XXXIV These are but the grades of evolution of the musical sounds. In the chapter on the musical composition or prabandha of the Brihaddeshi, Matanga has mentioned about the philosophical concept of the prabandhas: “de shikara-prabandh o'yam\J) haravaktra- bhmirgatah ” (Siok a 373). In the 9th-11th centuries A. D., this philosophical concept of the causal sound or nada was expressed in a clearer way. In the Sangitasamayasara, we find the causal sound or nada has been defined as Brahma, Vishnu and Maheshvara Nadatamanas trayo deva brahmd-vishnu-maheshvarah”. In this period, we find also five different grades of it. As for example, Parshvadeva has said, Sa cha pancha-vidho nado matanga-muni-sammatah I Ati-sukshmasca sukshmas cha pushto’pushtas cha kritrimah ll Moreover, Parshvadeva has divided the causal sound into four more subsidiary units, and they are kabula, bambala, narata and mishra: “ Dhvanis chaturvidhah proktah...” The philosophical concept regarding the melodic types or ragas evolved in the mediaeval time, and it evolved on the basis of the Siva-Sakti principle. —s/vyvvWwwv— » LIGHT CLASSICAL KARNATIC MUSIC Vidvan N. Rajagopalan, B.A. \ Raga Alapana, Tana, Pallavi and the immortal songs of Tyagaraja, Dikshitar, Syama Sastry, Purandara Dasa, Svati Tirunal, Kshetrajna and older great composers form the major part of a Karnatic music concert which corresponds to the chamber music of the western countries. To the sangita rasikas of Karnatic Music no other music appeals as much. Towards the end of the concert the artiste sings some Javalis, Padas, Tilla- nas and National songs which are listened to and appreciated by the entire audience in perfect silence. These end-songs -provide the light music of the concert. They are also classical since there is no mixture of ragas in them which is not so in the case of folk songs and film songs. The light music of the film songs appeals to large numbers of the student population, office workers and industrial and manual labourers both in the cities and rural areas. But most of the film songs are not classical in the sense that the tunes are composed in a mixture of Hindustani ragas and sometimes no raga at all but only notes connected together in any fashion to form a tune. Also many of the tunes are composed with marked influence of western music, jazz music, rock’n roll tunes and Spanish songs. The demand for the film song records is so great that all the stations of the A.I.R. give programmes of film music several times a day under different headings. The popularity achieved by the film songs and the publicity offered for them are sure to develop gradually a total aversion to Karnatic music among the majority of the masses that listen to them. If ever Karnatic music should attain such popularity among the masses of our country it could be done only by light music in Karnatic ragas like Mohanam, Bilahari, Kambhoji, Hamasadhvani, Sriranjini, Huseni, Hindolam, Purnachandrika etc. Such light music will consist of light songs sung by good voices supported by an orchestra of both Indian and western instruments. Here we are likely to meet with objections, for the use of western instruments which are tuned in equal tem- 16 122 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV perament for ragas of Karnatic music which are based on the twenty-two srutis of the octave. Since we are dealing with light music in ragas like Mohana, Bilahari etc. and not in ragas like Todi, Bhairavi, Ahiri, Varali, Saveri, etc. we will use the western instruments for providing background music only along with the Indian instruments which alone are used as accompani ments. These songs must be composed in the spoken language of the people, i.e. Tamil in Tamilnad, Telugu in Andhra Pradesh,Canarese in Karnataka, Malayalam in Kerala and Sanskrit which is under stood in all parts of the world. They should be not only in Bhakti rasa but also in sringara rasa, vira rasa, hasya rasa, adbhuta rasa etc. There must be songs in praise of God, Nature, Mother country, Mother tongue, and other subjects which are of permanent interest to mankind. Simple and attractive tunes can be evolved for some composi tions of Bharatiar, Muthu Thandavar, Vedanayakam Pillai, Aruna- chala Kavi and Sadasiva Brahman. We get thus a new type of songs. These songs will have one pallavi and two or more anupallavis only. Each song will bring out only the necessary but sufficient raga bhava. Elaborate sangatis, complicated sancharas and diffi cult gamakas, brigas and gymnastics will be entirely avoided in these songs. Consequently they can be easily sung and the mean ing of the song when sung will appeal directly to the listener. Hence they can be truly termed light songs. As they are all in Karnatic ragas these songs will form songs of light classical Karnatic music. Children and grown-up people in our Karnatic regions, could be easily taught these songs. Students of music from all parts of the world who wish to learn some songs in Karnatic ragas can easily learn these songs and there will be no need to simplify (thereby mutilate) the songs of Tyagaraja and other great composers. These songs sung by a good voice with background music provided by both Indian and western instruments will give light classical Karnatic music. A new type of concert lasting for an hour and a half or two hours wherein such songs are sung by a good voice supported by an orchestra of Indian and western instru- ments will appeal at the same time to a mixed audience of P t s . m v ] LIGHT CLASSICAL KARNATIC MUSIC 123 lovers of Karnatic music, rasikas of film music and people from northern regions of India and western countries who wish to understand and appreciate Karnatic ragas. Daily broadcasts of half hour programmes of light classic al Karnatic music by the A.I.R. will enable people in all parts of the world to enjoy and appreciate the ragas of Karnatic music. Periodical release of gramophone records of such songs sung by good voices supported by an orchestra of western and Indian instruments will greatly help in popularising Karnatic music. The listener who hears the song again and again will be able to sing the song without much difficulty or at least he will hum to himself parts of the song and thus become familiar with the raga" of the song. Even the bare outlines of the raga as contained in these songs will have such an appeal to the listeners that they will seek the full appreciation and enjoyment of the raga in our music concerts and the immortal songs of Tyagaraja and other great composers. ^ “ HER INFINITE VARIETY ”l Dr. V. Raghavan Among our creative artists, Kshetrajna may be compared to Jayadeva. With the same compositions, both of them illumined, at the same time, the three fields of music and dance, literature and Krishna-bhakti. A hundred poets imitated Jayadeva’s Gita- govinda ; not less were the composers in the fields of music and dance who followed Kshetrajna closely and composed their own Padas. We have enough evidence to know the period when Kshetra jna flourished. Going from court to court and singing upon deities in various famous temples which he visited as a pilgirm, Kshetrajna brought the whole of Deccan and South India under one cultural and artistic unity. His itinerary extended from Golconda in the Deccan to Madhurai in the South with Tanjore prominently in between. He was partonised by Abdulla Qutab Shah of Golconda, A.D. 1626-72, and one of his generals Tupa- kula Krishnappa, by Raghunatha and Vijayaraghava Nayaks of Tanjore and Tirumala Nayak of Madura. All these persons figure in Kshetrajna’s songs. A larger number of sacred places which Kshetrajna visited is known from the deities figuring in his songs as the Nayakas : Tirumala i.e. Tirupati, Tiruvallur near Madras, Kanchi, Chidambaram, Varahur near Tanjore, Srirangam, Madhurai, basides some shrines in Andhra proper. He is believed to have been born in the village of Muvva in Andhra and the bulk of his Padas are dedicated to the Deity Gopala at Muvva. In one of his Padas in Devagandhari on Muvva Gopala, Kshetrajna gives us the interesting information that at the court of Tirumala Nayak at Madhurai, he composed 2000 Padas, a 1000 at the court of Vijayaraghava Nayak, and what is more interesting, he was engaged in a debate on the subject with another scholar Tulasimurti in the court of the Nawab of Golconda, Abdulla, and in connection with this disputation com posed another 1,100 Padas by the grace of Muvva Gopala.2 The total output of Kshetrajna probably exceeds even this number of 4,100 padas. 1. Courtesy: AIR. where this was done as an illustrated programme on the occasion of the Ksetrajna Tri-Centenary. 