THE MUSIC ACADEMY, MADRAS 115-E, MOWBRAYS ROAD, MADRAS-1 4 Annual Subscription: — Inland Rs

THE JOURNAL ® OF THE music ACADEMY MADRAS

. A QUARTERLY ' DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC

Vol. XXIII 1952 Parts U V

41I dwell not in Vaikuntha, nor in the hearts o f Yogina, nor in the sun; (hut), where my Bhaktas sing, there be I, Narada ! ”

ED ITED BY

T. V. SUBBA RAO, B.A., B.L.,

AND

V. RAGHAVAN, M.A., PH.D.

1952

PUBLISHED BY THE MUSIC ACADEMY, MADRAS 115-E, MOWBRAYS ROAD, MADRAS-1 4 Annual Subscription: — Inland Rs. 4 ; Foreign 8 shs. Postpaid.

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£ .... CONTENTS

T he X X V Madras M usic Conference 1951 O fficial R eport ...... l — 38 Chakra T anam B y V idvan E nnappadam V enkatarama B hagavatar ...... 39—52 . S inging of K alpana S varas B y V idvan K alidas N ilakantha I ye r ... 53— 55 R aga E xpression in H industhani M usic B y Pandit R atanjankar ...... 5G—03 A n O utline L iterary H istory of I ndian M usic By D r. V. R aghavan ...... 64—74 D uration A s M easure of S ensations B y Robindralal R oy ...... 75—86 P rahlada B hakta V ijaya B y T. V. Subba R ao ...... 87—91 D esadi and M adh yadi T alas B y T. V. S ubba R ao ...... 92— 94 T he N avaratri K ihtanas of S vati T irunai. B y S. V enkita S uuuaumonia I ye r ... 95—100 S ki S yma S astiu’s K ritis By S angita K alanidhi M udikondan C. V enkatauama I yer ...... 101 — 104 Songs of Sri P apanasa M udaliar B y Sangita K alanidhi M udikondan C. V enkatarama I yer ...... 105—108 A T ana V arna of K ottavasal V enkatarama I yer B y Sangita K alanidhi M udikondan C. V enkatarama I ye r ...... 109 S ri M uthusw am i D ikshitar’s K rttis B y V ina V idvan A. S undaram I yer ... 110—112 Some E arly R eferences to M usical R aoas and I nstruments B y V. S. Ag k a w a l a , M.A., D.Lrrr., ... 113—114 Some E arly R eferences to Musical R ag as and I nstruments B y D r . V. R aghavan ...... 115—116 Some P roblems F acing R esearch on I ndian L iteratures on M usic B y A lain D anielou (Shiva S haran) ... 117— 120 S u b a n d u u 's O vertones B y K . V. R amachandran ...... 121— 125 T he Emergence of the D rone in I ndian M usic ... 126—152 B y B. Chaitanya D eva T he V izianagaram M usical Manuscripts By V issa A ppa R ao 1 5 3 -1 0 5 APPENDIX: Summary of tlie Raga Lakshana Discussions of the Twentyfive conferences of the Experts* Committee of the Music Academy, Madras 1 — 14

THE JOURNAL OF THE MUSIC ACADEMY, MADRAS

THE SRI TYAGARAJA CENTENARY COMMEMORATION VOLUME

(ILLUSTRATED)

Rs. FOUR ONLY

The Visvabharali, Santiniketan, says : The Music Academy of Madras deserves the best congratulations of all lovers of music in this country for furnishing a fairly detailed study of Tyagaraja and his contribution to the music world.

The life-story of a Vaggeyakara is in a way the personified history of the music of his days. The present special number of the Madras Music Academy not only supplies us with the dates and facts of the great life of a saint and an epoch-making musician but also presents to a serious student of music, a model plan for taking up the study of musical compositions and their authors.

Let all lovers and students of music, both in North and South India, derive inspiration from a critical study of this commemoration volume.

THE X X V MADRAS MUSIC CONFERENCE 1951 OFFICIAL REPORT

THE OPENING DAY 21st December 1951

The Twentyfifth session of the Annual Music Conference of the Madras, Music Apademy was held at the Sri Sundareswnrar Hall, Mylapore, Madras and the P. S. High School Hall, Mylapore, Madras, from 21st December 1951 to 1st January 1952. In the unavoidable absence of the Maharajah of Mysore who had graciously agreed to open the Conference, Sri T. R. Venkatararua Sastri inaugurated the Conference. Sangita Vidvan Sri Chembai Vaidyanatha Bhagavatar presided over the deliberations of the Experts’ Commit-tee. The opening function was held in the Sri Sundareswarar Hall. There was a distinguished gathering of musicians and music lovers. Representatives of Ilindusthani Music from the North cook part both in the concerts and discussions. Sri T. R. Venkaturama Sastri was received on arrival by Sri K. V. Krishnaswami Aiyar, President of the Academy, the Secretaries and other members of the Executive Committee. The function commenced with prayer by the students of the Teachers’ College of Music conducted by the Academy. Dr. V Raghavan, Secretary, read the messages received from •several distinguished persons. The following messages had been received wishing the Con rence success: H .H .T h e Maharajah o f Mysore said in the coursoof his messnge: “ It gives me great pleasure to send this message of sincere good wishes on the occasion of the opening of the Twentyfifth Conference of the Madi as Music Academy, at which I myself had looked forward to be present. For nearly a quarter of a century the Madras Music Academy has rendered yeoman service in the cause of the preserva tion, study, development and propagation of Carnatic Music. Lovers

2 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXIII of music owe much to the Conferences and to the discussions of the Academy’s Experts’ Committees, where doubtful and difficult matters of Sastra and Sampradaya, Sruti and Rngnlukshnnn, Sahitya and Sangita have been unravelled and interpreted. Through its Teachers’ College of Music and publications, the Academy is rendering valuable services to this great Art all through the year. Carnatic Music is our national heritage, and the preservation of its form in its original purity is a sacred duty to which the Music Academy is dedicated. May the beneficent activities of the Academy receive the blessings of Nada Brahma, and may its noble work continue to be a source of enlightenment and inspiration to the Votaries of Music in our country.” H. E. The Maharajah of Bhavanagar, Governor of Madras, said in his message: " I am glad to know that the Music Academy, Madras, proposes to hold its Twentyfifth Music Conference in Madras, Music concerts arranged by such institutions in connection with these annual ConferenceS~Tcre—in^rmativQr instructive and creative. Carnatic and classical music is a rich heritage of South India and I am sure, such institutions as the Music Academy will strive their best to maintain and foster the growth of this art which is closely inter woven with our culture. In this era of renaissance in our arts, music, I am sure, will occupy a prominent place. It is my hope that music which radiates happiness, will be an accomplishment o f every house in our country before long. I wish the Conference every success.” Dr. Sir C. P. Ramaswami Aiyar, President of the Academy Silver .Jubilee Committee, wrote from America: “ The Madras Music Academy which will celebrate its Silver Jubilee next year has been a pioneer in the matter of the encouragement and stimulation of musical talent and has been also decisive factor in the cultivation of a correct musical taste and the eschewal of the vulgar and common place aspects so often emphasised and manifested. Indian Music very definitely satisfies the criterion laid down by a great critic who said that all art constantly aspires towards the condition o f music- In Madras which had done so much for Carnatic music it is essential to have a well equipped and acoustically satisfactory hall fit lor the adequate presentation of the finest types of our South Indian compo sitions and melodies. I trust that the Silver Jubilee Celebrations will see the fruition of such a venture.” Messages had also been received from H. H. The Rajpramukh of Travancore-Cochin, H. E. M. S. Aney, Governor of Bihar, H. E. Maharajah Singh, Governor of Bombay, Sri P. S. Kumaraswami

PARTS i-iv ] THE XXV MADRAS MUSIC’ CONFERENCE, J9.r>l '*>

Raja, Chief Minister o f Madras, Sri M. Bhaktnvatsnlun. Minister for Public Works, Madras, l\Tr. Justice N. Chandrasekhara Aiynr of the Supremo Court, K»ii Hahadur Cinanatli l>ali, Cirootor ol’ tlie Marris College o f Music, Lucknow, Mr. J. P. Mrrr, London School of Oriental Studies, Prof. Vissa Appa Rao and Sri P. R. Swami Aiy nr. The following musicians and Music Institutions also sent messages : Sangita Kalanidhi Semmangudi Srinivasa Aiyar, Sri T. K. Jayarama Aiyar, and the Rasika Ranjani Sabha, Mylapore.

Welcome Address To Sri T. R. Venkatarama Sastri An address of welcome was presented to Sri T. R. Venkatarama Sastri on behalf of the Music Academy. The Address was read by Sangita Kalanidhi T. V. Subba Rao. In the course of the address, he said : “ Sir, We have much pleasure in welcoming you into our midst this evening and offering our grateful thanks for readily consenting at, short notice to open this, our Twentyfifth Annual Music Conference. You are no stranger to us. We have always looked up to you as our guide, philosopher and friend. We cannot recall without pride your presiding, with great distinction, over our first Sadas when titles we^e conferred on presidents of the annual conferences. Now, as a true friend you have come to us in our need to open this conference. Your eminence in art and learning, your selfless set vice for public good and your vast experience in various fields of activity have 1 evoked our deepest admiration. Not a few are the cultural institutions of importance that have had the benefit of your valuable advice. We therefore esteem it a tzreat favour that unmindful of your present state of health, you should give us the inspiration of your towering ; personality to strengthen our hands in the work of promoting the subliinest art. In welcoming you once more and requesting you to inaugurate * our twentyfifth annual conference, we pray that God grant you I many years of health and peace for guiding us, our state and country J in the critical years ahead of usJ’ He then requested Sri T. R. Venkatarama Sastri to declare open 1 the Twentyfifth Conference of the Academy and the series of concerts. Sri K. V. Ivrishnaswami Aiyar presented the address to Sri T. R. * Venkatarama Sastri in a Silver casket. Sri T. R. Venkatarama Sastri then opening the Conference, said :

q « /

Is I-IV ] t h e XXV MADRAS MUSIC CONFERENCE, 1951 / 3

a Minister of Madras, Sri M. Bhaktavatsalam, Minister for i ubi ° ^ or^8> Madras, Mr, Justice N. Chandrasekhara Aiyar of the gu fm e Court, Rai Bahadur Umanath Bali, Director of tbe Marris Collefl* ° f Music* Lucknow, Mr. J. P. Marr, London School of Oriental S tu dies"^ ,88a APPa ^ ao aud Sri P. R. Swami Aiyar. The fi°N°w*ng musicians and Music Institutions also sent messages: F an^*ta K alanidhi SemmangudiSrinivasa Aiyar, Sri T. K. Jayarama Afiyar’ and the Ra8ika Ranjani Sabha, Mylapore.

We!c<)me A<1<*ress To Sri T. R. Venkatarama Sastri An addrf88 we*corne was presented to Sri T. R. Venkatarama Sw tri on beh*lf o f the Musio Academy. The Add!888 Was read by Sangita Kalanidhi T. V. Subba Rao. In the coUrse a(^^ress> 8ai<* : irf 1 We have pleasure in welcoming you into our midst this evening and ^ er*n8> our grateful thanks for readily consenting at sh rt notice to °Pen tÎ8» our Twentyfifth Annual Music Conference, are no stran®er to us‘ âve always looked up to you as guldo, ohil(8°Pêr anc* frlen^* W e cannot recall without pride r presiding, great distinction, over our first Sadas when titles •e conferred o11 Pê8^ flflt8 tîe annual conferences. Now, as a friend you have corn et u8 in our nee(* to °Pen t^1*8 conference. Your eminence iin art and leariiP§» your selfless service for public good and your vast experience in tJMuous of activity have evoked our deepest admiration. Not a fe\vafe t^«ne cultural institutions of importance that have had the benefit of your valuable advjger We therefore esteem it a great favour that unmindful of your present state of health, yot ishould give us the inspiration of your towering personality to strengthen our hands in the work o f promoting the sublimest art. In welcoming you once more and requesting you to inaugurate our twentyfifth annual conference, we pray that God grant you many years of health and peace for guiding us, our state and country in the critical years ahead of us.” He then requested Sri T. R. Venkatarama Sastri to declare open the Twentyfifth Conference of the Academy and the series of concerts. Sri K. V. Krishnaswami Aiyar presented the address to SriT. R. Venkatarama Sastri in a Silver casket. Sri T. R. Venkatarama Sastri then opening the Conference, said : HE .tOF»! NAL OF THE MADRAS MUSIC ACADEMY [VOL 4

£ i .adies and Gentlemen, ' mem- His Highness the Maharajah of Mysore was to have openeqr the Music Conference. He is the scion of a family which has evern^on the partons of Music. In his .absence, your President Sri be Krishnaswami Aiyar has devolved that duty on me. As ouf^ jm. worked in close association with him in other spheres, I canno|. bu respond to his call. Sri K. V. Krishnaswami Aiyar never a-ccept8 any_ thing without putting his whole soul into the work he un(jertajjeg He is associated with two institutions connected with Sprea.d of culture. One is the Library Association and the othe£ .g Music Academy. What he has done for these is commr n knowledge and is beyond all praise. I have been watching with pjeagure tbe work of the Music Academy which will be celebrate ^ «gjjver Jubilee” next year. Sri K. V. Krishnaswami Aiyar an^ band of workers who have gathered round him in the cause o f Dlusjc are |.0 be congratulated on their work and the thanks of the tnU3*c.joving public 'v: are due to them for their efforts to preserve the tra^|^jon8 an(j keep high the quality of our Carnatic music.

“ My first introduction to the world of music was-n Thiruva- vaduturai Mutt and Temple. They were then the l/atrore 0{ music. It -was my good fortune then to hear first-rate Nagflgwaram p j8yer8 Nagaswaram has been my first instructor iip music. *pwice or thrice a year, we heard the divine music of M^]^ Vaidyanatha Iyer accom panied by Tirukodikovil Krishna Jyer on ^be violin/. My impression is that such music vvas never neard again perhaps an exaggerated impression cf juungei^yj&rs. When I came to Madras in 1894, I nVd occasion to listen to Patnam Subrahmania Iyer. The impression was good but it was not so satisfying. But I have heard one with deep knowledge o f music say that Maha Vaidyansff halyer was a musi cian who beguiled his listeners by the sweetness of his voice but Patnam Subrahmania Iyer was the truer artist If musicians who have heard both endorsed that opinion, I should not be surprised be cause after coming into contact with Tiger Varadaehariar, I have learnt to appreciate ideas intended by the artist, though not rendered very satisfyingly.