2. See pp. 117-8, Journal of the Music Academy, Vol. XVI and pp. 8, 13, 70, Introduction to my S'rhgaramanjari of Akbar Shah (Hyderabad Archaeological Dept.) P t s . i- iv] “ h e r in f in it e v a r ie t y ” 125 The literary models to which the Padas of Kshetrajna go back are the Sanskrit love-lyrics, Sringara-Muktakas, the most celebrated collection of which is the Amaruka Sataka. Further back this genre goes to the lyrics collected in the 700 Prakrit verses of Hala called Gatha Saptasati. On the theoretical side, the theme of these Sringara-muktakas goes back to Bharata himself and his Natya Sastra and figures not only in wellknown poems, plays etc., but is also dealt with by a succession of writers on drama and on Rasa, Rudrabhatta and his Sringara Tilaka, Rudrata’s Kavyalamkara, Dasarupaka and Avaloka, Bhoja’s Sringara Prakasa, the Bhava Prakasa, the Sahitya Darpana and several later works. The subject attained a special status and importance with Bhanu- datta and his Rasamanjari, which is the first work solely devoted to this theme.1 What exactly is this theme ? It is that theme of perennial interest, Love, but dealt with not as abstract sentiment but through the concrete images of lovers in their infinite feelings, situations, temper and temperaments. While treatises on Rasa generally describe all the leading sentiments themselves, and love among them at great length, with illustrations of the different moods, the Rasamanjari and works written on its model deal with love through the types of men and women in love and the variety of their nature, character and situation. Each variety is drawn like a portrait which produces a graphic realisation. In Sanskrit, the subject is called Nayika-Nayaka-bheda, and it has inspired not only poetry and critical works in Sanskrit and vernaculars but also painting. The Rasamanjari of Bhanudatta was itself commented upon by several scholars, the most noteworthy of whom was a Telugu poet and composer Gurujala Rangasayin ; there were other independent treatises in Sanskrit modelled on the Rasamanjari and among these, the most important is the Sringa- ramanjari of Akbar Shah written in Golconda about the time of Kshetrajna himself and brought to light by the writer. This work refers to and presupposes Telugu writings, which probably include Kshetrajna’s songs too, and its importance is known also by its translation into Vrajbhasha by Kavichintamani. In Hindi literature the subject is dealt with also in two prominent works 1. For a comprehensive account of this subject of Nayika-Nayakas and the literature on it, see my Srhgaramanjarl of Akbar Shah (Hyderabad), Introduction. 126 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV Rasikapriya of Kesavadas and Sundarasringara of Sundaradas. From all this, it would be clear that the study of the Nayika- Nayaka types became one of absorbing interest at this time, especially in Dekkan and our musician-poet Kshetrajna had perhaps a central part to play in this. In his Natya Sastra Bharata deals extensively with love and of the human media of this sentiment. He emphasises that men and women are of manifold nature ; basically they are refined, middling or base. In physical and psychological characteristics, women are linked to divine, semidivine, human, subhuman natures and to several specimens of the animal world, a survival of which is seen in later works on love and rhetoric in the four types Padmini, Chitrini, Sankhini and Hastini. Bharata speaks also of kinds of women according to married or unmarried status and above all the eight types according to their emotional condition or situation, avastha. It is on the basis of these descriptions in Bharata that the elaborate analysis of men, women and their associates as they figure in love-affairs was done by later writers on Kama and Alankara Sastras and in particular on love. Love is the most dominant feeling and it is also the most intriguing, complicated and variegated of feelings. It is instinctive and obviously simple but comes out in myriad shapes. Neither does it run smooth in its course, not is it delectable if it is not beset with all its difficulties. From person to person, its approach and expression vary. It is this variety and inexhausti bility that have made it possible for writers from the dawn of literature to deal with it. Now young, timid and modest, tomorrow grown up and adept ; now affable, next moment cross; glad in company, anguished in separation ; suspicious, envious, angry and carping ; faithful, faithless, artful, unsatiable, audacious, unscrupu lous—she the emobdiment and object of love scintillates in a myriad forms. Her infinite variety safeguards her from all staleness. By age, she is Mugdha, the young and bashful one, the slowly growing Madhya, and Praudha or Pragalbha the mature one whose free ex pression and initiative Lajja no longer smothers. Rupa Gosvami, the Vaishnavite aesthete considers the Madhya, in whom modesty and gradually unfolding interest and eagerness are intermingled as the most delectable. She is the maiden, Kanya, one’s own wedded Pis. i - iv ] “ HER INF1NITB YARIETY ” 127 wife Svlya, another’s Parakiya and the common one, Samanya. As she grows, her self-possession also grows ; if she can confidently react, she is Dhira ; an Adhira cannot control herself; while the former would taunt, the latter would burst into tears or suffer silently. There are further subtle shades which distinguish further finer classes among these, and the Parakiya among these—con sidered on certain grounds as a suitable analogy for love towards divinity—has been studied and delineated in great variety. Tbe exigencies of the situation also show her in multiple roles ; with a well-behaved lover, she is the picture of gratification, Svadhtna- patika. Among those who are expecting the lover or to meet him, the Vasakasajjika is one who has arranged everything for receiving him and is waiting for him; the Abhisarika cariiot do this waiting, but goes out to meet him. Separation is the touch stone of love and poets and composers alike have devoted greater attention to the loves in longing. Among these is the chief one called the Virahotkanthita or longing and pining for the lover. This separation may be due to the lover being on a journey and her waiting is longdrawn ; such a one is Proshita-patika. The lover is naughty, not true to his word or constant and she is now duped by him, Vipralabdha or feeling cut up, Khandita, or estranged from him owing to jealousy, Kaldhantarita. Each of these is hardly a simple class; for example, among these are those whose sense of prestige and indignation {maria) are in varying degrees of strength and whose resentment manifests itself in them in varying degrees of sarcasm. Love being quite a complex mani festation, hardly ever is one type seen in its own form only; owing to the interplay of all these factors, the lady is almost always found displaying, by age, status and situation, a composite per sonality. The possibility of such admixture of characteristics has also been studied and according to Rudra Bhatta, author of Sringara Tilaka the total number of the feminine types possible is 384. If a principle of further ramification is to be applied, the total varieties would be 1152. In the Svlya alone, one’s own wedded companion, as well as the Parakiya, the others’, Bhoja shows not less than 143 varieties. Writers who have specifically written on this subject like the authors of the Rasamanjari and the Sringaramanjari, as also the 128 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV Hindi writers already referred to, have added a few new types, and quite a dialectic of Nayika-bheda has grown, arguing the possibility of a particular type or the inclusion of one in another or in the proper demarcation of the scope and nature of some. Corresponding to the beloved and her variety, there are the lovers, the high, the middling and the low, the faithful, the one with too many objects of attention but is still considerate and courteous, the misbehaving and the roguish ones: Anukula, Dakshina, Satha and Dhrshta. Then there are the friends and messengers on whom the lover and beloved alike depend. All these also come into consideration and introduce their own variations. For example, there is the case of.the lady who has an accomplished and capable dutl, lady messenger, who instead of achieving her lady’s purpose, herself succumbs to the lover’s attention; such an unfortunate lady is Dutl-sambhoga-vanchita, on whom there are some famous verses and songs. The Kshetrajna Padas which go to a few thousands constitute the largest illustrative material of these Nayika varie ties in any language. These classifications are no bar to free aesthetic expression and appreciation; on the other hand, without a sense of these possible variations and the proprieties proper to each, it will not be possible to portray correctly the feelings of each, with out the intrusion of a wrong word or act or feeling proper only for another type. Kshetrajna was a past-master of this subject. In his Padas, he has revelled in the infinite shades of this Nayika-Nayaka- bhava. A Pada, meaning a song-composition, captures a type of women and draws a fine pen-picture of her and her mood. As such, the Padas give great scope for the interpretation of emotions and their manifestations, the Bhavas and their Anubhavas. For this reason, the Padas have been the mainstay for Bhava-abhinaya in our dance. For the correct Abhinaya again and careful avoidance of incongruous feelings, ideas and acts, each type of Nayika should be correctly portrayed and correctly rendered in Abhinaya. As a help to the exponents of dance then, there has been a tradition as to the Nayikas figuring in each Pada of Kshetrajna and a manuscript of a work called Sringara-rasamanjari in the Cl P t s . i-iv] “her infinite variety” 129 Govt. Oriental Manuscripts Library furnishes us with a Nayika- wise classification of Kshetrajna Padas. Some of the handbooks of dance, like Abhinayasarasamputa, deal with the gesticulation of some select Padas of Kshetrajna, mentioning their Nayikas. It would of course be impossible to deal with all the endless pageant of women that Kshetrajna has unfolded in his songs, but as a sample a few of these could be shown. Firstly, to show the continuity of Kshetrajna’s work in the form of Telugu songs with Sanskrit poetry on this subject, we shall take a Pada in Todi beginning with the words ‘‘Ennallavale gadamma Muva Gopaludu ennenno nerchidamma.” The gist of the song is: “He is not these days the old Muvva Gopala ;*he has learnt much. He comes and closes my eyes and kisses that girl, my rival, next to me on the same seat. And at the same time, he keeps tickling me, and when I question him, he just breaks into loud laughter. ” The song depicts the types called Jyesthn and KanU sthn, the two women forming the object of the lover’s attention, but one of them, the later being dearer, thereby giving rise td the relation of senior and junior between the two. The main type of the complaining lady is Praudha-DhirU because of the self-possession and the bold criticism she makes. This goes back to a beautiful verse in the Amarusataka whose very words are echoed here: < U U 4> X I * t y ft J -i * 4 S is 1 * 1 G It would be proper to begin with the lucky lady—the Svadhlnapatika, who has a most devoted lover, at her beck and call so to say; she is naturally all praise for this fellow; “ O what a fine fellow, this lover of mine! He delights me for ever. ‘‘Enta sakkanivade” in Yadukalakambhoji presents the gratification of this happy type. (Illustration) * Tamarasaksha ’ in Yadukulakambhoji may be taken to port- fay the lady pining in separation and longing for her beloved who is however not coming owing to some complication. This is the Virahotkanthita. The lady-friend goes and pleads with the lover 1 1 * J3 0 THE JOURNAL OF JH E MADRAS MUSIC ACADEMY [VOL. XXXIV who is absenting himself: “O you lotus-eyed one ! She is standing on the doorstep, waiting for you! Yours is the only cry she would listen to. Tears flow down in streams; separation is consuming her like fire ; none can bear seeing her; she cannot exist for a moment without thee. O Lord! Cast her not away!” (Illustration). “Valapu dacha nerane” in Varali presents the unfortunate lady deceived by the misbehaving lover, a tatha, who fails to come to her. She laments to her friend: “ Like others, 1 am not able to hide my love. Having given me his word of honour, he has practised complete deception. Formerly, when I heard he had reached my door, I used to go up myself and lead him by hand into my house, seat him on the couch and entertain him in various ways. That Muvva Gopala has cheated me and is not even showing his face to me. Unknowingly 1 had allowed my love to grow beyond limits. How could I not become angry ? I had come into contact with one of bad behaviour.” This is the type called Vipralabdha. (Illustration) . The Khandita is one who has been offended by the lover turning his attention to a rival, anya-sambhoga-duhkhita. Jealous and angry, she finds fault with him and questions the' rival’s qualities to attract him. “Inta moham emira” in Sankarabharana brings out the picture of the woman in this condition. She asks, MHow so much infatuation for her ? Is she more beautiful than all these other women? Muvva Gopala! You say you cannot remain even for a while without seeing her. Would she dare face me ? You two have become one: the more I hear this kind of talk, the more do I feel amused. Could she give this, that and all that I have given you ? Pretending to protect me and placing all your love on her—what is all this trickery of yours ?” (Illustration) i . ' U ' i ' i i The lady who has picked up some misunderstanding and forced a period of estrangement and separation, but at the same time is repenting and yearning for making it up and coming together—the Nayika called Kalahantarita-covXd be illustrated by the Pada in Kambhoji—“ Vadaraka pove vadela vacchini” : Pts. i - iv ] “ h e r i n f in i t e v a r ib t y ” 131 “Friends ! If he quietly steps in here again, let him come, do not prevent him. That was a differnt age. The time when we two were happy together, this is now a different life altogether ; he is some one, I am some one, we are such strangers to each other. “Expecting that he would come today or tomorrow and with full confidence, with my lips parched, I had passed moonlit as well as dark nights. What is the use of saying anything now ? He is devoid of love, still I suffer for months, continuously expecting him. I have controlled my uncontrollable love for him, I have also passed the months of spring. Why this futile desire any m ore! I consulted others and they said he would come; then desiring his return, I put myself to suffering; but with this emaciated body, I do not want to see him any more. That very first love of his is itself sufficient for me!” (Illustration) The hour of expectation of the lover of course keeps the lady busy, keeping this and that ready for receiving him. But all this is quickly done and now she is tip-toe, looking out of the window, at the door and the street, every little indication of his coming sending a tingle and thrill through her entire frame. Such is the Vasakasajjika Nayika whom we meet in ‘Darijoochi chunnadi* in Sankarabharanam. (Illustration) As I said before, the four thousand and more songs of Kshetrajna form the single largest illustrative material on the infinite variety of the human personality in one of the most vital aspects of its being, i.e. in love. What has been noted in some old manuscripts touches but the fringe of his vast creative output. The large mass of his productions calls for a complete scholarly analysis of the endless variety and pageant of woman that this master of the mind and psychology of love, no less than of poetry and music, has unfolded in his immortal Padas. 150t h BIRTHDAY CELEBRATIONS OF SRI SVATI TIRUNAL ' at the Music Academy, Madras In connection with the 150th Birthday Celebrations of Maharaja Sri Svati Tirunal organised by the Music Academy, Madras on the 8th May 1963, there was a session of the Experts’ Committee of the Music Academy at which several Vidwans and scholars spoke about the many-sided contributions of the Maharajah and gave demonstration of his compositions. At the outset Dr. V. Raghavan, Secretary, referred to the part the Academy had played in the popularisation of the compositions of the Maharajah and requested Prof. R. Srinivasan to preside over the deliberations. Prof. Srinivasan referred in particular to the great cultural traditions of the royal house of Trivandrum among whom there were versatile scholars and among those interested in music and dance in particular, he mentioned Aswini Tirunal, a composer whose songs were sung in the Temple, Rani Rukmini Bai and Balaramavarma, the author of the treatise on Bharatasastra, as also the more recent Ayilyam Tirunal. He also recalled how in the last 50 years some changes had come over the Varna-mettus of some of the compositions of the Maharajah and illustrated three pieces in Bilahari, Dkanyasi and Gopikavasantafn. Sangita Kalanidhi Sri T. L. Venkatarama Aiyar spoke particularly about the association of one of Sri Muthuswami Dik- shitar’s eminent pupils Sri Vadivelu, with the Maharajah and gave examples of the impress of the Dikshitar’s style in the composi tions of the Maharaja and also of the parallels between Dikshitar and the Maharajah which a comparative study of their composi tions disclosed. He mentioned particularly the employment by both of such rare ragas like Saranga Nata, Dvijavanti, Gopikava- santa, Padi and Samanta. Sangita Kalanidhi Mudicondan Sri Venkatarama Aiyar paid a tribute to the present Maharajah and Maharani Sethu Parvathi (?) V' 150 t h BIRTHDAY CELEBRATION OP SRI SVATI TIRUNAL 133 • Bai, as also to Dr. C. P. Ramaswami Aiyar, L. Muthiah Bhaga vatar and Sri Semmangudi Srinivasa Iyer for the efforts made by them to bring Svati Tirunal’s compositions into greater vogue among musicians. He referred to the early Malayalam publication called Balamritam by Ranga Bhagavatar in which 150 pieces of the Maharajah were included. With the assistance of Kumari Vedavalli, Sri Venkatarama Aiyar presented the rare piece Vihara manasa in Suddha Bhairavi and the well-known piece on Siva’s dance “Nrtyati Nrtyati Sambasivah.” Messrs. K. Kittappa and K. Sivanandam, direct descendants of Vadivelu and brothers who were associated with Maharajah Svati Tirunal, presented a paper on the Maharaja and- Vadivelu and with the help of Kumari Padmalochani, presented some unfamiliar compositions and Raga Malika Varnas, particularly pieces for which there were Sahityas in Telugu and Sanskrit. Dr. V. Raghavan then spoke on the Maharajah’s contribution to Sanskrit literature and the devotional hymns and other poetical works written by him in Sanskrit. He mentioned in particular the Maharajah’s short treatise on the art of composition called Muhanantya Prasa in which he expressed his indebtedness to the master composer in Sanskrit, Margadarsi Sesha Iyengar. Sri S. Ramanathan spoke drawing special attention to the Maharajah’s Varnas and Svarajatis and sang snatches of some of the rarer ones in this class and he appealed to the institutions like the Music Academy to bring out an edition of the Varnas, Svarajatis etc. of the Maharajah in Tamil script. Mrs. Brinda Varadarajan read a paper on the Padas of the Maharajah and drew attention to their literary and devotional appeal. Tributes were also paid to the Maharajah’s genius by Mrs. Seethammal and Vidwan Kalakkadu S. Ramanarayana Aiyar. Winding up the proceedings, Prof. R. Srinivasan referred to some of the musical verses in Sanskrit composed by the Maharajah, which were yet another department of his contribution. Thanking the participants in the morning’s symposium on Svati Tirunal, Dr. Raghavan appealed to Vidwans of the Param- para associated with the Maharajah like the descendants of Sri Vadivelu who participated in the meeting to bring out in print 134 THB JOURNAL OF TUB MADRAS MUSIC ACADEMY [VOL. XXXIV with notation the rarer compositions yet remaining in the manus cripts in their possessions He referred also to some manuscripts in his own custody and two new sabdas on the Maharajah compos ed evidently by Sri Vadivelu found in these manuscripts and published by him in the Journal of the Music Academy, in 1947. In the competitions held in the Svati Tirunal compositions in connection with the celebrations, Kumari Hema was adjudged winner. fliKir - ?;,.