“ No musician who does not appreciate and enjojT his own music is likely to impress others. Maha Vaidyanatha Iyer did enjoy his music in a subdued key, but Krishna Iyer’s enjoyment of his own music was visible in every movement o f his eyes and lips and smiling face. / 1 jl-iv ] THE XXV MADRAS MUSIC CONFERENCE, 1951 C/ 5

I have heard Tevaram sung with good music. 1 once went to to the singing of Tevaram by a person whose name, if I re- y ber right, was Nagalingam Pillai. Though I had gone with the tion o f staying an hour, the music was so good that I stayed yhole night at Tiruvidamarudur. "Music is a fine art which touches the emotion. All arts, fine or mechanical, are creative. Both are needed. The difference is that while the one is consumable, the other creates imperishable spiritual goods. Sculpture has been said to be frozen music. The same may be said of painting. Visible fine art is for all time. Frozen music is a description which places music highest among fine arts. "W hat one man has, another is deprived of in the world of things. But in the Fine Arts, the enjoyment o f one does not sub tract anything from the enjoyment of another. All enjoy, and the artist loses nothing. It is like a light lighting many lamps and remaining the same. A Jnani teaches disciples and has lost nothing in the process but probably has gained in clarity. "Our classical music has always been connected with religion and devotion and practically all the classical compositions are devotional in character. While martial music was not unknown in ancient times, our music is predominantly productive of the spirit of restful peace. Europeans have asked me whether Indian music was not sad. That Rajasic races should think so is natural. But the peace that passeth understanding is our ideal, and our music, it seems to me, is Santi-pradhana, through I have heard ofEuropeans being stirred by some of our tunes, as dancing Music. "W ith the advent of the fight for freedom an)i the spirit of nationalism, national songs have been composed, foremost of which are the songs of Subrahmanya Bharati and even these are being sung in the classical style. “ Two institutions other than private Music Sabhas which could exert an influence on our music are the Radio and the Cinema. Having large leisure now, I listen to the Radio frequently; sometimes it is mere background music for my reading and writing. The Cinema music produces a bizarre impression and is often crude accommodation to foreign musical instruments. Occasionally on the Radio, I hear some music which shows exuberant enjoyment of the artist enhancing the quality of the music. "In this connection I would like to say this to the musicians. You have the science o f music and the art of music. Science in- 6 THE JOURNAL OV THE MADRAS MUSIC ACADEMY

structs and art pleases. The latter function has to be always re: bered and the science and art must be made to go together. Fc latter purpose voiceB should be trained. I think greater atte should be given to voice culture than is done now. Voice c» improved by training. I have known unpromising voices vastly proved by cultivation. “ Music being a creative art cannot be stagnant. But true pro gress is possible only consistently with the genius of our classical music. “ In the great task of the preservation and development of classical music, the Music Academy has played and will continue to play a prominent part. In their efforts, I wish the Music Academy all success. “ Next year, we shall have the Silver Jubilee Celebration of tbe Academy. It ought to be fittingly celebrated and a permanent hall must be erected for the Academy. Though the times are unpropi- tious for large donations, I expect generous donations will be forth coming for so good a cause. “ Finally, let me thank the organisers for the opportunity they have given me to take part in these proceedings. “ I now declare the Conference open.” ' x i Sri T.R . Venkatarama Sastri then declared the Conference open.

Vote of Thanks ' Sangita Kalanidhi Hon’ble Mr. Justice T. L. Venkatarama Aiyar thanking Sri T. R. Venkatarama Sastri for his participating in tbe function said that the Academy and the entire gathering were proud to have Mr. Sastri in their midst on the occasion and to have the conference opened by one who was a model to them all and represen ted the best in Indian culture. That he had agreed to inaugurate the conference despite his state of health showed his abiding love of music and the Music Academy. .

Election of President The election of the President of the Conference then followed. Sangita Kalanidhi Palladam Sanjiva Rao proposed Sri Chembai Vaidyanatha Bhagavatar to the Presidentship. He said that Sri Chembai Vaidyanantha Bhagavatar came of a learned family of musicians and Sanskrit scholars and they would be honouring them selves by electing him as President for the session. _ . E1-IV| THE XXV MADRAS MUSIC CONFERENCE, 1951 FAR J i Ennappadam Venkatarama Bhagavatar, seconding the ,1, paid a tribute to the musical heritage of Sri Chembai y ai(patha Bhagavatar and said that he came of a distinguished I famil^ musicians who were universally praised in their time for their'dition and musical skill. .igita Kalanidhi Mudikondan Venkatarama Aiyar, supporting jposal, said that Sri Chembai Vaidyanantha Bhagavatar and refathers developed a distinctive technique in svara singing was rich and original. It was a great honour to Vidvans that nfererce should he presided over by one of Sri Chembai \ aidya- a Bhagavatar’s eminence in the realm of music.

m.Prof R. Srinivasan said that the President-designate was a man jt(1i alike for his learning in music and for his fine character. he^rimati C. Sarasvati Bai, supporting the motion, paid a tribute nt]© record o f Sri Chembai Vaidyanatha Bhagavatar in the field

5 ‘ Vv> Sangita Vidvan Chembai VaidvanaiAv Bhagavatar then took the idential chair amidst cheers, and slivered the presidential ress. It was read on his behalf by Sri Chembai Narayanan.

Presidential Address ^ , v P ^ d v a n Chembai Vaidyanatha Bhagavatar in tbe course of his address music had an individual and innate beauty different from other fine fcrw Paintings and architecture could be seen and itnired. Poetry and dra\2i. could ^ written on paper and read, 't, music could not be bound do*?.to any such shape or form. Originating in the air around us, it dissolved nVtuwhat fr° m‘ Nirgunabrahmam which filled all space was known as nadabrahr/^t* a manifestation o f which was the art of music. Practice o f music was therefore a worship of the Nirgunabrahmam. The art of iiangita was a yoga in itself, he said.

Proceeding, Vidvan Vaidyanatha Bhagavatar said that several saints like the Nayanmars, Alwars, Tulsidas, Kabirdas, Meerabai and Tukaram had attained bliss through the practice of sangita and popularised the path of bhakti, as a method of attaining salvation- Just as bhaktas used sangita for realisation o f God, the Supreme Being also attracted bhaktas by means of His celestial music. Lord Krishna lured gopis by his flute ; Lava and Kusa were said to have sung the Ramayana before Sri Rama. ■■ ■* - ^ 8 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. Xi

This great art of music, the Vidvan said, had flourished inr land for thousands of years. Tamil classics like the “ Silappaq. ram , had described the intricacies and subtleties of musical in(J ments. Music must have been at its pinnacle of glory in the yg, o f the Alwars and Nayanmars. Venkatamakhi aBd others c o ^ the sastra and had left several mubical treatises for our guidancgrj Purandaradasa had showed us the oorrect path for the develo r\ of Carnatic music. Sri Tyagarajaswami and Sri Muthuswam shitar bad created numerous compositions which were extreme for their sangita and sahitya. They constituted the essence o f n sasira. Syama Sastri, Maharajah Svati Tirunal, Muthu Tant, t and Gopalakrishna Bharati had also given us beautiful kirtanas of very high musical order. It was their duty to pay homage to the Sangita and sahitya, the Vidvan continuing said, were like t flower and its •scent. When the one combined harmoniously with t other, the art was at its highest and best. Sahitya was as importai as sruti and laya. The words of a piece should be pronounced cd rectly and their import fully brought out. He said that Sangita a Sahitya were considered equally important and were fostered a] cultivated by our elders. From early years, Maharajahs and rich m! were patrons of music, and even today the Mysore and TravancJ States evinced a great interest in fostering this art. It was a griJ fying feature to note that the Indian Republic was showing a k< interest in the development and cultivation of the arts. In Mad city, the Government had established the Central 0olle&fc^Vl#6a-(' taka Music which had on its staff eminent Vidvacc. -conducted it on very effioient lines. Vidvan Vaidygg&ia Bhagavatar paid a tf*a bute to the work of the Colley an(} fervently hoped that it won 1 soon embrace ambft a]i arts besides occupying a pre-eme apposition in the field of Carnatic Music. Referring to the work done by the music sabhas in South India, the Vidvan said that they had played a great part in the develop^ ment of Carnatic Music. The Sabhas had*not only been respond ’ for the increasing number, o f rasikas, but had given opportunities t< several junior Vidvans to exhibit their proficiency in the art. Concerts conducted under the auspices of music sabhas were very different from those held during marriages or other festivals, in that the peopk who attended the former category were rasikas and the Vidvans hau to satisfy a critical audience. - v - Proceeding, Vidvan Vaidyanatha Bhagavatar said that in recent years music sabhas in South India had a very lean time, whict u

PARTS I-IV] THE XXV MADRAS MUSIC CONFERENCE, 1951 9 caused great anxiety to Vidvans and music-lovers. Now that the Government had decided to exempt music concerts, Dance recitals and Katha Kalakshepams, from the levy of Entertainments Tax, he hoped that the sabhas would grow to their full stature and do their best to improve and foster Carnatic music. Chembai Vaidyanatha Bhagavatar then indicated how Vidvans and rasikas could help in fostering our musical art. Front-rank musicians, he said, should encourage juniors entering the field, by being present at the concerts of the young Vidvans. He would commend the example of the late Tiruchi Govindaswami Pillai in this respect and narrated how on one occasion, Vidvan Pillai sat on the platform by the side of a junior violinist— now one of our leading Vidvans—and by a few words of praise, made him play very enthu siastically. This was how young instrumentalists were pushed up by leading musicians on the one hand and junior artists brought to the front-rank by prominent instrumentalists on the other, by them selves taking the accompanists ’ role. The Vidvan mentioned that he belonged to a musical family being a descendent of Ghana Chakra Tana Subbier. He was himself initiated into music by his father Chembai Ananta Bhagavatar and had been giving concerts from his fifteenth year. From that time, the late Vidvan Govindaswami Pillai and Pudukottai Dakshina- murthi Pillai accompanied him on the violin and mridangam respectively over a period of 25 years, a help which he could not forget. He hoped the present-day musicians and instrumentalists would follow this example.

Rasikas also had a corresponding duty in the development of musical art, the Vidvan said. They should not merely condemn musical styles which may not have a mass appeal but attend the concerts, determined to appreciate what was really good in them. There was no doubt that Carnatic music would flourish and grow if Vidvans and Rasikas co-operated.

Music had now spread among a large number of people, the Vidvan said. The gramophone, the radio and the cinema had helped to make music more popular and widely appreciated. But, they had also been responsible fpr the lowering of musical standards. Film tunes had caught the lay mind. While it might be true that these cheap tunes of a fleeting fashion would not displace the divine art of Carnatic music, it was very necessary to remind the people that Carnatic music was different and had nothing to do with these cheap and popular melodies. It was the duty of bodies like the Music Academy to be constantly stressing the essentials of Carnatic music, The Academy had been serving the cause o f music for so many years now. He would conclude by expressing the gratitude of Vidvans and Rasikas to the President, Mr. K. V. Krishnaswami Aiyar, for the efficient conduct of the Academy. 3 oSlt£6)J££ 6W)to$)LJ

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MUSIC ACADEMY SOUVENIR On the occasion of its Twentyfifth Annual Conference, the Music Academy brought out a Souvenir. It contained instructive articles on music, dancing and fine arts, besides a short account of the history and work of the Academy in the field of music. The detailed anno tated programmes of the various musical concerts organised during the session were also given. The articles in the Souvenir included “ Puja Natyam”, and “ Bharata Natya Ilakiyam ” by Dr. V. Raghavan, ** Carnatic Music ” by Sri T. V. Subba Rao and “ The Dance o f Kerala ” by Sri R. V. Poduval. The Souvenir was priced at Re. 1.

~~THE SECOND DAY~~

~~22nd December 1951~~

~~Experts’ Committee Discussion~~

The Experts’ Committee discussions in connection with the 25th Conference of the Music Academy began this morning at the P. S. High School Hall, Mylapore, under the presidentship of Sangita Vidvan Chembai Vaidyanatha Bhagavatar.

~~THE AGENDA FOR THE CONFERENCE~~

The following was the Agenda o f the Conference : 1. Raga Lakshanas : (1) Chenchukamboji and Nabhomani. (2) Apurva Ragas and Ragas in which Tyagaraja has single pieces. (3) Determination of the Ragas of certain compositions. 2. Papers : Will include among the others : (1) Reforming the present concert plan by Prof. R. Srinivasan. (2) Some aspects of Raga alapana by Vidvan Kalidas Nilakantha Iyer. 3. Lectures & Demonstrations : Will include besides others : (1) (a) Decisions of the Academy on Allied Ragas : A discourse and demonstra tion by Sangita Kalanidhi Mr. Justice T. L. Venkatarama Iyer. FARTS I-IVj THE XXV MADRAS MUSIC CONFERENCE, 1951 17

(6) Sangita Kalanidhi Palladam Sanjiva Rao. (.2) Tanam singing by (а) Vidvan Ennappadam Venkatarama Bhagavatar. (б) Sangita Kalanidhi Mudikondan Venkatarama Iyer. (3) Violin playing: Fingering and bowing by Vidvan Madura Subrahmanya Iyer. (4) New Compositions : (a) New Ramayana songs by Sri S. V. Ramaswami & Mrs. Ramaswami. (b) Vidvan Veenai Varadayya’s com positions by his sons. (5) Hindusthani Music : Pandit Ratan- jankar. 4. Any other subject that may be brought forward with the permis sion of the President. The proceedings commenced with the singing of a prayer by Vidvan Marjakkudi Ramachandra Bhagavatar, who rendered “ Sarvabhouma ” o f Sri Tyagaraja in Raga Panjar a. As the piece belonged to the class of compositions in rare ragas, which was one o f the subjects on the agenda for discussion during the conference, tbe Vidvan was asked to give particulars about the raga. He explained that it belonged to the 28th mela and its arohana and avarohana were sa ri ma pa ni da sa and sa ni da ma ri sa respec tively. Sangita Kalanidhi Palladam San jiva Rao said that the prayoga sa ni da ma pa was also seen in avarohana.

~~Raga Lakshanas The discussion of Raga Lakshanas was then taken up.~~

Chenchu Kambhoji The President, Vidvan Chembai Vaidyanatha Bhagavatar next proposed that they might take up for consideration the two ragas mentioned in the agenda, Chenchu Kambhoji and Nabhomani. Vidvan Manjakkudi Ramachandra Bhagavatar, representing the Umayalpuram school, rendered Vararaga Igyagnalu o f Sri Tyagaraja in Chenchu Kambhoji. According to him the mela was 28th and the 18 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXIII arohana and avarohana were sa pa ma da ni sa and sa ni pa ni ma ga ri sa respectively. Prof. P. Sambamurti referred to the tradition preserved in the Walajapet manuscripts where this piece was available with notation. According to this evidence, it was of the same mela (Harikambhoji), the difference being only in arohana where it took sa ma ga ri pa ma da nx sa. The President drew attention to the different sanchara noted in “ Sangita Svara Prastara Sagaramu ” published by Mr. Nathamuni in 1914, where it was recorded, sa ga ri ga ma da ni pa ni da ni sa and sa ni pa ni ma ga ri sa. Vidvan Jalatarangam Ramanayya Chettiar gave the arohana and avarohana as follows: sa ga ri ga ma pa ma da pa ni da ni sa and sa ni pa ni pa ma ga ri sa. The Tillasthanam patha was, according to Mr. S. Parthasarathi, the same as that of the Umayalpuram patha sung earlier. Further consideration of the raga was postponed to the next day.

Nabhomani The President then proposed Nabhomani for discussion. Prof. P. Sambamurti read out from the manuscript of the Raga chart of Neikarapatti Pallavi Seshayyar according to which Nabho mani was of the 40th mela with arohana sa ri ga ri ma pa sa and avarohana sa ni da pa ma ga ri sa. He also sang Sri Tyagaraja’s piece Nayeda vanchana. Vidvans Bharatam Narayanaswami Aiyar and Ramanayya Chettiar wanted the nature of ga to be elucidated in that rendering and asked whether suddha ga could be exactly intoned. Mr. T. K. Rangachari also wanted this position to be made clear. Prof Sambamurti replied that ga had to be rendered with some kampita and though one might think of shades of the Sadharana ga, the correct svara was only suddha ga. In this connection, both he and Sangita Kalanidhi Mudikondan Venkatarama Aiyar expatiated upon the exact nature of each svara as representing a certain interval and the range within which they were to be articulated. Vidvan Mudikondan Venkatarama Aiyar said that by careless rendering, the exact nature of a svara like suddha ga had been missed and he appealed to Vidvans and listeners alike to re-discover the correct position o f such svaras. , I b

~~PARTS J-IV] THE XXV MADRAS MUSIC CONFERENCE, 1951 19~~

Vidvan Ramanayya Chettiar gave the following sancharas of the raga (1) sa ga ri ma da pa ni sa and sa ni da pa ma ga ri sa ; (2) sa ga ri ga ma pa sa in arohana and (3) sa ri ga ri ma pa sa also in arohana. In further elucidation, Vidvan Ramachandra Bhagavatar sang also a piece of Sri Tyagaraja in Navaneetham, “ Emi delpa” .

~~THE THIRD DAY 23rd Dectmber 1951 The Experts’ Committee met this morning at the P. S. High School Hall, Mylapore, under the presidentship of Sangita Vidvan Chembai Vaidyanatha Bhagavatar.~~

Paper on ‘ Chakra Tanam ’ Vidvan Ennappadam Venkatarama Bhagavatar presented a paper and explained with the help of a demonstration by his younger brother, Ennappadam Visvanatha Bhagavatar, the style of Tanam singing called “ Chakra Tanam” . The Bhagavatar, who is 72, described this method o f Tanam on the basis of the palm leaf manu script with him, called Chakra Tana Lakshanam. Tbe text of the paper and the material in the manuscript are reproduced elsewhere in this volume. According to the interpretation available there, Chakra Tanam was the rendering o f Tanam with due regard to Raga bhava and at the same time, touching all the 12 svara sthanas. A Sanskrit passage quoted from the manuscript described this Tanam as going over the whole field of the Raga, like a wheel. He said that the President, Chembai Vaidyanatha Bhagavatar’s grandfather’s grandfather, Chakra Tanam Subbier, was an adept in this style of Tanam and the little he had himself practised, was from the disciple of the same family. 'v*'1 Prof. P. Sambamurti referred to Mr. Nathamuni’s book where six kinds of Tanas were just enumeiated with the statement that lakshanas of these were «not available. He said that Chakra Tanam was rendered in fourth Jcala where the passages appeared as if in successive whirls. He also considered that on the analogy o f Graha- svara Prabandha, tbe interpretation of Chakra Tanam as set forth by Ennappadam Venkatarama Bhagavatar in which all the svaras were touched, was also feasible. Sangita Kalanidhi T. V. Subba Rao said that Tanam singing was a distinctive feature of Carnatic music, having been mainly well- ft known in veena-playing and that among styles o f Tanam playing in veena, eight or ten varieties were said to have been in vogue. The 20 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXIII

~~touching of other svaras should be dexterously done without spoiling the Raga bhava and the whole execution was more a matter of skill, than of ranjakatva.~~

Paper on ‘ Singing of Kalpana-svaras ’ Vidvan Kalidas Nilakantha Aiyar then explained with a paper and demonstration how the practice, increasingly coming into vogue, o f mixing Raga alapana while singing kalpana svaras, was quite recent, and not based on earlier sampradaya. As kalpana-svara singing was itself a separate department with artistic exposition and Raga alapana has its own separate scope, it was absolutely needless to mix up both. The full text o f his paper is published elsewhere in this volume.

Chenchu Kambhoji The discussion on the lakshana o f Chenchu Kambhoji was resumed and Vidvan Manjakkudi Ramachandra Bhagavatar rendered again the Tyagaraja kriti “ Vararaga layagnalu ” and gave the Arohana and Avarohana as sa pa ma da ni sa and sa ni pa ni ma ga ri sa respectively. Mr. T. V. Subba Rao explained that like “ Erukala Kambhoji ” , “ Chenchu Kambhoji ” also was a folk melody, and as they had a solitary piece of Tyagaraja to determine its lakshana, the Arohana and Avarohana as preserved in the Umayalpuram patha with which the Tillasthanam patha agreed, might be accepted. The piece also embodied Vakra Sanchara which pointed to its folk origin.

~~THE FOURTH DAY~~

~~24th December 1951~~

~~New Ramayana Songs in Tamil~~

When the Experts’ Committee of the Music Academy resumed its sitting this morning at the P. S. High School Hall, Mylapore, with Vidvan Chembai Vaidyanatha Bhagavatar in the chair, Mrs. Vijaya Ramaswami & Mr. S. V. Ramaswami, (Sub-Postmaster, Vaniyambadi), gave a recital of select pieces from “ Sri Rama Ganamudam ” (Sundara Kandam). Mr. Ramaswami’s compositions combined the easy style of a ballad and the devotional appeal of bhajan. The President thanked Mrs. and Mr. S. V. Ramaswami and complimented them on the performance. \ t

~~PARTS I-1V] THE XXV MADRAS MUSIC CONFERENCE, 1951 21~~

* Pradarsana Vina ’ Prof. P. Sambamurti exhibited and explained tbe new instrument devised by him called “ Pradarsana Vina” , for the purpose of demonstration as audio-visual aid to students of Carnatic music to grasp some of its technical points. He was assisted by Mr. M. Venkataswami Raju who played two songs on the instrument in the Gottuvadyam style.

This instrument has been designed to help the easier under standing of the subtleties of the Indian tone system. Through it one can visually and aurally perceive the various facts, laws and phenomena relating to music in general. It is an audio-visual aid. This is the third instrument to be devised by him the two previous instruments being the Oraha bheda pradarsini and the Orama murchana. pradarsini. These two latter instruments are only demon stration instruments but the Pradarsana Vina is a demonstration instrument and a concert instrument combined. It can be used as a Tambura and Gottuvadyam. Thus the Pradarsana Vina is a samashti vadya or a composite musical instrument. The term Vina is used herein in tbe sense of a stringed instrument in general. It may be pointed out that the Gottuvadyam is called the Maha Nataka Vina. The Pradarsana Vina is a polyphonous instrument. In construction, the Pradarsana Vina resembles a Gottuvadyam. It has 39 strings, 4 for the Tambura, 4 for the Gottuvadyam, 3 Drone- c am-tala strings, 7 for the Dhruva Vina, 7 for the Chala Vina, 7 pairs of strings radiating from the centre of the top plank of the bowl. The angles separating the radiating strings visually show the intervals between the notes, viz , Chatussruti, trisruti and dvisruti-61'2, 54'6 and 33 6 degrees (61*2x3= 183-6); (54 6 x 2 = 109 2 ); (33 6 x 2 = 67*2) Total 360 degrees. In cents 204 x 3 = 612 182 X 2 = 364 112x2 = 224

~~1200~~

~~These are the frequencies of the notes figuring in the ancient Shadja grama, the primordial scale of Indian Music.~~

There is a rotating vernier in the centre with a pointer. The 7 strings of the Dhruva Vina and 7 strings of the Chala Vina are provided with small moving pegs which aid in accurate tuning. The compass of the instrument is 5 octaves. 6 22 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXIII

The following can be demonstrated upon the instrument: 1. The phenomenon of sympathetic vibration. 2. Flageolet notes. 3. The complimentary intervals in an octave. 4. The 22 Srutis. 5. The cycles of fifths and fourths (Quinten zirkel in German) (under fifths and under fourths). 6. Derivation of scales by the process of modal shift of tonic (Valamurai graham and Idamurai graham, i.e.. clockwise and anti-clockwise paddhati). The grama-murchana system of ancient music and the palais of ancient Tamil Music can be demonstrated. It can be clearly perceived, in which cases the frequencies of one or t jo notes of the resulting scales have to lie modified in pitch in order to get at the correct scales. 7. The significance of the Dhruva Vina-Chala Vina experiment described by Bharata. 8. Difference between the scale of equal temperament and just intonation. (For this purpose, a tempered instrument should be requisitioned for comparison). 9. The string-length for the different srutis and through them the frequencies of those notes can be perceived and calculated. In the fretted vina, this is not possible, since the strings are pressed on the finger-board and some correction is needed to make up for this. Again some of the srutis are produced by the deflection of the strtng on a svarasthana and hence the string-lengths cannot easily be calculated. 10. The compass, speed and intensity of the Kampita gamaka. 11. The significance of the octave relationship, Javali, playing on open strings and stopped strings, the suddha mela, madhya mela and the Achyuta Rajendra mela systems of tuning described by Ramamatya can also be shown. 12. The instrument can be converted into a Vina by introducing a fretted finger board with the frets screwed on to the frame. It may be pointed out that in the Vina used by the late Vina Venkatramana Das of Vizianagaram, the frets were screwed on to the Dandi and not fixed on the waxy ledge. PARTS I-TV] THE XXV MADRAS MUSIC CONFERENCE, 1951 23

By inserting a metre scale over the Dandi and by attaching a needle-like pointer to the piece o f wood at right angles to it and by an electrical lighting Arrangement, the precise points on the metre soale at which the shadow or the slit light of the pointer falls can be seen. This can also be projected on a wall. Though some of the above mentioned can be demonstrated through the Vina or the Violin or Gottuvadyam yet through this single instrument all tbe above can be demonstrated.

~~THE FIFTH DAY 25th December 1951~~

When the Experts’ Committee o f the Music Academy met this morning at the P. S. High School Hall, Mylapore, the members of the Committee felicitated Sangita kalanidhi Justice T. L. Venkatarama Aiyar, a Vice-President o f the Academy, on his elevation to the Bench of the High Court, Madras, Vidvan Chembai Vaidyanatha Bhagavatar presided.

Allied Ragas Mr. Venkatarama Aiyar gave a discourse snd a demonstration on “ Allied Ragas "’ and the decisions thereon of the Music Academy Conferences in previous years. He was assisted by Vidvan Rajam and Mr. S. Srinivasa Rao of the All India Radio, Vijayawada. Mr. Venkatarama Aiyar explained the Academy’s decisions on Bhoopalam and Bouli and illustrated the two Ragas by rendering “ Sadachaleswaram ” and “ Sri Parvati Parameswarau ” respectively of Dikshitar. The difference between Lalita and Vasanta was next pointed out by him by singing Dikshitar’s “ Hiranmayeem ” and u Harihara putram ” , respectively. Suddha Dhanyasi and Udaya Ravichandrika were explained and illustrated by Dikshitar’s “ Subrah- manyena ” and “ Sri Gnruguha ” . The group, Varali, Subha Pantn- varali and Ramakriya (Pantuvarali) were similarly explained by three pieces of Dikshitar, “ Seshachala nayakam ” , “ Sri Satyanarayanam ” and “ Ramanatham ” respectively. The last pair of Ragas elucidated and illustra ted by him were Brindavana Saranga and Madhyamavati and tbe pieces, “ Rangapura vihara ” and “ Dharmasamvardhani respectively. Messrs. Chembai Vaidyanatha Bhagavatar, Semmangudi Srini vasa Aiyar, Bharatam Narayanaswami Aiyar and others spoke in appreciation of the services rendered by Mr. Justice Venkatarama 24 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VoL. XXIII

Aiyar to music and to the Academy in particular. Sangita Kala nidhi T. V. Subba Rao referred to his substantial contribution to the discussions of the Academy and expressed the hope that what had been a gain to the Bench, would not prove a loss to the Academy and to the field o f music.

Sangita Kalanidhi Palladam Sanjiva Rao next gave a demon stration on the flute accompanied by Sri Madura VenHgopalan on the violin and Sri Vellore Ramabhadran on the mridangam. Expounding the traditional rendering of Ragas, Kritis and Ragamalika, he played “ Sri Raghuvara ” in Bhairavi, “ Nadopasana ” in Begada« *' Vinayasakoni ” in Prathapa Varali and a Ragamalika consisting of Bilahari, Dhanyasi, Ahiri, Naganandini and Kanada. He concluded with Kapi and a “note” . Vidvan Chembai Vaidyanatha Bhaga vatar thanked him on behalf of the Conference.

Silver Jubilee Committee Meeting In tbe afternoon, Vidvans and music-lovers met under the presi dentship of Sangita Kalanidhi Semmangudi Srinivasa Aiyar at the P. S. High School Hall, to express their appreciation of the services rendered by the Academy to the cause of Carnatic music and resolved to organise in 1952, when the Academy would be completing 25 years of its activities, a fitting celebration of the Silver Jubilee and in that connection, to raise funds for the erection of a model Jubilee Hall for the Academy. Members who had formed themselves earlier into an Executive Committee presided over by Sir C. P. Ramaswami Aiyar elected Mr. S. A. A. Annamalai Chettiar as the Vice-President of the Committee. The main resolution regarding the raising of funds for the Silver Jubilee Hall was moved from the chair. Later, a discussion followed on how best to organise the drive for funds and to celebrate the occasion in a fitting manner. It was suggested that the Committee should be enlarged further to represent lovers of music and friends of the Academy all over the country and benefit concerts should be organised at various centres through local sub committees and other institutions devoted to the cause of music.