#•.' V. R a g h a v a n 'm- feNSg^fmvg 83N5& jr *fIfnljiyiro f l K # * *l9tfW3 VARNAS, SVARAJATIS ETC. OF SVATI TIRUNAL 2 " wmbxsT Sangita Bhushana S. Ramanathan The contribution of the royal composer to Karnatic Music is substantial and manifold. His Keertanas which have deservedly brought him renown have been in currency having been sung by generations of musicians in Kerala during festivals like Navaratri. That he has composed several other forms of musical composition like varnas, svarajatis, gitas etc., is not so widely known. Svati Tirunal has composed a number of svarajatis which are referred to in Malayalam books as svarajits. The svarajitin Todi is popular in Kerala. His gitam in Kalyani “ Sarasija nayana ” is probably one of his early compositions; he has composed sahitya for the dhatu of “ Kamalajadala ”, the well known gitam in Kalyani. Svati Tirunal has composed varnas in rare ragas like Purna- chandrika. Apurva prayogas like “ da ri Sa ri ” are met with in the Purnachandrika varna. We have an exquisite piece in the vafrna in Bhupala. He has also composed a varna in Malava gowla ; it is strange that no varna in that raga has been current in Tamilnad. Both the varieties of varnas, viz., Tana varnas and Pada varnas, have been composed by him. Most of them are in Sanskrit and have sahitya for the Muktayi and Etukada svaras which facilitate the full display of his favourite svarakshara sandhi. e. g. Sa vama rusha — Khamas Sadhuvibhatam — Bhupala (2) Svati Tirunal has composed a varna in Sankarabharana (Indumukhi) in Malayalam. Some of his Sanskrit varnas have parallel Telugu sahityas composed by Vadivelu or his brothers. 136 THE JOURNAL OF THE MADRAS MUSIC ACADBMY [VO L. XXXIV few of the Telugu varnas like “Chalamela” , (Sankarabharanam) “ Sarasija nabha ” (Kambhoji) have Svati Tirunal’s signature viz. Padmanabha or its synonym. Ranganatha Iyer published in Malayalam some of Svati Tirunal’s varnams in his Balamrtam in 1916. A few decades later, Dr. Muthiah Bhagavatar included some of these varnas in his two volumes of Svati Tirunal’s compositions in Malayalam script. He also used a few as illustrations in his own Sangita Kalpadruma in Grantha script. Fourteen of Svati Tirunal’s varnas are available now* It behoves institutions like the Music Academy to bring out an edition of Svati Tirunal’s varnas, svarajatis and gitas in Tamil script. • w % fj • ’f| & i f M r p m i ll M i t • i/jteT) *Vide tabular statement on next page. i. ■ ■ - Is., ■ ‘ ■J. •; ? n> *• - - J ' - . ■ - * - , , ^ • * V V£ n CO JJ W Parallel Telugu Svati TirunaPs varnas in Raga Tala Ctf4=! RJ 2 Sahitya by Remarks Sanskrit/Malayalam Vadivelu or his TIRUNAL SVATI OF BTC. SVARAJATIS VARNAS, c/a-s• 5! 45 o £ brothers . V- 1/5 1. Sarasiianabha Malavagoula Adi X X 2. Pal ay a mam Deva Purnachandrika 99 s s X Prayogas like 3. Sadhu vibhatam Bhupala 99 s s X Da ri sa Ri 4. Saveri Saveri 99 s s X 5. SarasijanSbha Atana 99 s s X 6. Pavanaguna Ananda Bhairavi 99 X Chalamujesi 7. Ha Hanta* VanchitS Dhanyasi 99 X Sami na pai 8. SaturS. Kalyani s s Samiyai The Telugu var- 9. Paramakula hrdayam SaurSshtra Rupaka s s X nam is on Sivaji 10. Sarasa Sara NllSmbari Adi s s X Mahipala 11. Sa varna rusha Khamas s s Samini Rammanave ) 12. Dani Samaiendra Todi 99 s s Danike > Poprular 13. Suma say aka K5pi Rupaka s s Sarasa ninu J Ata varnas 14. *Indumukhi (Malayalam) Sankarabharana At a X X Sarsijanayana (Gitam) Kalyani Triputa — Kamalajadala Svarajit Todi Adi (Parud in Skt Gitam K * Except No. 14, all the other varnas are in Sanskrit. --4u> oou> H Xto O c Telugu varnas with Svati S.S. 7» 2 Tirunal’s Mudra Padmanabha Raga Tala Sahitya for Mudra > or the equivalent Muktayi and charana svaras § a w 1. Chalamela Sankarabharanam Ata S S Sarasijanabha >S 2. Sarasijanabha O Kambhoji Ata .. s s 99 5*> 09> 3. Vanajaksha Saveri s s Padmanabha 2 ■c 4. Sami ninne Pw>m Yadukula Kambhoji Adi s s Kamalanabha o > o > mD 2 * A * m MAHARAJA SWATI TIRUNAL ’’ S. Venkitasubramania Iyer During the last quarter of a century, there has been a very significant revival of interest in Swati Tirunal and his music, thanks to the efforts of the present members of the royal family of Travancore, Dewan Dr. C. P. Ramaswami Iyer and outstanding exponents of our music like Gayakasikhamani Muthayya Bhaga vatar and Sangitakalanidhi Semmangudi Srinivasa Iyer. As a result, the songs of the royal composer have attained very wide publicity and popularity and gained the appreciation of connois seurs which they really deserve. Many unknown songs of his have been brought to light and several studies relating to the diverse aspects of his music and personality have come out. But there are certain facts relating to him which are not so well known and an attempt is made here to present some of them. udi B#9Wi3.d rfoflffc oe at &*j>s>frTf8 b o s mtim ^tfKralltmg • '.-V -ja .!-.!) Tutors v\ A 'k> cM'oa ' It is well known that Swati Tirunal had mastered several languages Indian as well as foreign, and that he had separate tutors for most of them, but it is not commonly known who these tutors were. English was taught by Tanjore Subba Rao, who later on became his Dewan and who for his proficiency in that language was known as ‘English Subba Rao’. Mahratti was also taught to the prince by him. Sanskrit was taught by Haripad Kochupilla Variyar under the direction of his own father Rajaraja Varma Koil Tampuran. The tutor for Persian was Sayed Mobideen Sahib of Madras. He learnt several subjects and the one which attracted him strongly was Vedanta. He found for himself an instructor on this subject in Choladesam Sivarama- guru, better known as Ksheerabdhi Sastri. Sastri was a confirmed Advaitin and he has composed many songs on philosophic themes. Study of Music The prince had an inborn aptitude for music and the presence of several musicians in the palace like Karamana Padmanabha 14 0 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. «KXIV Bhagavatar, Suchindram Harihara Bhagavatar, Attingal Sankara- narayana Bhagavatar and Varkala Janardana Bhagavatar and composers like Iravi Varman Tampi gave stimulus to the preco cious efflorescence of his musical talents- The first lessons in music were given to him by Karamana Subramonia Bhagavatar,1 but Subba Rao supplemented them and accelerated his progress and also taught him the stringed instrument ‘Svarabat’ of which he became a master later. Soon he made his attempt at com position also. f> Once ‘Shatkala’ Govinda Marar brought to him a manuscript containing a collection of the songs of ‘Margadarsi’ Sesha Ayyangar, whose very title meaning ‘Path-finder’ indicates that he was then an acknowledged composer. Although subsequently his songs have practically sunk into oblivion, probably due to the emergence of the superior songs of the Musical Trinity, they were in his own times considered as worthy models for others to follow. Swati Tirunal composed many songs on their model and the similarity in language, form and structure is so much between the songs of Sesha Ayyangar and some of these that songs like ‘Jaya Sugunalaya' in Balahari-Adi and ‘Yojaya Padanalinena’ in Kalyani- Chapu of the former are fathered on the latter2. He also wrote a small prose work called ‘Muhanaprasadivyavastha' laying down the rules for alliteration and rhyme in musical compositions taking as his Lakshya the compositions of Sesha Ayyangar8. Tt is well known that Meruswami, renowned for his introduc tion of Harikathakalakshepam in South India, Was highly honoured by Swati Tirunal. But it is not a fact of common knowledge that it was due to the personal efforts of Dewan Subba Rao that he was brought to Trivandrum4 and that it was he who 1. Vide Suranad Kunjan Pillai, Swati Tirunal, p. 24. 2. These songs are found both in K. Chidambara Vadhyar’s editions of Swati Tirunal’s Compositions and in K. Sarabasiva Sastri’s edition in the Trivandram Sanskrit Series. 