~~The suggestion o f Sir C. P. Ramaswami Aiyar that the Com mittee might arrange to send a party o f Carnatic musicians to America to expound our art, was also conveyed to the meeting.~~

~~Among the other suggestions, were a drive for a Special Jubilee Patron membership, issue o f special stamps with pictures o f famous musicians, and on the academic side and publications, a Special a~~

~~PARTS M V ] THE XXV MADRAS MUSIC CONFERENCE, 1951 25~~

Silver Jubilee Souvenir, a Directory of Musicians, a Summary of tbe 25 years’ Conference Decisions, special musical compositions by eminent vidvans to commemorate the occasion, and putting up of portraits of eminent musicians. Various suggestions were also made on the subject of special features pertaining to both the performances and the Conference on the occasion of the Jubilee. With reference to the main objective of erecting a model auditorium, Vidvan Srinivasa Aiyar appealed to the organisers of the Jubilee that the accoustics of the hall to be built should be so perfect that musicians and listeners alike would no longer feel the need for the microphone and the loudspeakers. The meeting resolved that details of the celebrations should be considered at a special committee meeting to be convened later. Mr. T. V. Rajagopalan proposed a vote of thanks.

THE SIXTH PAY 26th December 1951 Compositions of Veena Varadayya When the Experts’ Committee o f the Music Academy met again this morning under the presidentship of Vidvan Chembai Vaidyanatha Bhagavathar at the P. S. High School Hall, Mylapore, Messrs. R. V. Krishnan (son of Veena Varadayya) and K. B. Raja gopalan gave a demonstration of the compositions of Veena Varadayya, a member of the Experts’ Committee and descendant of Bobbili Kesavayya. A varnam in Amrithavarshini and kritis in Nata, Vasanta, Karaharapriya and Begada were rendered by them.

Konnakkol Demonstration Mr. T. P. Gopalachari of Vellore, next gave a talk and a demonstration on how “ Konnakkol ” should be rendered both to sruti and with raga bhava. He was assisted on mridangam by his son Vellore Ramabhadran. Mr. Gopalachari explained how the very principle of life was based on rhythm (laya)> Regarding the suit ability of Konnakkol as an accompaniment, he suggested that it was particularly suitable for the rendering in the fast tempo. Chemhai Vaidyanatha Bhagavatar himself sang a piece in Kuntalavarali and Mr. Gopalachari accompanied him on Konnakkol. Vidvan Rama nayya Chettiar recalled how Kanchipuram Ekambra Aiyar and Sri Pakkiria Pillai rendered Konnakkol in an attractive manner without loss of raga bhava. Vidvan Manjakkudi Ramachandra Bha gavatar also mentioned the name of Sri Muthia Pillai amoDg those 2 6 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXIII

~~who played on Konnokkol successfully. Mr. T. V. Subba Rao opined that the name Konnokkol was derived from Telugu konu kolu meaning a ineasuring rod.~~

Raga Lakshana : Nabhomani The President then suggested that discussion on Nabhomani be resumed. Vidvan Manjakkudi Ramachandra Bhagavatar sang Tyagaraja’s Nayeda and gave the arohana and avarohana as sa ri ga ri ma pa sa and sa ni da pa ma ga ri sa respectively. He was fol lowed by Veena Sundaram Aiyar who rendered Dikshitar’s piece “ Nabhomani chandragni nayanam ” and gave the arohanam and avarohanam as sa ga ri ma pa da pa ni sa and sa ni da pa ma ga ri sa. According to the excerpts from the Tillasthana patha sent by Mr. S. Parthasarathi, the arohanam and avarohanam were sa ri ga ma pa da pa sa and da ni da pa ma ga ri sa respectively. Madurai Subrahmania Aiyar said that in arohana, the pa da pa sa prayoga was also found. Sangita Kalanidhi Palladam Sanvija Rao pointed out that suddha “ ga'” could only be mentioned as a lakshana but in the actual articulation the tinge of sadharana ga was unavoidable. VeeDa Sundaram Aiyar said that suddha ga was perfect in the render ing of his piece. Veenai K. S. Narayanaswami Aiyar wanted to know whether suddha ga was only theoretically accepted or practically possible in the rendering. Srimati S. Vidya sang the Mela Ragamalika of Maha Vaidya natha Si van, 37— 42 Chakra, where ragas with suddha ga occurred. Vidvan Ramanayya Chettiar reiterated the three different sancharas already pointed out by him on the first day. Vidvan Budalur Krishnamurti Sastrigal, who rendered the Tyagaraja kriti, pointed out that only the “ sa ga ri ” prayoga occurred while Madurai Subrahmania Aiyar said that in eduppu, tbe prayoga “ sa ri ga ri” was found. Vidvan T. K. Jayarama Aiyar pointed out that while sing ing “ pa-sa” , the actual prayoga was, however, “ pa da pa say\ The President opined that the kampita for ga was absolutely essential. It was finally decided that the arohana and avarohana for Nabhomani raga should be sa ri ga ri ma pa sa and sa ni da pa ma ga ri sa with visesha prayogas as pa da pa sa, pa da pa ni sa, sa ni da ni sa, sa ni da ni pa, etc. Condolence Resolutions The Committee expressed its sorrow over the loss sustained by the music world in general and the Academy in particular in the PARTS I-IV] THE XXV MADRAS MUSIC CONFERENCE, 1951 27 death 6 f Mr. T. Lakshmana Pillai, Sangita Kalanidhi Mazhavaraya- nendal Subbarama Bhagavatar, Vidvans Parupalli Ramakrishniah, Piratla Sankara Sastri and Hulugur Krishnachar.

~~THE SEVENTH DAY 27th December 1951 Hindusthani and Carnatic Music~~

At the meeting of the Experts’ Committee of the Music Academy this morning, at the P. S. High School Hall, Mylapore, Vidvan Chembai Vaidyanatha Bhagavatar presiding, Vidvan T. K. Jayarama Aiyar gave an interesting lecture on certain similarities and differen ces between Hindusthani and Carnatic music. Mr. Jayarama Aiyar dealt with a number of points pertaining not only to tbe fundamental unity and main differences between the two styles, but to several paribhashas and minor deviations in the style o f rendering both vocally and on instrument, as well as in Raga and Tala. He said that among the good points Carnatic musici ans might take from North Indian musicians were vilamba Icala, mandra sthayi sanchara, sadhakam on instruments with a larger number o f sfrings and sruti suddha The use of the microphone in concerts, he said was definitely very much less in North India. Of the gamakas which were characteristic of Carnatic style, he stated that all but one were in use in Hindusthani music also, though to find out this one had to compare the traditions in different gharanas. With reference to the observation that in Hindusthani music- every tala had its Bols, Bharatam Narayanaswami Aiyar pointed out that in Thavil sampradaya, Carnatic music also had Jati and Tattakaram for all talas.

Tanam Demonstration Sangita Kalanidhi Mudikondan Venkatarama Aiyar next gave a demonstration of Tanam singing in the traditional style. This was higly praised by the President and other Vidvans present. Vidvan Venkatarama Aiyar traced the history of Tanam quoting textual references to Suddha Tanam, Koota Tanam, etc. He said that authentic information was not available about the eight or ten kinds of tanams and the Chakra tanam. Referring to the statement of a member earlier that the Chakra Tanam was singing the Raga in the fourth kala, he said that this was never in vogue. Tanam, he said, was the madhyama kala rendering of the Raga with the use o f syllab 28 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXIII les ta and na, (believed to stand for the word “ Anantam” ). Singing it in third kala was Ohanam. In singing tanam, in between tit and na only tbe vowel Akara should be used and never other consonants like gutterals which definitely spoiled the appeal of the Tanam. Accompanied by Vidvan Tiruvalangadu Sundaresa Aiyar on the violin, Vidvan Mudikondan Venkatarama Aiyar sang a Tanam commencing with Nata Raga followed by Goula, Arabhi, Varali, Bhairavi, Saveri, Begada and Sri. Referring to playing Tanam on the violin, Vidvan Venkatarama Aiyar said that there was only one good style o f playing Tanam, viz., with the long swing of the bow, which was the style adopted by masters like Tirukkodikaval Krishna Aiyar, Govindaswami Pillai and Mayavaram Subbier. The present-day style, in which tb© bow was played fast was not the proper way of rendering Tanam. The President, Vidvan Chembai Vaidyanatha Baghavatar, thanked Mr. T. K. Jayarama Aiyar for his lucid lecture and Mr. Mudi kondan Venkatarama Aiyar for his exposition of Tanam in Suddha Karnataka style. THE EIGHTH DAY 28th December 1951 The Experts’ Committee of the Music Academy met this morning at the P. S. High School Hall, Mylapore. Vidvan Chembai Vaidyanatha Bhagavatar presided. Recital of Rare Padas A large and representative gathering of vidvans and music lovers was present. Srimatis Jayammal, Balasarasvati and Sarojini rendered select Kshetragna padas and other rare Tamil padas accompanied by Mr. Visvanathan on the flute. The recital included ‘ Neyamuna ’ in Ghanta, 4 Meradopu ’ in Sahana, 4 Maname bushana ’ in Sankarabfyaranam, 4 Upamugana ’ in Yadukula Kambhoji, 4 Kuvalayakshiro ’ in Goulipantu, 4 Vemarucheru- guna’ in Kalyani, ‘ Kontegadu ’ in Surati, 4 Mosamaye ’ in Ahiri, 4 Thelisanura’ in Saveri, ‘Payyada’ in Nadanamakriya, ‘Rama Rama’ in Bhairavi, * Mane mayile ’ in Todi, 4 Yarukkagilum ’ in Begada and ‘ Tiruvottiyur Tyagaraja * in Atana. Expressing thanks on behalf of the Committee, Sangita Kala nidhi T. V. Subba Rao paid a tribute to the attainments of the late Dhanammal and those who preserved her tradition. Her music, he said, was a type by itself full of Gamaka and Rasa. f t . '

~~PARTS 1-IV] THE XXV MADRAS MUSIC CONFERENCE, 1951 29~~

THE NINTH DAY 29th December 1951 Demonstration on New Violins At the meeting of the Experts’ Committee of the Music Academy, this morning, in the P. S. High School hall, Mylapore, Vidvan Chem bai Vaidyanatha Bhagavatar presiding, Prof. Dwaram Venkataswami Naidu gave a demonstration on two new strad copy violins recently obtained from abroad and kindly lent by Mr, V. P. Raman and Mr. S. Parthasarathi of T he H in d u . Prof. Dwaram Venkataswami Naidu rendered Todi, Behag, Kanada and Hamsanandi ragas and also pieces in the same. Conveying the thanks on behalf of the President and the Experts’ Committee, Mr. C. S. Aiyar gave the history of the strad violins and emphasised the need for the Vidvans securing high class violins to enhance the appeal of their playing.

Drone in Indian Music Earlier, Mr. Chaitanya Dev of Poona gave a talk on the psychological background and emergence of the phenomenon of Drone and the change that it effected in the entire system of music. Touching, in this connection, on the history of Tambura, he expressed the opinion that sufficient indigenous references were available to show that the suggested Persian origin was untenable.

Raga in Hindusthani Music Pandit Ratanjankar, Principal, Marris College, Lucknow, next gave an instructive lecture and demonstration on Raga interpretation in Hindusthani music. He took up as his main theme Ragas having the same Arohana and Avarohana but differing entirely in their complexion, the difference being brought out by the notes being articulated as Suddha in one and rendered with a good deal of Gamaka in the other. He emphasised how this was done by distinct articulations ( Uchhara) and what was now called Laga-Dant which corresponded to the Antara marga of the texts given as part of the Ragalakshana and referred to Svara-sangatis or little passages on which practically the distinctness of about 80 per cent of the Ragas of Hindusthani music depended. Among the Raga groups elucidated by him during the demonstration were: Bhairava-Kalingda, Bhimplasi-Dhanasri, Megha malhar-Saranga, Jait Kalyan-Pahadi- Deshkar- Bhoopal. The full text of his paper is reproduced elsewhere in this issue. 8 30 THE JOURNAL OP THE MADRAS MUSIC ACADEMY [VOL. XXIII

~~THE TENTH DAY 30th December 1951~~

~~Music-Graphs~~

A N D A New Instrument When the Experts’ Committee of the Music Academy reassembled this morning with Vidvan Chembai Vaidynatha Bhagavatar in the chair, Mr. Venkatarama Aiyar, Sloyd Instructor, Brihadamba High School, Pudukottai, exhibited and explained a graphic chart prepared by him for Sankarabbaranam Varnam, as also a new instrument called “ Sowbhagyavati ” devised by him from a bamboo and an egg- shaped gourd, which, could be used at Ekthar, Veena, Ghat Vadya, and by reversal as a flute also.

Hindusthani Recital This was followed by a recital of Hindusthani music by Pandit Puttaiya Swami, a blind Sadhu in charge of an Ashram for the disabled at Gadag. He rendered Miaki Todi Kyal and Drut Tarana and followed up with a kirtana of Purandaradasa in Todi.

Concert-Plans Prof. R. Srinivasan next expressed a few ideas on concerts. He suggested that the elements of Bhakti and Rasanubbava might receive more emphasis and concerts might be classified into different types. He suggested, for instance, that in one particular type of concert full scope for the display of mastery, such as Pallavi, might be given. Separate short duration concerts exclusively for Padas and other special types for compositions might be thought of to introduce variety.

Recital of Rare Tyagaraja Kritis Vidvan Manjakkudi Ramachandra Bhagavatar then gave a recital of six pieces of Tyagaraja in Ragas in each of which the Saint has composed only one piece. He rendered Kamalaptakula in Brinda- vana Saranga, Pahi Ramaduta in Vasanta Varali, Nannukanna Talli in Sindu Kannada, Nee chitlamu na bhagyamu in Jeevantini, Kripa- lavala in Gunabhairavi and Vinave o manasa in Vivardhifii. The President, Chembai Vaidyanatha Bhagavatar, also sang his patha o f Pahi Ramaduta, which was in Shadvidhamargini. PARTS I-TV] THE XXV MADRAS MUSIC CONFERENCE, 1951 31

~~THE ELEVENTH DAY~~

~~31st December 1951~~

~~Demonstrations on Violin and Gottuvadyam~~

Td-day, when the Experts’ Committee meeting of the Academy concluded, Vidvan Madurai Subramania Aiyar and Vidvan Budalur Krishnamurti Sastrigal gave demonstrations on the violin and the gottuvadayam respectively. The former rendered Samrane Sukhamu in Janaranjini, Sobhillu in Jaganmohini, Nayeda in Nabhomani, Hecharika in Yadukula Kambhoji and a Todi raga alapana. Sri Budalur Krishnamurti Sastrigal rendered Viriboni Varnam in Bhai- ravi, Mahaganapathim in Nata, Neeketeliya in Ananda Bhairavi and Oanesa Kumara in Chenchuratti.