3. There is a Sanskrit version as well as a Malayalam version of this work. The first has been published by the present writer with an Introduc tion in the Journal of the Travancore University Manuscripts Library, Volume II, No. I and the other by Mahakavi Ulloor S. Parameswara Iyer in the Sahityaparishad Traimasikam, Ernakulam, Vol. VII. 4. Vide the writer’s article ‘Svati Tirunal and his Times' in Vol. XXII of this Journal. Pts. i - iv ] f a c t s r b l a t in g to m a h a r a j a s w a t i t ir u n a l 141 initiated the Maharaja into the secrets and intricacies of higher music and thus become his guru. In fact Meruswami has been con sidered as a ‘Kula guru’ by the Travancore royal family and a fine portrait of his is an object of everyday worship in the palace by his Highness.5 A spacious house was built for him near the Padmana- bhaswami temple and it is even today known by the name * Meruswami Mathom'. Records also reveal that a special palan quin was made for him.6 Patronage of Music The great patronage given by Swati Tirunal to Tyagaraja’s disciple Kannayya Bhagavatar, Dikshitar’s disciple Vadivelu and his brothers, the Sarangi player Chintamani and the Hindustani Musician Syed Sulaiman Sait is well known. But it is not so widely known that there were in his court musicians from all over India. Among those who came from outside the state, the vocalists Palghat Parameswara Bhagavatar, and Trichy Matru- bhutayya and the Vainikas Pachimiriyam Subbukutti Ayya, Tiruvidamaruthur Govinda Dikshitar, Tanjore Narasu Bhagavatar and Mysore Mukundaram and Nandaram, who represented Carnatic Music, and Ayodhya Sukadev, Punjab Ramarjuna, Bengal Haridas, Gwalior Lakshmanadas, Benares Gowda Vasudeva Sastri and Poona Sachidananda, who represented Hindustani Music, are particularly noteworthy. There were also several musicians belonging to Travancore like Asramam Annaswami Bhagavatar, Karamana Subbu Bhagavatar, Avanavamchery Hari- hara Bhagavatar, Puliyurkurichi Padmanabha Bhagavatar and Elathur Harihara Bhagavatar. It is necessary to make special mention of Subbukutti Ayya and Parameswara Bhagavatar. From the records it appears that Subbukutti was a celebrated player of Veena who adorned the court of the Raja of Pudukotta. On hearning of him, Svati Tirunal carried on a long correspondence with the Raja through Subba Rao for getting him in his court and finally succeeded. 5. Vide the writer’s article ‘Maharaja Svati Tirunal in relation to the Trinity o f Karnatic Music’ in the Travancore-Cochin Information and Listener, Vol. I. No. 7. 6. Vide Huzur Records given in the ‘Svati Tirunal Centenary Celebrations Souvenir’, Trivandrum. • 142 THE JOURNAL OF THB MADRAS MUSIC ACADEMY [VOL. XXXIV Respecting the Maharajah’s wish, Subbukutti chose to settle down in Trivandrum itself like Meruswami. This Subbukutti Ayya was the grandson of Pachaimiriyam Adiyappayya, the famous author of the ‘ ViribonV varna. Parameswara Bhagavatar’s contact with Svati Tirunal was accidental. Once when the Maharaja was paying his usual visit to the Padmanabhaswami Temple, a boy of sixteen singing melodiously in a high-pitched voice drew his attention. He called the boy and asked him about his whereabouts and came to know that he was a Brahmin by name Parameswaran belonging to Pal- ghat and had come to Trivandrum seeking his livelihood and that he was fond of music though he had no occasion to learn it from a master. The Maharaja was able to see the latent musical genius in the boy and immediately took him into his service and arranged with his palace vidwans for his regular tuition in music under his own supervision. A new building was put up within the premises of the palace for the purpose which came to be called ‘Mullamoodu Malika’ in view of its proximity to a large and grace ful jasmine creeper, and subsequently the palace musicians them selves came to be called as Mullamootu Bhagavatars, an appella tion which they continue to hold to this day. In due course, Parameswara Bhagavatar became very proficient in his field and was elevated as the chief palace musician. The Maharaja’s Utsavaprabandha was performed by himin the year 1839 and he was given Rs. 300 and a pair of shawls as presents. Vadivelu’s varied talents made him very intimate with the Maharaja. The violin, which he popularised in the Carnatic music became very popular in his court and an ivory violin was present ed to him. Many of the dance compositions of the Maharaja were written in collaboration with him. He was given Rs. 700 for the marriage of his daughter. In spite of all this there was a short period during which Vadivelu was denied audience with the Maharaja for some unknown reason. His highness never tolerated corruption of any sort. Even his own tutor Subba Rao was desmissed from his Dewanship when a charge of corruption was made against him and there is no surprise that Vadivelu too in curred his displeasure, however trivial the guilt. But at theinterven- Pts. I-IV] FACTS RELATING TO MAHARAJA SWATI TIRUNAL 143 tion of Parameswara Bhagavatar and Iravi VarmanTampi, the two were reconciled and in gratitude Vadivelu composed a varna in Nata raga in praise of His Highness and presented it in a dance concert before him. At the end of the concert he appreciated Vadivelu’s skill displayed in the song as well as in its presentation in the concert, but as an anticlimax, as it were, of all this appreciation, warned him not to U3e it again. Vadivelu was perplexed and begged to be pardoned for any mistake he might have committed. The Maharaja replied, “ Your song is in my praise, it must have been in His jpraise ; music is not worth its name if it has any lower aim.” Vadivelu was surprised and submitted that he had sung of the Maharajas of several other States and that he got only their encomium, and so here too he did the same as the king is spoken of as the visible God (Raja Pratya- ksha daivatam). The Maharaja curtly told him that in his own case Sri Padmanabha is the God, none else. Vadivelu became sad and wise and the next day he presented the same Varna with ft changed Sahitya praising Lord Padmanabha and representing Svati Tirunal as Padmanabhadasa and got his appreciation. This is the Ata Tala Varna ‘Samugamu’ in Nata.7 This incident reveals how much of a Bhakta he was and how much he despised even legitimate praise, let alone flattery.8 It was Svati Tirunal that gave the royal Navaratri Festival its present form. Originally the festival was being conducted only at the palace at Padmanabhapuram and after 1796 during certain years it was conducted there and during others in Trivandrum. It was in 1839 that Swati Tirnmal finally arranged for its permanent conduct in Trivandrum itself. Every year the idol of Sarasvati from Padmanabhapuram is brought on an elephant .(along with the idol of Subrahmanya from Kumarakovil on a silver horse and 7. This Varna is given in K. Ponniah Pillai’s 4 Peruvudaiyan-Perisai * as well as in Ranganatha Iyer’s ‘Sangita Rajarangam’ but its original Sahitya is not known. A search of the manuscripts still available ih Vadivelu’s family may perhaps be fruitful in recover ing it. 8. This incident must have occurred towards the close of Swati Tiru- nal’s life when he was leading a life of absolute self-negation, because other songs in his praise by Vadivelu and several others including Iravi Vartnan Tampi are known. 1 4 4 THB JOURNAL OF THB MADRAS MUSIC ACADEMY [VOL. XXXIV of a minor goddess in a palanquin) in a ceremonial procession to Trivandrum and installed in the gorgeously and tastefully deco rated Navaratri mandapam during the festival and taken back after its conclusion. Daily concerts of music and dance were introduced. A collection of nine songs on the goddess which has since been known as *Navaratri kirtanas’ some of which were icomposed for the occasion by His Highness and others selected from the songs he had already composed, was made and one song allotted for each day to be sung elaborately with raga alapana, tanam and svaram8. Navaratri thus became a season of music in Trivandrum. The singing of tanam to the accompani ment of mridangam was also not an uncommon thing then. Patronage of Dance High patronage was extended to dance. Besides Vadivelu there was also another nattuvanar in the palace, Pichu Bhaga vatar. Famous artistes of the time like Srirangam Nagaratnam, Tanjore Neeral, Tiruchendur Ramanathamanikkam and Tanjore Kanakamala performed dance concerts in his court and got presents of money and materials. The amount given for the dances of Nagaratnam and Kanakamala was Rs. 300 each. The palace records reveal an interesting incident which shows the extent of the Maharaja’s patronage of dance. The dasi Ramanathamanikkam was robbed of her possessions on her way back home from Trivandrum. The news reached His Highness’s ears and he immediately ordered a compensation of Rs. 300 to be given to her. It may appear a surprise to many that a Hindustani dance troupe was permanently maintained by His Highness in Trivan drum. This was in addition to the many troupes from the North that performed at the palace. It is not known what particular kind of dance they were performing, but presumably it was Katbak. Patronage of other Arts. Painting was also liberally patronised. Many pictures painted by renowned painters of the time like Ramaswami Naickan and 9. Vide the writer’s ‘Navaratrikirtanas o f Svati Tirunal' in this Journal Vol. XXIII. 