~~Bharata Natya~~

Bharatam Narayanaswami Aiyar next gave a demonstration of dance according to Bhagavata Sampradaya. He chose Prahlada’s Pathrapravesa Daru in Bhairavi with svara-sahitya and a dialogue- song Ghinni Balu, from Venkataramana Bhagavatar’s Prahlada Charitra. He also rendered a Sanskrit verse in abhinaya.

~~Concluding Function~~

The President, Vidvan Chembai Vaidyanatha Bhagavatar, brought the proceedings of the Experts’ Committee to a close. Sangita Kalanidhi Justice T. L. Venkatarama Aiyar gave a resume of the work done during the ten days of Conference. He thanked the various Vidvans for their co-operation in their concerts, competitions and discussions, the various donors of medals for the competition (specially to V. S. S. K. of Jaffna), the Executive of the Academy, the Press, the Government, the Police, the Scouts, the authorities of the P. S. High School and the R . R. Sabha and also the U. P. Govern ment for sending Pandit Ratanjankar as a delegate.

Mr. K. V. Krishnaswami Aiyar, President of the Academy, paid a tribute to Vidvan Chembai Vaidyanatha Bhagavatar and referred to the selfless services of the members of the Executive of the Academy. O n.behalf of the Vidvans, Sri Semmangudi Srinivasa Aiyar, Prof. R. Srinivasan and Pandit Ratanjankar spoke in appre ciative terms o f the Academy and its organisers. Mr. K. Subrah- maniam, Academy’s Advertisement Agent, was presented with a silver salver. 32 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXIII

The session concluded with the singing of mangalam by Srimati Kalpakam. There was a group photo of the Vidvans who took part in the discussions and the concerts and the members of the Executive Committee. 1st January 1952 THE MEMBERS’ DAY The Members’ Day of the Music Academy was celebrated this morning at the Sri Sundareswarar Hall, Mylapore. A reception was accorded to Mr. T. R. Venkatarama Sastri, who had opened the Con ference, Mr. Chambai Vaidyanatha Bhagavatar, President of the Conference, and Mr. T. T. Krisbnamachari, President of the Sadas. After refreshments, Mr. R. K. Murthi and Mr. K. Soundararajan (Hindu) gave a mimicry performance. There was then a programme of music by the members of the Academy and their children. THE ACADEMY SADAS The Sadas o f the Academy was held in the evening under the presidentship of Sri T. T. Krisbnamachari when the title of ‘Sangita Kalanidhi* was conferred on Sangita Vidvan Sri Chembai Vaidya natha Bhagavatar, President of the 25th Conference of the Music Academy. After an invocation by Srimati D. K . Pattammal, Mr. K. Soundararajan, Secretary, Music Academy, read the proclamation convoking the Sadas. Sangita Kalanidhi T.V. Subba Rao welcomed Mr. Krishnamachari and the distinguished gathering. Mr. K. V. Krishnaswami Aiyar garlanded the President of the evening. Mr. Justice T. L. Venkatarama Aiyar presented Vidvan Chembai Vaidyanatha Bhagavatar to the Sadas and read the following citation. The Citation “ Vidvan Chambai Vaidyanatha Bhagavatar was born in August- September 1896 as the eldest son of Chembai Anantha Bhagavatar, Vocalist and Violin Vidvan, and belonged to the family of Chakra Tanam Subbier. He learnt music under his own father whom he began to accompany in concerts even in his ninth year. He practised also on the violin and t ;e flute. He began to give regular musical concerts from his fifteenth year, and has been honoured in many Samsthanams. He is devout and austere in habits and is well known for his ringing voice. Assisted by his younger brother, Mr. Subrah manya Bhagavatar, he has enjoyed a long, ui.broken and successful career as one o f the leading vocalists in the field.” PARTS I-IV] THE XXV Ma DRAS MUSIC CONFERENCE, 1951 33

After the reading of the citation, Mr. T. T. Krisbnamachari presented to Vidvan Vaidyanatha Bhagavatar the birudupatra, and the insignia and conferred the title of ‘Sangita Kalanidhi’ amidst cheers. Mr. K. V. Krishnaswami Aiyar garlanded the Vidvan.

Sangita Kalanidhi Rajamanikam Pillai said that the conferment of the title ‘Sangita Kalanidhi’ to Vidvan Chembai Vaidyanatha Bhagavatar was a matter for gratification to the world of Carnatic Music. The speaker bad the privilege of accompanying Mr. Vaidya natha Bhagavatar from his early days and he could personally testify to the manner in which he encouraged junior musicians and accompanyists, many of whom established names for themselves through his encouragement. By his uniform courtesy and winning manners, Mr. Vaidyanatha Bhagavatar had won the friendship and respect of musicians as also the esteem of the public. He was one of the few musicians who kept his voice under perfect control. Even if an accompanyist went wrong in a concert, Mr. Vaidyanatha Bhagavatar would never show disapproval even by his facial expression, which had helped many junior artistes to face the audience with confidence.

Sangita Kalanidhi Semmangudi Srinivasa .Aiyar said that he was privileged to enjoy the close friendship of Vidvan Vaidyanatha Bhagavatar for over 25 years and had learnt from him many finer points in his career. He had a gifted voice which could reach an 34 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXIII

audience of six or seven thousand persons without any mechanical aid. It was a joy to watch the ease with which his voice reached the higher pitches; He was generous to a fault and large-hearted. He always appreciate^ the good points in others and encouraged them. His simple way of life was an example for others to follow. He had never lowered the prestige of the profession. The title conferred by the Music Academy was a recognition o f true merit, and all Sangita Vidvans were grateful to the Academy for honouring Mr. Vaidyanatha Bhagavatar, one of the leading exponents of the art. In conclusion, Semmangudi Srinivasa Aiyar observed that the Academy alone wasTfit to honour the Vidvans and this honour alone befitted the Vidvans.

Mr. K. Chandrasekharan said that as art always depended on two factors, artist and Rasika, he came forward to felicitate the Vidvan on behalf of Rasikas (Music lovers). He observed that Mr. Chembai Vaidyanatha Bhagavatar had rendered conscientious service to music and all music-lovers were happy that the Academy had con ferred the title on him. As an ex-Secretary o f a music Sabha, he said that he always found the Bhagavatar endowed with a sense of responsibility and perfect in behaviour as an artist.

Replying briefly to the felicitations, Sangita Kalanidhi Chembai Vaidyanatha Bhagavatar thanked the Academy and the Sadas for the honour done him. He was very much heartened to see that in this year’s Academy concerts, junior musicians were provided with senior and experienced accompanyists. It was a welcome feature since a body like the Academy should do everything to encourage young musicians. He hoped that all musicians would co-operate in making the Silver Jubilee of tbe Academy next year a grand success.

~~Prize Distribution~~

Dr. V. Raghavan, Secretary, next introduced the winners in the various competitions conducted by the Music Academy and the President handed over to them medals and prizes. Competitions D onobs op M edals W inners s a « v < i

~~1. Vocal Music Gents I Prize donated by Sri M. Sudarsanam Sri A. Sundaresan 41*1 Iyengar~~

~~99 99 Special Prize donated by the Musio Academy Sri K. Padmanabhan~~

~~2. „ „ Ladies I Prize T. A. Doraswamy Aiyar Medal—do Srimati Padma Narasimhan nated by Sri T. D. Narayana Iyer~~

~~99 )) ,, II Prize donated by the Music Academy Srimati A. G. Sundaravalli~~

~~n 99 „ Special Prize donated by the Music Academy Srimati N. Shyamala~~

~~3. Violin I Prize Kasturi Ranga Aiyangar Medal- Kumari N. Rajam donated by Sri K. Srinivasan~~

~~Special Prize donated by the Music Academy Srimati N. Vedavalli~~

~~4. Veena I Prize Dhanam Memorial Medal—donated Srimati Janaki Soundararajan by The Mylai Sangita Sabha~~

~~II Prize donated by the Music Academy 99 Srimati S. K. Rajalakshmi 1 2 6 1 ‘ aQ N a a a a u o o q?snK s ? u a v j« axx bh* [~~

5. Swati Tirunal Maharani Sethu Parvathi Bai Medal— Srimati D. Pattammal donated by Mrs. Alamelu Jaya Compositions I Prize rama Iyer U p I v 01 y C ompetitions D o n o r s o f M e d a l s W i n n e r s H JUNL F H MDA MSC CDM [OL XXIII X X L. [VO ACADEMY MUSIC MADRAS THE OF JOURNAL THE

~~• 19 II Prize donated by the Music Academy Srimati Annapurna Rabindran~~

~~99 III Prize donated by the Music Academy Srimati M. Jayalakshmi~~

~~6. Modern Composers I Prize L. Muthiah Bagavatar Memorial Srimati Annapurna Rabindran Medal— donated by Sangita Kala nidhi T. L. Venkatarama Iyer~~

~~7. Kshetragna Padas I Prize donated by Sri P. R. Sami Aiyar Srimati S. K. Rajalakehmi~~

~~8 . Tamil Songs I Prize The Gramophone Company Medal— Srimati S. K. Rajalakshmi donated by the Gramophone Co.~~

~~9. Pallavi Singing I Prize Dr. Sankaranarayana Iyer Memorial Srimati A. Lakshmi~~

~~• Medal—donated by Dr. S. S. Krishnan~~

~~„ Special Prize donated by the Music Academy Srimati Seethalakshmi Narasimhan~~

~~10. Purandaradas Padas~~

~~I Prize donated by V. S. S. K. Tobacconist Srimati Ganga Ranganathan~~

~~II Prize donated by the Music Academy Srimati Seetha A , 5~~

~~PARTS I-IV] THE XXV MADRAS MUSIC CONFERENCE, 1951 37~~

Sangita Kalanidhi T. V. Subba Rao presented the successful students of the Teachers’ College of Music and the President awarded to them certificates. Srimati Palani Vijayalakshmi, who obtained first rank, was awarded in addition the Rajah Sir Annamalai Chettiar Prize.

T. T. Krishnamachari’s Speech In the course of his speech, Mr. T. T. Krishnamachari said that the citation read showed the great musical heritage of Mr. Vaidya natha Bhagavatar and it was no wonder that he had risen to such heights in the musical world. But tbe more significant factor was the selection of such a person by the Academy for this year’s honour. The conferment of tbe title of ‘Sangita Kalanidhi’ on Mr. Vaidya natha Bhagavatar was a matter on which all of them should congratu late themselves. Proceeding, he said the Music Academy was the first in the field to organise music conferences, and Dr. U. Rama Rao to begin with and then Mr. K. V. Krishnaswami Aiyar had shouldered the administrative burden. It was no easy task to bring together different artistes, and the successful manner in which Mr. Krishnaswami Aiyar had been conducting the work of the Academy bore ample testimony to his skill and popularity. If in recent years other organisations had come up to conduct similar conferences, the Academy need not feel sorry. It was but a tribute to the Academy’s work, for imitation was the best form of flattery

Offering one or two suggestions on the occassion, Mr. Krishna machari said that tbe Academy should take steps to start a library containing recordings of songs rendered in the traditional style (sampradaya) by masters whose numbers were gradually decreasing. The younger generation of musicians, and musicians in the making, stood to profit from such records. In this connection he recalled how tbe late Srimati Veenai Dhanammal once offered to have her exquisite renderings of musical pieces in the traditional orthodox style recorded so that sampradaya music might be preserved for posterity. H e made reference also to certain sampradaya renderings o f Sangita Kalanidhi Mudikondan Venkatarama Iyer whioh one occassionally heard on the Radio.

Referring to Government and Music, Mr. Krishnamachari expre ssed his dissatisfaction at the way the central and local Governments had gone about starting the Central Colleges of Karnataka and Hindusthani music. 10 38 t h e j o u r n a l of t h e m a d r a s m u s ic a c a d e m y [V o l. x x i i i

Mr. Krishnamachari next suggested that the honour of presiding Qver the annual conference of the Academy should be conferred on lady artistes also and a start might be made next year when the Academy would be celebrating its Silver Jubilee. He also desired that the Academy should concert measures to preserve the tradi tional style of dancing, of which Srimati Balasarasvati was a gifted exponent. In these days when people offered to coach up dancers in a few weeks, there was the danger of inferior art passing off as genuine It would do India and the art of dancing a world of good, if arrangements could be made to demonstrate the higest type of Indian music and dancing before world assemblies like the UNESCO. It would be a wounderful thing if the stage technique of Srimati Rukmini Devi and the artistic purity of Srimati Balasarasvati could be harnessed together for the purpose of demonstrating the best side of Indian art to the world.

Concluding, Mr. Krishnamachari said that it would be highly desirable if the Academy could construct a habitation of its own in connection with its Silver Jubilee. The building of the Tamil Isai Sangam, a younger body, was rising stone by stone. A similar achievement by the Music Academy was not impossible of realisa tion. Steps to raise funds by collecting small donations from musie- lovers should be undertaken, he said.

~~With a vote of thanks by Sri K. Balasubrahmanya Aiyar, one of the trustees of the Academy, the function concluded. 26~~

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~~@ 0 L 7 U 1! ® / D 0 ( L p t L t p Q e s 5 U~~

~~Pt. Ratanjankar~~

~~Principal, Marris College of Music, Lucknow~~

I propose this morning to discuss certain practical aspects of Ragadari Hindusthani music, or, to put it more clearly the Raga music o f the North Indian system o f music which, I am sure, have their prototypes in the southern system also.

The practical interpretation of the Ragas is done in two ways i.e. by voice and on a musical instrument. I shall first deal with Vocal interpretation of the Ragas and then, time permitting, shall follow with a few remarks on the instrumental expression of the Ragas.

Roughly speaking, there are three types of human voices which express music, Some Voices are broad, deep and low pitched, some others are thin and high pitched and there is a third type o f Voice which is neither very broad, deep and low pitched, nor very thin and high pitched. *

Corresponding, as it were, to these three types of voices there are three main types o f songs or ‘Closed forms’ , as they are called, of the Ragas in Hindusthani music, namely the Dhrupad, Khayal and Thumri. These songs respectively represent the ‘serious’ ‘lyrical’ and ‘amorous’ music. I think we have had these closed forms o f the Ragas of the Hindusthani system discussed and demonstrated at one o f these meetings in the expert conferences and we shall not therefore go ihto their details over again. What I want to draw the attention of the gathering to is that these three types of songs represent three distinct styles of Vocal interpretation of the Ragas. The Dhrupad which represents the serious type of music has no light touches like the Murkis, Khatkas and Zamzamas in it, nor does it admit o f Tanas or the open-voiced running passages in quick tempo. The Thumri, on the other hand, is full o f these. The Khyal has both the serious and light elements in it. It contains slow alaps as well as the light touches I have just now referred to and it is full of Tanas.