75 Pts. i-iv] facts relating to maharaja svati tirunal 145 Alagiri Naidu were got for the palace and several ordered to be painted by them. A famous painter from Tanjore by name Pedda Dasari came with the collection of his paintings to Trivandrum and got himself introduced to His Highness through Tulajarama Rao, son of Dewan Subba Rao. The Maharaja was delighted at the pictures which included many miniatures in the typical Tanjore style, pictures of many Gods and Goddesses and also pictorial represen tations of certain melodies (Ragachitras). He asked Tulajarama Rao as to what would be a fair value of the collection. Tulaja replied that it would be Rs. 400 at a liberal estimate. The Maharaja thereupon ordered double that amount to be given to Dasari and also appointed him on a monthly salary for decorating the walls of the palace with fine pictures. Some of these pictures can still be seen there. A beautiful picture of Lord Krishna in the collection brought by Dasari particularly caught the attention of Svati Tirunal. He felt it to be one worthy of daily worship. Accordingly he arranged for its puja being conducted every day. This was put up in the portion of the palace called Karivelapuramalika and puja is done to it even now by a Madhva Brahmin to whose family this right was conferred hereditarily. It is also worthy of note that a European painter by name Schift was given a present of Rs. 12,000 for a portrait of the Maharaja. Trivandrum is famous all over the world for its beautiful ivory work, but it is little known that it was Svati Tirunal who was responsible for it. A Namputiri Brahmin from Malabar who came to Trivandrum to attend the sexennial Murajapam ceremony, presented to the Maharaja some specimens of fine ivory work, some of them exquisitely and elaborately carved. Delighted at them he decided to encourage this art and immediately sent for these workers at Changanacherry from where the Namputiri got them, and settled them in the capital. It was they that made the ivory violin for Vadivelu. The Maharaja also got an ivory throne made by them and it is preserved even now. Another similar throne was made by Uttram Tirunal Maharaja which was sent to Queen Victoria later on. This latter has won the appreciation of 19 146 THE JOURNAL OF THfc MADRAS MUSIC ACADEMY (VO L. JCXXIY several connoisseurs of art and has been an object of attraction at various exhibitions in England and America10. Architecture i A Svati Tirunal was very much interested in architecture. The two palaces Puthenmalika and Rangavilasam in the Valiya Kotta.- ram at Trivandrum are standing monuments to his deep interest in this art. The Puthen Malika particularly, with its peculiar design, its cool and spacious halls and smooth reflecting walls and orna mented pillars and decorated ceiling displaying a wholesome blending of the arts of different countries and with its carvings of galloping horses, is an attractive piece of architecture. The beautiful Darbar Hall at Padmanabhapuram is another architec tural and sculptural monument that came into existence at the time of Svati Tirunal. A new chariot was designed and constructed under the super vision of an expert from Madras by name Veeraswami Naidu. This beautiful chariot, in describing the beauties of which the poets of the court rivalled with one another, was used for the royal Poojapura procession at the close of the Navaratri Festival thenceforwards. Reforms in the Padmanabhasvami Temple Various indigenous arts like Tullal, Kolattam, Tiruvathi- rakalli, Kampati, Valveesu etc., were patronised during the Utsa- vams in the Padmanabhasvami Temple. Arts like Mohiniyattam, Poykal-Kutirayattam etc. which found their way into Travancore from Tamilnad also met with encouragement. The exponents of these were given monthly emoluments. In the temple itself several innovations were effected. The attractive and imposing Indravahana was newly introduced. Regular recitations of several religious books like the Bhagavatam were introduced. A few families of Madhwa Brahmins were brought down from Tanjore and Kumbakonam and appointed to sing the Bhagavatam accompanying the Maharaja during his daily visit to the temple. The music of the temple was standardised and certain conven- tions introduced a.s to the ragas and songs which are to be played 10. Vide Nagamiah : Travancore State Manual, Vol. I. P t s , i - iv ] facts relating to The maharaja svati tirunal 147 by the Nagasvara vidwans there and these conventions continue to be in vogue. Only the Maharaja’s compositions are played. For instance, whenever the deity is taken out in ceremonial procession the song to be played first is ‘Pankajalochana’ in Kalyani. After this, during the Utsavam, for the procession on the night of the first day and for the evening processions on the other days, the respective songs in the Utsavaprabandha are used. On other occas ions, for the night processions it is the varnas and padas that are chosen. For the morning procession during occasions like the Bhadradeepam, songs in ragas like Saveri, Dhanyasi, Punnaga- varali etc. are used. It is interesting to note that the very first song to be used for rousing the deity from sleep is^in Devagan- dhari ‘Jaya jaya Ramaramana’. Other ragas used in the morning are Bhupalam, Bilahari, Malahari etc. In the noon Madhya- mavati, Sri, Mohanam etc.,, are used. Kalyani, Kamboji, Sankarabharanam, Bhairavi etc., are handled only in the evening and night. On particular days in the month there is what is called (Ponnu SeevelV (lit. golden procession) and on some of these days there is a special service with instrumental music called ‘Marigalavadyam’. This was introduced by Svati Tirunal. To start with, the group consists of four nagaswarams, two othus, two tavils, a pair of double damaram, a pair of single damaram, four conches and four kuzhals. The nagaswaram is of a short variety, about a foot and a half in length. During the first round of the procession the pipers play a song in chorus to the accompaniment of the percussion instruments. The conches and kuzhals are sounded rhythmically at intervals. When half the second round is over this music comes to a stop. The whole procession then moves on very slowly. The conch-blowers then range themselves facing the deity and blow the conches in unison for about five minutes, all the time slowly moving backwards and keeping their position in the procession. Then appear the players of kuzhal. They are followed by a flutist who plays to the accompaniment of mridangam. Finally a special variety of nagasvaram, locally called ‘Pampunagasvaram’ resembling the makuti in tone but not in appearance is played, accompanied by a drum resembling dolak. The procession would have completed THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV the second round by this time, and the third round is done in the normal pace, the nagaswaram music starting again. There is a special festival in the Padmanabhasvami temple called ‘Kulavazhachirappu’. This falls on the birthdays of the Maharajas from the great Marthanda Varma downwards and on these days every pillar in the temple is adorned with a full bunch of plantain fruits, a sprout of sugar-cane and a garland of flowers. Svati Tirunal felt that for the festival on his own birthday the interspaces between the pillars should also be similarly filled with plantain bunches, horizontal bamboo rafters being provided for the purpose, and he ordered accordingly. This would require thousands of such bunches, neverthless the command was carried out. During a particular year when there was drought, it was not possible to get the required number, and so the Dewan informed the Maharaja of the difficulty. The order was, to his great wonder, to decorate with ripe fruits if raw fruits were not available. The Dewan silently moved out very much perplexed, but managed to carry out the royal command literally. Thereafter this parti cular annual festival is called ‘Iratta-k-kulavazha-chirappu’ and it has continued in the same form ever since. Patronage of Literature Svati Tirunal’s patronage of literature was as liberal as his patronage of the fine arts. The grants given to Rev. Bailey for his English-Malayalam Dictionary and to Rev. Peet for his Malayalam Grammar and the honour done to the court poets are well known. The interesting incident relating to the grant of a house to Iravi Varman Tampi, though generally known in Kerala, is not so much known outside. Tampi’s house was in utter disrepair and he did not have means enough for attending to it. Once the Maharaja saw him dejected and asked him why. He hesitated, but then the command was to report the cause in verse. Tambi then spoke in .verse: Mahipate bhagavatopamanam Mahapuranam bhavanam madiyam Nokkunnavarkkokke viraktiyuntam Arthannal illennoru bhedamuntu Pts. i-iv] facts relating to the maharaja svati tirunal 149 conveying by means of slesha ‘O King, my house is mahapu- rana (very old) like Bhagavata which is a mahapurana, in the sense that virakti on the part of the onlookers is produced by both (virakti meaning disgust in the case of the house and renunciation in the case of Bhagavata), but with the difference that while Bhagavata is replete with artha (profound sense), the house con tains no artha (money). Svati Tirunal was very much delighted and immediately ordered the construction of a new house for him. This is the ‘Kizhakke Mathom’ near the northern entrance to the Fort in Trivandrum. Coming to know of this gift made to Tampi as the result of a Sloka, a needy Namputiri from Malabar thought of adopting the same means and requested Vidwan Elaya Tampuran of - Kotun- gallur to compose for him a suitable verse for presentation to Svati Tirunal. That witty scholar wrote down the Sloka : Daridryasya dayalutvam Kim bravimi naradhipa Atmanasam anadrtya Bhavantam mam adarsayat from Vidyadhara’s Ekavali which was very appropriate as it means ‘O King, how generous is poverty ! quite unmindful of its own destruction, it has directed me to you.’ The Namputiri took it to the Maharaja and recited it before him as his own. The Maha raja was immediately able to see through the harmless trick played on the Namputiri, but enjoyed the joke and gave him 5000 fanams saying that it was the wages due to him for carrying the Sloka to Trivandrum (i slokattinte cumattukuli) meaning that the Namputiri simply acted as the carrier of a verse. It is not a matter of common knowledge that Svati Tirunal’s court was frequented by several Sanskrit scholars from various places and that all these were honoured with suitable presents. Melnatham Narayana Vidyarthi, Kumbakonam Vasudevacharyar, Choladesam Krishna Sastri, Sringeri Narayana Yogi, Mysore Simhadri Sastri and Kalahasti Sivarama Sastri are some of these. Vakyartha sadas was frequently conducted. A great scholar in Jyotisha and Dharmasastra by name Sankaranatha was then adviser to Ranjit Singh, the ‘Lion of the Punjab’, On coming to know that he was a Malayali, Svatj 15 0 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV Tirunal corresponded with Ranjit Singh through Lord William Bentinck, the Governor-General, and got him down to Trivatndrum and appointed him as a judge of the then High Court in the State. Sankaranatha had brought with him manuscripts of certain works like Yogavasishtham, Gouritantram and Devibhagavatam and he presented them to the Maharaja and translated the Devibhagavatam into Malayalam as desired by him. The Maharaja then acquired more manuscripts and it is this collection which formed the nucleus of the Palace Manuscripts Library. Other Reforms The numerous reforms which Svati Tirunal introduced such as the starting of English schools, the establishment of an up-to-date observatory, a Public Library, the Government Press, a Commer cial Agency, the drawing up of the first Code of Regulations etc. are well known. It is also worthy of notice that a census of the population in the State was first conducted by him and that a separate Department of Public Works was also started. Colourful costumes were also given for the royal infantry during processions. Demise A strange incident is reported in connection with the demise of the Maharaja. He was ill for some time and so could not go to the temple. One day early in the morning the chief archaka in the Narasimhaswami shrine in the Padmanabhaswami temple saw the Maharaja standing in front of the deity. Amazed at the unforeseen presence of the Maharaja at that unusual time and without any attendant, he ran up to the temple Kariakar for informing him. But when he returned he saw the Maharaja enter the shrine and disappear there. In a few moments the news of death of the Maharaja reached them. Whether one believes this story or not, there is a popular belief that Svati Tirunal was an avatara of Sri Narasimha. It is reported that when during an Arat procession an elephant became riotous and none could bring it under control, he was able to do so by a mere look at it, There are thus several interesting facts relating to Svati Tirunal not quite well known, and a diligent search may revea 1 more of them. . SRI SVATI TIRUNAL & HIS LITERARY EMINENCE Dr. V . Raghavan ^ ^ ^ Maharajah Svati Tirunal of Travancore, born in 1813 and dead in 1847 lived barely for 34 years, a span of life not enough for most of us even to mature. As King, he had many active preoccupations. It is therefore all the more striking that in the short period of his adult creative life, he was prolific and distin guished in his literary and artistic contributions, which have carved out a place for him among the foremost composers of the South. Sri Svati Tirunal’s flair for language and literature was evident even during his young years of study. He learnt several languages, and from his compositions, we can see his mastery of Malayalam, Sanskrit, Telugu, Hindustani, and Kannada. It is in Sanskrit that he composed the largest number of works. His was not a dry, scholastic type of learning ; with mastery of Sanskrit he imbibed a spiritual bent and devotion to Lord Padmanabha, of whom the Royal House was ‘Dasa’. A third dimension to his mind and spirit was given by his great passion for the arts of music and dance which had always been cultivated as integral parts of devotion. All the works of Sri Svati Tirunal have this threefold interest, as Sanskrit poetry, devotional outpourings and music composition. The first work with which the Government of Travancore started their Sanskrit publications is the long devotion al poem of Swati Tirunal called Bhaktimanjari, modelled on the famous Narayaniya. It is in one thousand verses, mostly in the longer metres, and apart from the deep religious feeling, the work is also an epitome of puranic episodes and learned exposition of the doctrine of Bhakti. The Padmanabha sataka of his is another, but shorter, hymn to Lord Padmanabha. His Syanan- durapura varanaprabandha is in Campu style, in prose and verse and sets forth the traditional story and religious and mythological importance of the holy place of Trivandrum. That the royal poet was constantly dwelling on the mahatmya of the shrine of Padmanabha is shown also by one of his longer Kirtanas the Anantasayana-sthala-purana-kirtana in Mohana Raga— 152 THB JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV Sanskrit was still in great vogue as the medium of music composition when the Carnatic music Trinity appeared. In addition to Dikshitar who'composed wholly in Sanskrit, Tyaga- raja himself, although Telugu was his main medium, composed numerous Sanskrit pieces. It was in Sanskrit that Syama Sastri first started. In the preceding age, there was the great Sanskrit composer Narayana Tirtha, as also Sadasiva Brahmendra. Svati Tirunal had much contact with Tanjore particularly in music and dance and there is some amount of the impress of Tyaga- raja’s and Dikshitar’s Sahitya on that of Swati Tirunal. But the most noteworthy, though otherwise not so well-known, pre- Tyagaraja Sanskrit composer, whom Svati Tirunal studied well and followed was Sri Sesha Ramanuja or Margadarsi Sesha Ayyangar, whose compositions bearing ‘Kosala-mudra’ are known at least to musicologists if not musicians. But the very title ‘Margadarsi’ shows the significant place occupied by the composer in the history of Carnatic music composition. In addition to his Kirtanas, Svati Tirunal wrote in Malayalam and Sanskrit a treatise on the art of composing Kirtanas, with special reference to rules of alliteration, essential to them, called Muhanantya-prasa. Here it is Margadarsi Sesha Ayyangar’s compositions that Svati Tirunal refers to as the basis of his study: And it is from Sesha Ayyangar’s pieces that the Maharaja cites for his illustrations. That these rules are strictly followed by Svati Tirunal in his songs is clear by examining them ; the sustained terminal alliterations in some of his longer pieces e.g. in Madhyamadi and the piece epitomising the Bhagavata in Punnagavarali may be particularly mentioned. There is a distinct difference between the Sahitya of Tyagaraja and Dikshitar on the one hand and of Svati Tirunal on the other. It is when we compare the Maharaja’s work with Sesha Ayyangar’s that we get at the model after which the Maha rajah fashioned his Sahitya. The peculiarity of the Sahitya of both these is that the Sanskrit language is fully and elaborately PTS. I-iv ] SRI SWATI TIRUNAL AND HIS LITERARY EMINENCB 153 used, in complex syntax, with multiple verbs and sentences, such as would be natural in a composition in a spoken language. That is, Sanskrit is here not reduced to a set limited diction and a common stock of vocabulary for songs, couched mostly in addresses or descriptive epithets. Rare Sanskrit words would occur, but there would be no grammatical lapse, even of certain types condoned by practice in music compositions. That is, these pieces are in the tradition and standard of the classical Sanskrit Kavya style such as we have in Jayadeva or Narayana Tirtha. Some of the striking examples in this connection are the song in Surati-Ata— reminding the Lord of his lilas and the way he came to the succour of Bhaktas in distress like Draupadi; the Dvijavanti sdng on Siva where the fourth carana runs : *r|5?r f% n ^ r- S^srrq- \ And the one in Mohana-^qrspsi^ qfq sfeT \ This feature, showing a perfect and scholarly mastery of and facility in handling Sanskrit as medium of music composition is seen all the more in all his Padas where specific emotional ramifications are to be delineated. Apart from alliterations and classical diction, from the point of view of poetry, the Sahityas afford striking examples of the Maharaja’s descriptive powers, mellifluous flow of words, and ability to embellish the pieces with similes, some times a string of them, and also embody into the songs popular proverbs too. For descriptive excellence and onomatopoeic and other sound effects, the Sankarabharana piece on Siva’s Tandava - prefer prefer Hirefsre:, the Athana piece on Devi the Rasalila piece in Kambhoji *5flfcT which bears the impress of Jayadeva, the Dasavatara Ragamalika the Yadukula- kambhoji Kirtana on the enchanting flute-music of Krishna srtfsnrfa may be singled out. Generally in the Padas, the impress of Amaruka Kavi and Jayadeva is seen ; the descrip tions of Krishna and his beauty and his sports on the Yamuna banks remind one of Lilasuka and Krishna Karnamrita. 