Prcperly a Dhrupad would seem to suit the deep, broad and low pitched voice, though there is no rule as such restricting the other types o f voices from specializing in the Dhrupad style. The Thumri would sound most successful in the high pitched and thin voice. The Khyal style is suited to the medium type of voice. PARTS I-IV] HINDUSTHANI RAGA EXPRESSION 57

These three classes of songs and their distinct styles of expres sion make it necessary to cultivate the voice and fit it up speeially to enable it to give out the correct rendering of the Ragas and the style o f the songs and we have therefore, distinct classes of professional vocalists specialized in them, each representing by family tradition the Khyal or Thumri. Apart from distinctions in style dependent upon the types of songs I have just now referred to, there are differences in the manner of the rendering of the Ragas and the extempore elaborations thereof as demonstrated by the descendants and pupils of different houses or Gharanas as they are called, of the Vocalists. Thus, though there may be all agreement as regards the text of a song among artistes representing the different Gharanas each makes his own distinct impression when he sings it. This is due to the differences in the modulations in the Voice and in the emphasis, accents and pauses. It is difficult to reduce to word of language and put into black and white. What a musician does, the way how he expresses the parti cular style of his Gharana and, if he is man of original talent, how he infuses his own personality, as it were, into the music when he renders a Raga and its song. These individualities of style are however subject to the correct rendering of a Raga except perhaps in the Thumris in which a certain measure of laxity is permitted in view of the fact that their music is more or less Sabda-Pradhan Sangeet and as such, the word sense in it is as important as, or perhaps, more than the musical rendering. The Raga form may assume a character or, have a little face-powdering and a make-up, so to say, just to suit the word-sense. Thumris and all songs coming under the Thumri class are amorous music and, as "all is fair in love and war” as they say, these abuses o f the Raga are connived at. The Ragas themselves, in which Thumris are usually sung, are of a more or less light and pliable character, sorts o f libertinism and when they appear in the role o f Thumri they flirt about without much- restriction. In Dhrupads and Khyals on the other hand, the forms o f the Ragas must be kept strictly correct. Apart from the general rules as regards mela, jati, vadi-samvadi and characteristic passages of a Raga which can easily be set down into word o f language and described verbally there are two other points which are very impor tant for the practical rendering thereof. I shall now deal with these. One of these important practical aspects is what the Hindusthani musicians refer to in their common parlance of UCHA.RA, and the 15 58 THE JOURNAL OF THE MADRA8 MUSIO ACADEMY [VOL. XXIII

other is what is known, in the same common parlance as La GA- DANT or “ MURAQQIBa D ” . It is perhaps the peculiarity of the Hindusthani Ragas that a number of Ragae may be having exactly the same fiats and sharps and yet each is distinct in its impression by the difference in the UCHARA or in the LAGA-DANT. Let me first deal with UCHARA. The literal meaning of UCHARA is pronunciation which, in the context of a Raga stands for the correct intonation and correct rendering of each and every individual Svara of the Raga not only in its pitch but also in its expression. Let me illustrate this point. The two very popular Ragas, Bhairava and Kalingda represent the identical scale which is the equivalent of the Maya-malava-Goula. I shall now demonstrate this very scale in two ways, one as Bhairava and the other as Kalingda. (Demonstration :—Bhairava) *t v q * fa qf

*TT fa q ...... q q q > ...... *TT. Thus as Bhairava this scale must have Andolit or oscillated Rishabha and Dhaivata and sometimes an oscillated Gandhara. In Kalingda however these oscillations do not occur. The scale is to be sung plainly without any embellishments. (Demonst:—Kalingda). ?TT,^q, q q, qfa, HT | qf, fa*, q, qq, X m \\ I shall now demonstrate these Ragas with a few alaps in each. (Demonst :—Bhairava and Kalingada). Another pair of Ragas is Megbamalar and Saranga. These two likewise represent one identical scal« of five Svaras, upwards, namely Shadja, Chatus Shruti Rishabha, Shuddha Madhyama, Panchama, Kakali Nishada besides the Shadja Octave and five svaras down wards, namely Tara Shadja, Kaishiki Nishacja, Panchama, Shuddha Madhyama, Chatus Shruti Rishabha and Shadja. In Saranga, these Svaras are sung plainly as: (Demonst.). AT, ~t, q, q, fa, qf, 1 qf, fa, q, q, qr In Megha-malar on the other hand, these very notes are sung with Gamaks in this way. (Demonst. Megha-malar).

frqr, % , q, ^ fa, m I ^qf, q fa, ^q, qr I PARTS I-IV] HINDUSTHANI RAGA RXPRB8SI0N V . I shall now sing a few alaps of both. (Demonst. Megha-malar and Sarang.) A third pair is Bhimpalasi and Dhanasri, both having identical notes in the Aroha and Avaroha. I shall first sing the scale as it is, ^ 'T, m, fa, at i af, fa, q, q, w ,>, *tt i This scale when sung in a comparatively slow tempo with meands and * andolans on Gandhara and Nishada, becomes Bhimpalasi which when sung in a quicker speed without meands or oscillations represents Dhanasri. Let me illustrate this point. Bhimpalasi is sung in this way. Demonst. Bhimpalasi. Dhanasri is a comparatively a lighter type of melody and is sung thus. Demonst. Dhanasri. I could illustrate a fairly large number of such pairs of even groups of Ragas in support of the point at issue. Jait-kallian, Pahadi, Deshkar and Bhopali are four Ragas having identical scales o f notes up and down. This scale is the same as that of Mohana of Daksi- natya system. (Demonst). t n, q, #, qf i at, a, q, n, 't, m i This very scale receiving four different treatments gives us the four Ragas I have just now mentioned each of which makes a distinct independent effect of its own by the very manner of pronouncing the svaras apart from the other points of distinction such as the vadi, samvadi, poorvanga, uttaranga, prabalatva laga-dant or svara sangatis. Laga-dant is the other feature whioh gives a Raga its distinct character. Laga-dant is the popular name for what is referred to in the Granthas as antara marga. It means svara sangatis. These svara sangatis or little blocks of svara passages are very important. In fact, it would not be far wrong to say that quite eighty percent of the Hindusthani Ragas are composed of such svara sancharas. Very few o f these are sung with straight Arohas and Avarohas. The very first Raga namely the bilawal o f the Shuddha mela o f Hindusthani music system and the Shankarabharana of the Southern system does not admit of the straight run, o f the aroha and avaroha. Thus if I sing the scale (Demonst.) ^T,^, *T, *T, q, fa, flf. flt, fa, a, q, r*l0r q, *1, ?TT, straight as it is, it would hardly be called Bilawal Raga. It is only Bilawal Thata and not Bilawal Raga. The proper aroha and avaroha of Bilawal Raga would b e: — affa. tm q. afa. afaffi I frtfaaq. a. ctt. ift. I «0 _ THE JOURNAL OF fH E MADRAS MUSIC ACADEMY [VOL. XXIII

As soon as I sing this aroha avaroha everybody will identify it as Bilawal Raga. Then again, in the progress of the extempore elabo ration, proper adjustment and linking up of the distinguishing svarasangatis or Laga-danta o f Bilawal will give the Raga its eorrect shape. I shall sing a few passages of Bilawal now. Demonst. Bilawal.

The four Ragas I had referred to just a few minutes ago, namely Jait-kallian, Pahadi, Deshkar and Bhopali having the scale of the Mohanam are every one of them distinct in their respective impressions as much by their Laga-danta as by the Ucchara as I have already pointed out. We shall take each of these to examine their practical interpretations. Jait-Kallian is a combination of Jait or Jayantand Kallian. The Jait mark is a particular little phrase Melakarta. It is a Shadave Raga without the Ni and its distinguishing combination is q, qqq, q, q, qr- A few alaps o f Jait will be like this. Demonst Jait.

From this Raga the little passage of q, q, qq, q is combined with Kallian and Jait-Kallian is the result. I shall now sing a few alaps of Jait-Kallian. Demonst. Jait-Kallian. Pahadi is light tune borrowed from folk music. This tune is most popular among the hill tribes of the Himalayas. Bhopali has got its peculiar svarasangatis. The^; and q of Bhopali are sung with a slight touch o f their higher neighbours namely q or q attached to"^ and fq or qj attached to q To illustrate (Demonst.\ and q of Bhopali.) Some times the q too is pronounced with a touch of Shuddha q for instance q^q^q^ ^ "tq? q. Some characteristic phrases,

~~Laga-danta or Svara Sancharas are th ese^ q, qf^q, q, ^q, qq,~~

qT I The general run o f the Raga is like this. Demonst. alaps of Bhopali. Deshkar is sung with a long halt o f q followed by a similarly long halt on q and then a closing phrase namely qqqq q, ^qr. Rishabha is a weak note in this Raga. Any stress or halt on it is likely to spoil the Deshkar effect. The Aroha is often sung without Ri. Halts v \

PARTS I-IV] HINDUSTHANI KAGA EXPRESSION 61 on Dha and Pa are characteristic for Deshkar. The Raga has a down ward trend. The upward movements are made just to link up the cadences. A few alaps of Deshkara will show how it stands by itself in its Svara sancharas or laga-danta. Demonst. Deshkar. Shuddha Kallian is the 5th Raga which should belong to this very group. Khyal singers sing this Raga with the scale o f Mohana or Bhopali in the aroha with just pass-over on Ma and Ni in the Avaroha specially in the slow alaps. But some Dhrupads of this x Raga are entirely pentatonic. There is no q nor fa in them. They are just passed over in between q and q and and fa respectively. Some Dhrupad singers drop them entirely and yet the Raga makes its own independent effect which is nothing like any of the other four. Here again the distinction is in the Uchara and Svara- sancharas to illustrate. (Demonst.) Shuddha Kallian. In conclusion I shall now demonstrate a few groups of melodies to show how they create individual musical effects by the Ucharas and Laga-danta. (Demonst.) 1. Suha and Nayaki. 2. Desi, Barwa and Patamanjari. 3. Khat. 4. Marwa, Pooria and Sohoni. I shall now briefly offer a few remarks on the styles of instru mental interpretation of the Ragas. These styles mainly depend upon the nature and form of the instrument. String instruments will be of two types namely those played by the plectrum and the others played by the bow. The plucked instruments have no continuity of sound. The wires have to be struck over and over again and this necessitates a technique and treatment of the Ragas different from that of Vocal music. The frequent strokes on the wire create forms o f rhythm and the music has a good amount of play of rhythm along with the melody. It is these strokes on the string which have created such a large number of Gamaks, musical Graces. When we produce these by voice they are only in imitation of the instrument. A question may be raised as to whether it is absolutely necessary to sing these Gamaks of plucked strings. There may be people who would prefer a natural production of the voice and easy and effortless interpretation of the Raga by voice. It seems, most o f our ancient authorities on music were Vainikas, and the 16 62 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXIII

Gamaks they have described are most o f them such as can be produced on plucked strings. However we may not go deep into this subject. It requires some amount o f deep study and research. This much can however be said that the Nom-Tom of Hindusthani music and the Tana of the Dakhshinatya system are an imitation of the Veena. The voice defeats the Veena in its capacity to prolong a svara for some length o f time, without break, secondly its capacity to sing prolonged meends and glide over large intervals and thirdly to sing continuous Tanas in an unbroken voice. The Veena on the other hand, defeats the Voice in its capacity to produce quick and complicated rhythmic forms including what is called Jhala and in the range of svaras it can produce top te bottom, and certain Gamaks also, such as Ghaseet, Krintan, Zamzama, Thonk which are peculiar to instruments played with a plectrum and cannot be produced by the Voice easily.

The other types namely Sarangi, Violin, Dilruba, Esraj etc. which are played by the bow have continuity of tone as the human voice and it is possible therefore to produce all the Vocal Graces of musio on them. Words of course are not producible on these instruments. But the Strokes of the bow make up well enough for them. Swift passages with unbroken continuity such as the Tanas of Vocal music are quite possible on these instruments. On the instruments that are played by the Plectrum these Tanas, are produced, at least in Hindusthani music by stretching the wire on one single fret across tbe Key board. But they cannot be too long. Just five or six notes is usually the range of these Tanas. To produce longer passages the Key board must be broad, the string strong enough to bear the tension and the musician a skilled one. But such Tanas are a special feat for the instrument. They are not natural to its technique. Apart from the graces peculiar to the technique of an instrument, independent of, and difficult for Vocal music, all the rest is in conformity with the Vocal interpretation of the Ragas. In fact the Binakars and Sitar and Sarod players of the north are expected to have learnt, by Voice, Dhrupads and Tanas without which proper command over the Ragas cannot be acquired.

Wind instruments are Vocal music itself without the words. Meends or gliding over several notes which make vocal music so sweet and grand are difficult for wind instruments, though some Shahanai and Flute players have shown these on their instruments wonderfully well. P A R T S I -V ] HINDUSTHANI RAGA EXPRESSION 63

Instrument of the Ghana class, i.e., those played with a striker, such as Jaltarang, Naltarang, Patarang, Bells, etc., have a beautiful combination of melody and rhythm in them. They oaD be called Niftda-Tala-Vadyas. In fact the Patakshras of the drum or the rhyth- mio passages produced on drums if set to music, composed, so to say, in a Raga, will be the proper technique of these instruments. Usually however, in the north they play the Gats of Sitar and Sarods on these instruments. These gats too are a kind of rhythmic compositions set to music. Taranas or Tillanas too are more or less compositions o f Rhythmic forms set to music. All these will provide the best music for the Ghana variety o f musical instruments.