20 154 THB JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV For illustrating his similes, the Madhyamavati song c4f may be pointed o u t; here in the 3 caranas of four lines each, each line carries a simile. (1) f e tt e r sffaerfa* a® 'r^crf^Rer « w ! farrgftf qT#f g*r§t ■H ■ ' 'sncT’T^lsoysn sHnftfire ^ ^ 9 w (W tw W - e ■ -r sftcT^ 6 (\) tw irf m s I mm *cT«rfto ^ 5TWT W ?RcT55Ic5Wn^ frefltarw«T! \ s 1 1 * Some of these similes go to the Bhagavata where in Vritra’s hymn to Vishnu we read : m s i *sHTT: **wf WT m$mi: g^rer?: i Bw fs^r ii In the song on Krishna’s flute-music, the'popular saying that even a barren stump will sprout into foliage is used— faarit B rn ^ t fNt% fow•o fl is seen : His devotional bent took a pointed direction towards Harikatha, as a result of the association of pious souls like Merusvami. The result was his longer story compositions on two edificatory episodes from the Bhagavata, popular with Bhagavatas viz. the Ajamila and Kuchela upakhyanas. ^ 5 That he was immersed in the Bhagavata is known from several of his separate pieces as well as some of the group pieces. One group of nine songs illustrate the nine phases of Bhakti Nava- lakshana Bhakti, set forth in the Prahlada storv in the Bhagavata: j |) This group distils the essence of devotion. The Krishnavatara Kirtana in Kurunji ?Tf closely echoes expressions in the chapter in the 10th Skandha of the Bhagavata describing Krishna’s advent. In Punnagavarali, the Maharajah sang an epitome of the Bhagavata even as he did two for the Ramayana in ¥ir^TTf*r CgWR and tR5Tf55%«T in Kalyani. The poem Padmana- bhasataka referred to under his literary works gives also an epitome of the Bhagavata. Taking a leaf from Sadasiva Brahmendra, Svati Tirunal composed Vedantic pieces also breathing the spirit of Vairagya and the sense of spiritual values and of things evanescent and permanent. In the Bhairavi song in this group, the C C • first carana embodies the well known verses 3TrpWcT etc. and the second carana the verse from Sankara’s Vivekacudamani, 3RJ*TT JTTSI'H etc. The piece in Sama W embodies the line from the Bhajagovinda of Sankara: fortwjfarfl to * ! I An example of a full intellectual or metaphysical Kirtana is the one in Kambhoji Ata: f^TT The songs of Kulasekhara Maharajah, as they were called in Coladesa, are thus an outstanding work and are enjoyable and valuable from the literary, musical and devotional points of view. jT O W E SSs w w t p R wss DIKSHITAR Rajagopalan!’' in Mohanam on Rajagopalaswami at Mannargudi and “Brihadambikayai” in Vasanta on Brihadamba at Tanjore. Edited by Veena Vidwan A. 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(7 /s . . • • • • ,1 ld s I D u i r & iff €roiff ero ero iff p u i r 11 tro eu 0 Ttr . . • • • • . . m f f ero r , , err . . . iD « LD ifff U LD LD S S i r LDIT £ j / r /# ero iff eioir m ^tsm © Si ■ . . . . /5 //) . . . lSI U) <£ i f l i ? / ULD LD & S i r LDIT u i r iff ero iff ero r . . . mib . . . i£l 6T0 IT iff 6T0 iff & & u J ero iff /g UITULD@U\\ ULDSlff jg* ir , . .. . s s , tro ir tb . u* . e£l . ' , u g s ir U IT , , * LD S LD U U LD gj U U LD Sir . 6r6? 63$ s « b , . u j rr . . «... 635$ . i u g&tr u rr , , U> S LD U U ID & U U LD sir , erff etsff S 60 . . u j rr ...... 635$ . LD S LD iff/ ULD LD S S IT LDIT u it u id s r r //> u & i r u rr ID/ S . . . IT 61/ /r ...... t 635$ . THB JOURNAL OF THE MADRAS MUSIC ACADEMY [V o l . x x x i v U LD U tr 6r0 tfl l8 ^ iir ufB u>/r« tDtr ^ L/ U LD6SU 6t0 . 60 . 6d .i& . (ip <56 • • (2 61/ * * 60 * ift. * > ^ 5 (_/ LD LDtr & LD tr u / r u £5 i i k « ercrr * • • ® . • 611 tr 6)1) 8 e h if) ld a a if) erotr erd tS u tr /© ^ 6T0 £) . 60 . ©9 . ^ . jt f t 4fa f- Hfcgffo'- udtiD oS crtkt&gg)]& eSl&si&sr eSlmgjQ&sr ^r 6romid6i&(ip iBebjgpj tbiPiB (Gnani 6rdm@tru(ip§$] Js&sir&& u v m b u 6fi). dFjanrii) erdTLMsrr1 (S^ebeorrerSe^ & 6 0 uuir6 tsiffi 6ri)6V 6d # ( i p '! s i Q e x je o u j S r e v r r a n f l . , fti , • vtOiriDggsuir^ 3 erd(Ss u s .tr if) & if6utr6wfl 6fd s o s B js « 0 u gg-@®3 ldu^iu urreoofl . . *%■. &(&*. ■ M u 'f e . ''$$kr . ^ 'w > ^ |$jiv s :• ■ .f f t Pts. i-iv] two rare songs in sankarabharana and mandari 173 U ) < S LD if)I ULD ID < * < 5 / T LDIT U IT U LD S ir ID U & tr U T LLj • • & • • • {T C f i J T • ■ t • * • 6 9 9 $ ? • ero w & if) ero wo/r 18 if) ero eroir p # eto iS etorr Q&fDT . & . . < if) , ero Or . . «//r . . «ro$? 6r0/r i? 6r0 /8 /b u tr , ero ifl u t r u ld j b u \\ u id s if) ® * ld u * • uj u ir • • • • • • • T-ab % ,si ** % TO £ laSTi- u4 \;u ai » « , fe.afe Ct a> K 36 0 «•>>&© [>••••£ (UJMHgt •w % u nu nu *4 -u- & a> -H\(pra * ft® (8^ ff. . ■ TE. . T® Ik *% (fteffe ^ u a.1. 'p to fta c ; s, v ^ ^ m #ro %j . \» «a ubO *,<&?> 0b. ^ ^ . §g>tb:\<4i & a.i *> * *= «s\cr®wvew to -fofcli. to a> m»SJK>Ar6»^m tS:0rfe US't* (^0)«r0® . \'51, i.'T- • , < » > •\\)l)TO£)Gu' r p , • % Y i % ■. g $ fv,t; ^ S.' p» ur.'i Q % 3 8 & & i (VJ * bsd t i l .BBwbiV is^fil J.£9?s js sd fesiabtenos .tnr arf ; c«w.biV ixfiefV A* ~a£iq£X&i ni ^t-Ei-iUs slsi JdWiM li&NNr MttBftiT lo isdimm e bozoqmos 174 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIV ujfc£irffl i$giiuy,ii Qurap^inB usbsto® h a ' , . . . . 1, O * 6X0/f? <55 LD u triff u 6rt> iff ero/r /$ ero <6&T) . <55 . . . ir rr erff ‘ft t e j l f a i SSlff SSlff 6lt) iff. .* 61?) iff <55 LD u t r rff u ero rff 6r0ir6rt)iffbr0 rff sun r ir . • y?$6rt)-v(9j3 (533) . <55 . • IT tr 6t$ . . . a id a iff ertiiff * sun. tr ar , . aigyutitfdi! * ID U iff 6x0/r iffeiv fP 6X1) <55 iff 6ri) iff m ro -v 6 0 )L _* m r lB «>/ \rir <55 iff <56 iff 6X0/$ •» STD iff SS LD u i r rff u srdrff 6r0 rr , 6B a • • • • J 6X 0 -0 0 (633) <55 irir . ju siw ru ) * 6X0/$ <55 <55 u / r u ld u i r u i r u 6T . L$(?/B rr . . ss ld ss iff 6X0 iff / LD U iff 6x0 6x0 /$exO IP 6rt>d iff iff ervir 18 U/60T<65) . @ 7 . y u9 (?eo/r Q s u 60 Ilf . l$ (Tffi/ SS L j (? . & iff a iff 6n) iff i1 eroiff ss ld ju iriffu6ro 6x0/r , UJ IT > . . 1 J[ ^ 6 n )m ( 5 (533) . <55 . . tr/r . u&sOafil \ $ «T) -p(25(65) « J /r 6 r f f ^ t r ld Q igs) eunnrir ff& o h lJ g s t in$)6ucrrrgg @ /<^yt_3@3 WLSKS&frtrQp (Smsrih si(S msrffu/ssr^) ego ^iBCSeOir Qsu60uf ssL/if l t d *A Violin Vidwan ; he was considered to be a great laya Vidwan. He had composed a number of Tillanas which reveal his ability in layapras- tara. Pts. mv] two rare songs in sankarabharana and mandari ll5 (sr0UL| ; *®wi®o®(rsi)) 1. O « ifiaif) ero i@ &D . u/ ero ero iS 6roi9erOiSurr uld uero/Su , ld u ld a id @jj ih eu u t . . . . dtp.ffii&jroeo . . $ . . ^ a ID <55 ifl 6T0 iS ero & if) ero iS erOiS uerOiS ero irf iS 6ro tQ u nr ld uld ufdr . 6r <& & & airmen emeu u j u j it er re p ero it ero iS u ld u ero eh) rS er0i9er0iStI u l d uLDueioiE) u , U IT LD <35 LD uvir .... 6ff>£ _ . esr .erOeoirmer ebeuiriB.,6vf) . uQirtreuem euiu ggearxrr er$<£iru><3J£sGHrr4tyir ^eer^eo^leoesir || ®r@ m m «>***• % , 1W »& # # is « » M l » , .. »$e *m W Tsrs^k wm m f ^ f p ? m i ^ ^ . *%E *J|* m ft t# % «*#*.*. V*,.** ^ M fc u u £* uiSJ®S*ffl»3 r- BKS?W " tfe fc%5 f f l u f '» * A :. 'f> * -# #*.%* * n * V- « *-* QiU 0J Tk'U ® ftfa “ OS & * (•?’?> $> % \ A -v* ■ 4 |§& i|» n ti».''?si^ k f o -w ■. «* 4 V i Tfcfc*» ■&«•*«#& rf. *’», THREE RARE PIECES Edited by < n Vidwan Sri Chennakesavayya of Mysore These three rare pieces were demonstrated by the editor at the 36th conference. See above p. 44, Proceedings of the Session. The first was found in the notebooks of the Vidvan’s father, written eighty years ago. The second and third were learnt by the editor from Veena Vidvan Sivaramiah of Mysore. The third, it is known, is a composition of Veena Gururaya- char of Vizianagaram. 178 THB JOURNAL OF THB MADRAS MUSIC ACADEMY [VOL. XXXIV [Ollf jbiTL. [rir*9u)— 4H,GjlT$liDS0ru>: ero if)a « 8 iDt u iSa eio U&tfofi!—iLQ^GDSDiLf&fresr/SetDu&trGOir— ,9|JjJud)S0ai— ^rQ eO ir QeueOuj ^TCSiDih^Q^erf)— eutr ^errrujQu.6rr3 (SFJfiHIlb—LD^ersr ifvtreroppQpasr I I udisCai I * * * # j * * * * | <5E/r i , | ld « ll ero | if) «rt> II ld 65 LDif) I » ero rS ero if) | e s iD ifie ro ( 65 i d u l d \ u rr iS u I iDiDifferol uir u id w m % 'p -; ':3 k m i f $ 0 60 rr l d m e r Q d # Jigiufitoafi rtriirilift €$) & 81 J: ,• * - ■ ‘ II • • • || 6rD/r , , | , , , , I , , en) /# I ^SlerOif) I d tb if) ero I erQiflercerOI iSuiSerO\ erf) 6V IT jS IB uj II erOLD/flerO I rSeroesiD jsrr [dpi^inu dcaiptb] I « / r , l£> \ rf)erO ero if) | erOerorfhf) I erOirif)£) I erOu • . . . \ ££ €1. • • • 11 6n) /r , , | , , ffli)/© | f)er0 t8 &\ 1 8 ero ib if) I efoiSeroif) I $6h)l//£| u> u &<8 \ II rBrS uir I & 18 erorR | Pt s . w v ] THREB RARB PIBCBS 179 s a«wrL*g8ir£l aiL^irsffU) ^OlGgrffpiDsroiU): end H u ID iff ero U>6BT6Y6l43rl— &lJS* (S6U6TT | Q uirm S l | I O ngtrrf :■■ *' ww-') if) a l d H \ endHeroH | eroH & H | e o H u u \ H u erOir\ H fFerd I u i r H u || itt/« o r ear £ } j t \ eaf I aw j '* » u a , If & i d tr i d J H e rd end tr \ iB u H e rd | H end Hero | l d & u l d | , HueroH\ ulduld || t © $ Qoj ero H Hero \ iDarr l d | u l d i t u | H u ir erd I H H eroH I u u l d <*l l d u H H || Q e u 6 0 I iLf l <7/r | (7ic/e^0 J4MHK&*,* { i ; ’3 i »* fiis 1 * » i • I % « « 1 , . 1 6i o H H H | 6t0 6 t0 u H | H l d u « | ’ U 3 u &H | e t o x e o H | u U ITLD I ®/r ujrf? II Qi—err k$ « 0 6^ 6OTT rnr Q%m I u a » 6rt)/r, ld ; HHerosH\ , u id l d I H eror H | u u l d if) I , eroH eroH <&id I ibHeroH | H efoH H | efoir, end | H u ld(T I , u l d H I 6 n ) / r , end g 180 THB JOURNAL OF THE MADRAS MUSIC ACADEMY [V o l . x x x i v JfSWTU) | LD II er0iff6n)iff\ , ero iff ee \ @ ld ^ \ ear I I (svrrero \ (sicQidOTsdr) 1\\ LDir , , \ , , u r | , , i f| eronr , , I , , to r | fP eroir \ $ erO ir I II L/r , , | uir fS • .. 2\\ fP sn)to| iffert) rS iS \ ertiirrSsro | iff ifiu tr | iffero rfi u \ jS rSeroiff| LDiffero I "'\\6t0iri8jB\ iSf ert iffee | , ^ 3 || u r , , | , , u r | , , , , | (frozen)to| erOu ld ld \ fP , , | /P , , | || u if f u u | , rS u ld | to u id ld| , LDiffero | er0 rffe>0 er0 | , 6r0/#| ^ /#6n)/£?| || 4\\fP , , I , , IP I , , , , I erorffuLD i rfferoiffero \ IP , , I , , eroeto | ||<£i@&tDi&\ -,eroiffi9\ erorr u rQ \ lduitos | ld ero /P | erOiorfferO | , ldw iff WerOiffaib I , to rff eh l to iff 6ro rS | iffiffrBerO | iffiffehiff | & iSehiff | erdi&uiD | ||«n)en)6rt)to| fffehiSu | ^ 3 P t s . i - iv ] t h r e e r a r e p ie c e s 181 O O erirfi eroifJ i 6 r i T U 6 r i \ , e rirfiu | u f S rfi | u l d ld u | , u LD ifi | s i& f ? 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