Without going into the details I shall only say in conclusion that in instrumental music the form of a Raga varies in its manifestation according to the technical possibilities and limits o f the instrument concerned. On the Veena or Been as it is called the Raga assumes a solemn and dignified form, while its gravity is light ened a bit on the Sitar and Sarod. Then again the manner o f handling the instruments and composing the extempore passages of the Raga vary with different families o f instrumentalists. AN OUTLINE LITERARY HISTORY OF INDIAN MUSIC*

D r V. R a g h a v a n The earliest music of India is to be looked for in Vedic literature, the Samans representing the earliest songs. The Saman is the musical treatment of the Rk, which forms the libretto (yoni). While being rendered thus into melodies or Samans, which are said to number some thousands, the text of the Rks undergo several modifications, sometimes out of all recognition,- splitting, dragging, repeating, stopping and so on. There are one thousand aids to S aman singing. Stobhas or syllables of no parti cular meaning are profusely employed, such as him, au, ho, va, iha, huve, haya, ye, divah, these Sthobas being classified into those o f Varna, Pada and V^kya and analysed with reference to context and meaning like Blessing, Eulogy, and Complaint. The Stobhas are also called Phulla or Pushpa, meaning blown, or blossom, probably because these musical additions to a bare text compares to a bare twig being thrown into bloom. From the point o f view o f both singing and ritual, tbe Saman books are divided into several groups. S a man-singing is referred to many times in the Rgvedic hymns themselves and in the Brahmanasand the Upanishads some Samans figure prominently as part of the mystic exercises. Besides vocal singing, instrumental music also formed part of the Vedic sacrifices and the Vedas mention all the three classes of instruments, of percussion, wind and strings. A Saman-singer is called Sama-ga or Chandoga and there were different singers for the different parts of tbe Sa man-singing, the Hinkara, Prastava, Udgitha, Prathihara, Upadrava, Nidhana, and Pranava. Some sages are also mentioned as promulgators of certain Saman-melodtes. Some of the ancillary texts of the Samaveda speak of the musical notes of the Saman-singing as seven (Samavidhanabra- hmana, Arseyabrahmana, etc.), viz., Krushta, Prathama, Dvitiya Trtlya, Caturtha, Mandra or Pancama, Sashtha or Antya, or Atisvarya. We do not know when the Samtin came to be sung in seven notes ; in more than one context, the words Arcika, Gathika, and Sa mika are used in referring to Svaras or Groups of Svaras, intervals of one, two and three, from which we may assume that to begin with, the Sanaan was sung to three or four notes; the next svara came to be simply called the other Svara, Svaranatra. A later treatise which gives us some guidance on the subject of Saman-sing- * This is an outline of a detailed account compiled by the present writer' In this outline, Tamil sources are not touched. PARTS I-IV] AN OUTLINE LITERARY HISTORY OP INDIAN MUSIC 06

ing is the Siksha ascribed to Narada where we are told that the sacred Sama-Svaras, Krusta, Prathama etc. correspond to the secular Svaras on the flute in the order Madhyama, Gandhara, Rishabha, Shadja, Dhaivata, Nishada, Paneama, giving us not a straight progres sion but an irregular one (Vakragati). The Sainan-notes were in a descending series (Nidhana-prakriti), and in contradiction to what the Narada Siksha says, Sayana equates the notes of the Saman to the secular svaras in a regular reverse order, Ni, Dha, Pa, Ma, Ga, Ri, Sa. Mention is also made in the Naradasiksha to the ‘Gatravm*’ or ‘tbe lute o f the palm* with the seven svaras fixed to the different points on the fingers as the guide to Saman-singers. Even now, there are differing schools of Saman-singing. The Samans do not, all of them, take all tbe seven notes, and in terms of modern melody-types of the Carnatic School o f Indian music, we find shades of Raga Kharabara- priya or a derivative thereof, or part of Bhairavi occurring in Sama ganas, but the exact svarasthanas are slightly different from the corresponding ones of the music of today. * j ^ . H J j It is from this Saman music did the further music of India develop. The music lore is considered to be derived from the Sama- veda and the primary treatise is said to be an Upaveda called the Gandharvaveda. We do not possess any text now of this name and description, but a later Tantric treatise mentions the Gandharva veda as a text on music in 36,000 anushtubhs. The earliest treatise we now have is the Natyasastra of Bharata where musio is dealt with as an aid to dramatic representation. Tradition says that Bharata’s text was preceded by two texts o f Sadasiva and Brahma, and the text of Bharata itself presupposes works ascribed not only to these two mythological authors but to Narada too. In fact, in later musical literature a plethora of mythological figures, male and female, appears as early music-authors ; while it is possible that there are musio works ascribed to these mythological names, Narada, Tumburu, Kambala, Asvatara, Arjuna etc., we cannot vouchsafe for the antiquity of these texts.' After the period of the sacred Saman-singing, we have the second period called Gandharva or Marga. The Gandharva is also a kind o f sacred music and represents a counterpart of Vedic Saman. The Gandharva or Marga songs are in classic Sanskrit so far as their lan guage goes ; their authorship is assigned to Brahma himself, and to put them further on a par with the Veda, their svara-notation is made immutable and its faithful rendering as o f the Vedas is held to be attended with other-worldly merit; the subject of these songs is God Siva and these songs were sung, played to by instruments and 66 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXIII

danced to. They are called Marga as Brahma is supposed to have sought them out (from Mrig — to search). The texts of some of these are^ound in the current text of the Natya Sastra itself; Abhinava- gupta deals with them in his commentary on the Natya Sastra; Nanyadeva devotes much attention to them in his Bharata Bhashya, and in the opening chapters of the Sangita Ratnakara of S»rngadeva, we find a number of them given with Svara-notation.

Earlier than these Saivite songs o f Marga music, we had the singing of the Akhyana rhapsodies, the epics, the Ramayana and the Mahabharata. The Ramayana was sung to the Vina or lute by two minstrels in the Marga style in the seven modes o f melody called the Jatis. When the seven notes were known, scales were formed from them, starting with three of them GandhAra, Madhyama, and Shadja. The seven svaras or notes are named on some obscure basis, Shadja being called after its six-fold source, Madhyama and Panchama after their positions, Nishada also perhaps after its position, Rishabha pro bably after a similar animal sound, Gandhara after a country or after the sheep which too were called so, and Dhaivata after something we do not know at all. Of the primary scale formed from these, that starting with Ga was perhaps after a mode prevailing in the Gandhara country and if we realise that tbe word Gandhara is only a Prakrit variant of Gandharva, we have here a very fruitful line of further research on the Gandhara region being the contributor of the Gandharva music of ancient India. These parent groupings o f svaras are called Gramas, the three respective groups being the Gandhara, Madhyama aud Shadja gramas. By the time o f the Natyh sastra and even earlier perhaps, theGa-grama went out of vogue. Further scales were derived from the possible transposi tions o f the seven svaras o f each o f the two remaining Gramas o f Sa and Ma, thus giving fourteen primary modes. These derived modes are called Jatis : earlier, in the time o f the Ramayana, these Jatis were only seven, derived probably only from one Grama, viz., theGa. Both from the Vedic and the epic literature, we know that music, of instru ments as well as of recitals of akhyanas, was a feature of the Vedic sacrificial performances ; the Tanas o f the different Gramas are named after different sacrifices ; and this sacrificial nomenclature has thus some historical significance.

Bharata deals with music as an ancillary of his operatic theatre. Chapters 28 to 33 (Kasi edition) of his Natya Sastra are devoted to the science of music and to vocal and instrumental accompaniments. Bharata gives the fundamentals of Indian music in Ch. 28 ; mentions PARTS I. IV] AN OUTLINE LITERARY HISTORY OF INDIAN MUSIC 67

the twenty-two srutis or microtonai intervals, an experimental method of deducting them and a demonstration o f these op two Vinas ; and eighteen Jatis, seven from each of the two Gram and four mixed ones. As Bharata treats of music as an aid to drama, he speaks of the appropriateness between certain situations and emotions and certain notes and melodies, and to this subject, the text of Kasyapa, which Abhinavagupta, Bharata’s commentator, quotes profusely, devotes extensive attention. In the musical fittings of the drama, a type of song called Dhruva, having numerous sub- varieties, played the chief part; it was of five main kinds, that of the Entrance (Pravesiki), o f the Exit (Naishkramiki), and three others occurring during the stay of the character on the stage- (Akshepiki, Antara, and PraSadikl) which introduced a new idea or feeling and furthered the effect of the same. These songs were also o f signifi cance as giving an idea to the audience o f the whole context, place, person, etc: o f a particular scene, as in Bharata’s idealistic theatre, scenio trappings or elaborate stage directions were dispensed with. Another point to be noted about these Dhruva-songs is that they employ symbolical images, e.g., a hero’s entry being suggested by describing an elephant entering, a forest; more noteworthy is the fact that the Dhruvas were originally in Prakrit, suggesting a popular origin ; it is only at a very late stage and in a few? very stray cases, are there found DhruvaS in Sanskrit (e.g., Anargharaghava o f Murari). Dhruvas were mostly sung; by the orchestra. Instrumental music, of both the stringed instruments and the drums, was also extensively harnessed for the dramatic effect, gaits of various persons in their different emotional states being accompanied by suitable instrumental background music. Besides the music of the play proper, Bharata describes also the music of the dance called Lasya in ten or twelve little isolated themes and the music of the Purvaranga or stage preliminaries. Piirvaranga was either simple or elaborate, and, to suit the tempo of the coming drama, either delicate or vigorous. The main consti tuents o f these preliminary shows are a set of instrumental items and dances. The instrumental music here is called Nirgita, i.e., without song or understandable words, or Bahirgita, i.e., external music, and is said to be dear to the Asuras. Bharata gives the sound syllables of this music, resembling the meaningless Sama-stobhas or the Carnatic Sollu-k-kattus. The dances which figure here and which are part of the Tandava promulgated by Siva, are executed to the *the present writer has a separate extensive paper entitled Music on Bha- rata's Stage. y t b sa i, ;U .H-a.s>a ^ a -va- tn > <■■■ ■> ,,a -S i? “S .a , 68 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXIII

accompaniment of certain music compositions belonging to the Gandharva or the Marga type previously referred to. Some of these song4§mpositions mentioned by Bharat* are Vardhamanaka, Asarita (or Margasarita, referred by Sabarasvamin too in his Mimamsa- bhashya), Chandaka, Gita, Mahaglta, Madraka, Magadhi, Ardha- magadbi, Sambhavita, Prithula (four kinds of GTtis), Rk, Gatha, S&man, Pinika, Aparantaka, Ullopya, Prakari, Ovenaka and Uttara. The last seven are grouped together under a common name Saptarupa or Saptanga said to be derived from Samaveda and yielding spiritual merit. The imperfect condition of the text of Bharata’s work and Abhinavagupta’s commentary thereon hamper our full understanding of these ancient Marga-songs in Sanskrit. Through Nanyadeva's Bharata Bhashya and Sarngadeva's Sang]taratnakar& we get clearer ideas o f these. Derived from the Jatis are tbe melodic compositions calls Kapalas, numbering seven, of which again tbe libretto is as cribed to Brahman himself and another class called Kambalas. Corresponding to these there are also the rhytbm-measures or Talas of Marga music which are also given a divine origin, Chacchatputa, Chachaputa etc.

The next treatise o f importance is the Narada Siksha. The most distinguishing feature of the music of India is its wealth of melodic forms created out of endless variations of the succession of svaras or notes, called R aga by virtue of either their colourfulness or captivat ing effect on the heart. But the concept of Raga as such had not developed in Bharata’s time. During the early stages there were the Jatis or the parent scales in which the compositions of those ages like the Ramayana and the Gandharva-songs were sung. The instru ments were also open at that time and the melodies changed by transposition of the notes and the shift of the key. Hence Gandbarva is defined by Dattila as Avadhana or concentration and careful execu tion involving svara-transpositions. Later tbe increasing realisation o f the starting, lingering and ending points in these melodic types led to greater analysis and the formulation of JElagas. The Ragas to begin with were few and besides the main Grama Ragas of the two Gramas of Shadja and Madhyama, the only other Ragas mentioned in the Narada Siksha are Shadava, a Raga taking only six notes, Pancha- ma, Sadharita, Kaisika and Kaisikamadkyama. The Narada Siksha quotes here Kasyapa, and from the Abhinavabharatfof Abhinavagupta we learn that Kasyapa’s music work is of much value. The history of the Riga-music appears in its fullness in the Brihaddesi o f Matanga, who expressly states that he deals with the PARTS I1V] AN OUTLINE LITERARY HISTORY OF INDIAN MUSIC 69

Raga-marga not dealt with by Bharata. These Ragas as distinct from the Marga which cannot, on the analogy of the Veda, be altered, are called Desh permitted to vary in different parts in the country. As the first big treatise on the DesF Raga Matanga’s work is called BrihaddesF An incomplete and imperfect manuscript of this was recovered and published from Trivandrum. Just as the expressions Marga and Deafare contrasted, Gandharva is contrasted with the name Gana. The DesI Raga Gana is the next, the third, stage in the history of Indian Music.

As the Ragas grew they were classified into Suddha and Bhinna and the Grama R aga into Bhasha, Antara Bhasha, and Vibhasha on the linguistic analogy. The next stage of classification is into Raganga, Bhashanga, Kriyanga and Upanga. In course of time the Ma-GriUna too went out of vogue leaving as its survival the Madhyama-Grama- Raga, even as the Ga-Grama left leaving its survival in the Gandhara- Grama Raga referred to in the Harivamsa; and then Sa-Grama alone prevailed. A definitely datable but unfortunately difficult music material is a seventh century rock inscription of the Pallava King Mahendra- varman of K anch], at Kndimiyamalai in the Pudukottai State in South India which gives Svara-groupings for an enigmatic seven and eight on the lute called Parivadinl. The puzzling seven refers perhaps to the seven Jatis and the eight perhaps to a new mixed Jati created by the royal musician himself, for one o f the well-known titles of this King is Sankirnajati, and these titles themselves were taken by the King after his respective achievements in the different depart ments o f arts and letters.

Next comes a series of commentaries and expositions of the Natya Sastra of Bharata by Lollata, Udbhata, Sankuka, Kirtidhara, Abhinavagupta, and Nanyadeva, those of the last two alone being available now. At about tbe time of the last two, the royal polymath of Malva, Bhoja, also produced a musical treatise. Besides the works o f these, there were numerous others ascribed to names of sages and mythological figures, Yashtika, Durga, Sardula, Kohala, Visakhila, Dattila (recovered and published from Trivandrum), Kambala, Asvatara, Ravana, Nandikesvara, etc., some of which are early in deed. Some of the Puranas too deal with music. Among historical persons Matrigupta mentioned in the Rljatarangini, Rudrata, the rhetorician, R ahula a Buddhist and King Somesvara also are authors on music. Of all this literature we have an exoellent epitome in the 70 THE JOURNAL OF THE MADRAS MU8IC ACADEMY [VOL. XXIII

SangitaratDakara o f Sarngadeva, Chief Accountant of King Soddhala (A. D. 1210*1247) o f the Yadava dynasty of Devagiri, which has stood the jj| ^ t of time and is today the only book looked into for an all round knowledge of ancient music. An earlier work of importance is represented by the music chapters o f the Manasollasa or Abhilashi- tartha Chintamani, an encyclopaedia compiled by the Chalukya King Somesvara of Kalyan in A. D. 1181.* A Jain work of merit is the Sangita Samaya Sara of Parsvadeva probably of the 13th century itself.f A number of commentaries on the Sangita Ratnakara were then produced, chief among these being the works of two Telugu writers King Singabhupala (A.D. 14th cent.) and Chatura Kallinatha (A. D. 15th cent.). In the post-Ratnakara period, sometime after the mingling of the Hindu and Persian cultures in the North, there developed a schism in Indian Music and the two Schools of the North and the South—Hindusthani and Carnatic—came to be distinguished. The fundamentals and the basic texts of the two schools are the same, but differences in nomenclature o f Srutis and Ragas, in the aesthetic of Raga-formation and in the employment of the subtler aspects like graces came about. While the names of Ragas are common to the two schools, their respective melodie contents came to differ. It may be said that to some extent the South preserved the purity of the old music and its school exhibited scientific trends in its further development. But it should not be held that there was no contact bet ween the two schools; Gopala Nayak, a famous South Indian musician and composer, was taken to the North by Alauddin Khilji, (13th century); Pundarika Vitthala, a Carnatic musical author was patro nised by Akbar’s courtiers (16th century); when a Nepalese king wanted to compile his Sangita Chandra, he says, he called for a con ference of scholars, from all parts of the country, and secured a valuable treatise from the South, even as Garuda secured nectar. Some of the very sweet Ragas of the Carnatic system came from the north ; an eminent South Indian composer like Mutbusvami Dikshitar lived in Banaras for some time and adopted some Hindusthani modes for his creations. The North Indian Music books start with six Ragas as primary and classify other melodies in a domestic style into male and female,

* The present writer has collated two mss. of the musio portion of this work for a critical study and edition. t The text of this work was badly printed from a single defective ms. in Trivandrum. The present writer is working at an improved edition on the basis three mss. of the work. PARTS I-iy] AN OUTLINE LITERARY HISTORY OF INDIAN MUSIC 71

husband and wife, and sons and daughters, kinship in impression and emotional ethos being the criterion of such classification. Another peculiarity of the North Indian melodies is that each Raga is picturised into a certain image, Megha as the Raining Cloud, Hindol as the swing of the lady sporting on it, and so on, which has given rise to the beautiful school of Ragamala miniature painting. A third characteristic is that while in the South, the relation between certain Ragas and certain parts of the day is emphasised only in a few cases, e.g. the Nilambaii for the night at sleeping time and Bhupala for sunrise, and is seldom observed as a rule, the North has rules of time to a greater extent, and what is more, observes 6uch rules in practice too. The history of the South Indian musical literature dates clearly from the Vijayanagara period and hence perhaps is this school styled Carnatic. The Saint-singer of the period Purandara Dasa is considered to be the father of Carnatic Music. By his time we had already the Sangltasara ascribed to Vidyaranya, the Sage founder of the Vijayanagar kingdom. While the classification of the Ragas in the North was proceeding on lines of Raga-Raginls and their issues, Carnatic Raga classification began with a scheme o f Mela-Janya Ragas, parent and derivative melodies. Vidyaranya formulated fifteen Melas and described fifty Ragas. Ahobala's Sanglta Parijata, translated into Persian in A.D. 1724, is valuable as a work fixing Svaras in terms of the length of the wire in tension on the Vina. Two other productions of the Telugu country are the Svaramelakalanidhi of Ramamatya (A. D. 1550) which mentions the Sruti (drone) aud the Ragavibodha o f Somanatha (A.D. 1609). The centre of music activity then shifted to tbe Nayak and Mahratha courts o f Tanjore, and the high-water-mark of the Carnatic music even to day is the Tanjore style. During the reign o f King Raghunatba Naik of Tanjore (A.D. 1614-32), his scholar minister Govinda D’ikshita fixed the Carnatic Vina, naming it after his King and made it suitable for playing all the Ragas. This fixing o f the frets of the Vina then marks a stage. Govinda Dikshita wrote a treatise on music called Sangita- sudha. His son, Venkatftmakhin, the Mimamsaka, wrote a music treatise called the Caturdandiprakasika during the time of Vijaya- raghava Naik (A.D. 1633-73), in which a system was worked out, on the basis of the twelve notes of the gamut, whereby all the possible Raga varieties, known and unknown, were brought under 72 major and parent modes called Mela-Ragas, their derivatives being called Janya-Ragas. Out of these, 19 parent modes were current in Venkatamakhin's time For the characteristics of the Ragas known in his time, he resorted to a grand-preceptor of his, Tanappa, son o f 72 THE JOURNAL OF THE MADRAS MUSIO ACADEMY [VOL, XXIII

Honappa, who had left a legacy of detailed treatment of fifty Ragas, worked out into sets of four compositions called Caturdandl, Gita, Prabandha, Thaya, and Alapa. The next important Tanjore text is the Sangitasaramrita o f King Tulaja, a Mahratha ruler o f Tanjore (A.D. 1729-35). The most valuable portion of his work is the detailed descriptions of the Ragas with citations from old Thayas, Gitas, etc. The three texts of Tanjore noticed above were quickly superceded by a rather irregularly written work called Sangraha Cudamani by Govinda, whose system is the one in vogue now. To Venkatamakhin, the author of the seventy-two mela scheme, it was not necessary that each parent mode should be a complete heptatonic scale by ascent as well as descent; Govinda took this to be a drawback and created wherever necessary new parent modes having completeness of svaras thereby adding to the Ragas in existence. Some modern scholars find fault with the mela scheme orginated by Venkatamakhin, but some find it to be good and Mr. Bhatkhande to whom modern Hindusthani renaissance owes much, adopted it for classifying the North Indian melodies in his work called Lakshya Sangita. Many of the musio works dealt with dance also. Some separate treatises also came to be written on a single department of music, Ragas, TDas, or some instrument. Regarding music compositions in Sanskrit we noted that after the Samans, there arose the compositions of Marga or Gandharva music all o f which were in praise of Siva. They were in imitation of Vedic music. Three of these compositions were actually called Rik, Gatha and Saman. Many of the characteristics of Vedic music were transmitted to later music in a different form : Corresponding to the Stobhas o f the Saman, developed the Akara and Tennakara o f later musio; and the five parts of the Saman singing Prastava, Udgitha, Pratihara, Upadrava and Nidhana, gave rise in later music to UdgrSha, Anudgraha, Sambodha. Dhruvaka, Abhoga, of which the first, fourth and fifth became the more important parts of a composi tion. Mat&nga’s work mentions a large number of compositions under Des! music. An idea o f this class of compositions can be had from the Prabandha chapter (IV) of the Sangita Ratnakara. Sarngadeva says that Prabandha is also called Vastu and Rupaka, and has four limbs Udgraha, Melapaka, Dhruva and Abhoga. The six constituents of such a musical composition are Svara, Birudu, Pada, Tenaka, Pata and Tula, notes, praises and words, Te-Ne syllables used for melody, rhythmic syllables and time-measure. These compositions have sub-varieties, distinguished on different principles. Sarngadeva PARTS I-nr] AN OUTLINE LITERARY HISTORY OF INDIAN MUSIO 73

names thirty-two kinds of S«da compositions, some of these names being Ela, Jhombada, Rasa, Ekatali, Varna., Varnasvara, Gadya, Ary», Gatha, Dvipatha, Totaka, Vritta, Rasakadambaka, Pancatalesvara, Talarnava, etc. ; some others called Alikrama and miscellaneous prabandhas (e.g., Tripadi, Catushpadi, Shatpadi, Dandaka, Kanduka, Oharchari, Paddadt, Rahadt, Dhavala, Ovi etc.) and another set called Chayalegaor Salaga (Dhruva, Mantbaetc.). Some of these atleast were popular and vernacular in origin and some others have close connec tion with Prakrit prosody.

Of Music compositions of another type we get a glimpse from the Abbinavabharati where Abhinavagupta mentions that there was a composition called Ragakavva or a composition to be sung in a Raga and the instances are given of the poem Raghavavijaya to be sung in the Takka Raga and the Marfcavadha in Kakubha Grama raga. Such poems recited musically were a continuation of a ancient Akhyana rhapsodies. In a later century (18th) we find a work of poet Narayana of Orissa, Sangita Sarani, citing many such musical poems compiled by himself and his father Purusottama. He calls poems sung in single ragas Sutraprabhandhas and those sung in different ragas, Suddhaprabandhas. Ramacandrodaya, Balaramayana, Gundi- Cavijaya and Ramabhudaya are given in the later class and in tbe former are mentioned Balabhadravijaya, Sankaravihara, Usavilasa. and Krishnavilasa.

The outstanding creation in the field of Sanskrit musical compo sition is the Gita Goviuda o f Jayadeva (A.D. 12th cent) on the love of Rad ha and Krishna. This musical poem may be held to be the father of all later creations. In its poetry and the sheer music of the words and the litt of its lines, it is an unrivalled production. From the time of its composition, it has occupied a unique place not only among votaries of devotional music but also many votaries of dance who favour its songs for gesticulation (abhinaya). The poem is in twelve cantos, each canto containing more than one song. The songs are called Ashtapadis referring to the eight feet in each of them with a refrain called Dhruvapada. The text gives the Raga and Tala of each song and among the many commentaries, that of King Kumbha- karna of Mewar, author too of a music treatise called Sangita Mimamsa, devotes much attention to these Ragas and Talas. Eaeh song is introduced and concluded with of beautiful verses and the entire form of the composition was so original and so attractive that numberless imitations o f it arose. Its influence on later music composition can be felt even up to the time of Rabindranath Tagore. 74 THE JOUBNAL OP TBE M a DBAS MUSIC ACADEMY [VOL. XXIII

So far as Carnatic music composition is concerned, Jayadeva inspired Narayana Tlrtha of South India, a Telugu Sannyasin who retired in the Tanjore District, in the 18th century, to produce his fuller opera of the sports of Krisnna called the Krishna Lllstarangini. Sadasiva Brahmendra an Advaitic writer and Avadhuta of Tanjore District (A.D. 18th century) composed some Vedantic and devotional Sans* krit songs. The most important Sanskrit composer in the field of Carnatic music is Muttuswami Diksitar of Tiruvarur (A.D. 1775-1835) whose numerous and learned compositions, bringing out the entire forms of the Ragas, form one of the reservoirs of Carnatic music today. playful mood he imitated also some of European Band tunes heard at Tanjore, inoluding the British National Anthem. Next to him comes the more prolific royal composer of Travancore, King Svati Tirunal Rama Varma (1812-1847). The more famous contemporary, Tyagaraja, who composed mostly in Telugu, produced a good number of Sanskrit songs too. The South Indian music composition has three limbs, the Pallavi corresponding to Dhruva- pada, Anupallavi and Carana, taking off in an essential and attrac tive point of a Raga and then elaborating it slightly and then more fully. Many of these composers were great devotees of God and mystics, and in fact, to them there was little distinction between devotion and art ; the Bhakti movement in the mediaeval and later times gave an impetus to song-compositions all over the country, but the affiliation o f the art of music to spiritual pursuit is an idea valued in India from most remote times. Sage Yajnavalkya con sidered it as a means of salvation and indeed musical sound itself is adored as Nada-Brahmam.

BIBLIOGRAPHY. i Early and Later Sanskrit Sangita Literature : Dr. V. Raghavan. Journal of the Madras Music Academy. Strangways: Music of Hindusthan. Rev. Popley ; Music of India. Vaidya ; History of Sanskrit Literature. Van Der Hoogt: Vedic Chant studied in its Textual Melodic Form. Bharata’s Natya Sastra ; Abhinavagupta’s commentaryjon the Natya Sastra : The Naradiya Siksha ; The Sangita- ratnakara of Sarngadeva. G. H. Ranade : Physics and Aesthetics of Hindusthani Music. Systems of Music by Bhatkhande. Texts and Journals published by the Madras Music Academy. PHILOSOPHY OF MUSIC {continued)^^^6 DURATION AS MEASURE OF SENSATIONS

~~R o b in d r a l a l R o y , H e a d o f t h e m u s ic d e p t ., P a t n a U n i v e r s i t y~~

Western scientific philosophers and scientists often declare with confidence that our sensations are mutually isolated. Thus Bertrand Russell observes in his Outline of Philosophy : (p. 251) ... When is an event a “ thought” ? Is there some intrinsic characteristic which makes it a thought ? Descartes would say yes, and so would most philosophers. I should say no. Take e.g., a visual and an auditory sensation. Both are thoughts in Descartes ’ sense but what have they in common ? Two visual sensations have an indefinable quality, viz., that which makes them visual. Two auditory sensations likewise. But a visual and an auditory sensation have in common, if I am not mistaken, no intrinsic property but a certain capacity for being known without inference. This amounts to saying that there are mnemic causes of a certain kind of event, called cognition and that they have, moreover, a certain formal similarity to the cognition which they cause.... > Or again as Lord Raleigh observes in his Theory o f Sound in the opening sentences:— “ The sensation of sound is a thing sui generis, not comparable with o k , , sensations. No one can express the relation between sound and co^ ,r Qr a 8meU...... J

~~Very cursory obwe*>^on 8nffices to show that sounding bodies are in a state of v ib ,^ fJB and thftt phenomena o f flOUnd and vibration are closely associate~~

Before we suggest the common property of sound and colour sensations it is necessary to properly identify the measure of pitch which to the musicians is th, audib,6 size of , 80und_ The phy8ioi8t generally identifies a sound M a number of vibration8 pei Becond But it is well known tha, the size o f the 80und (called pitch or frequency) is established in tbtfraction of a a8 fop instanoe when a violinist plays four no e8 Qr gjj; noUg Qr eyen m m in ^ interval of one second. Physicists themselves paid attention to the determination of pitch by th. . nal|eet poasiMe nnmber of vibrations thus: ■ ~ i ••Total nnmber of vibrations needed to p. dnce 8engati0n o f pitch : Experiments to determine this point has U 76 THE JOUBNAL OP TBE Ma DBAS MUSIC ACADEMY [VOL. XXIII

~~number of physicists perhaps the fullest being by W, Kohlrausch,.... This shows that even with so few as two vibrations a fair estimate of pitch can be formed. ” (Barton, Text Book of Sound.)~~

Thus it comes to this that a pitch of 240 vibrations per second can be realised as a measurable sensation in l/240th part of a second, a pitch o f 270 vibrations can be estimated as a measurable sensation in l/270th part of a second and so forth. This is so because the time interval between any two vibrations of the pitch called 240 vibrations per second is 1/240th part of second (counting from a zero point). Similarly the pitch identified as 270 vibrations per second has the time interval of l/270tb part of a second. It follows thus that the slower rate of vibration takes more time to be realised than the quicker rate of vibrations and both are realised as to size according to that blank interval of time that elapses between any two suceersive vibrations or pulses that reach the ear. If we call this the Time-period of the sound we can say that a sound is heard as a sensation in the Time-period of the given sound its size being proportional to the size of the time-period. Hence pitch should he identified with the Time-period of the sound and not with the number of vibrations per second. It also follows from this that a smaller number of deep voluminous (low pitch) notes can be heard in a given interval of time (say a bar or Matra) than high-pitch or small sounds. Thus we can arrange the notes commonly identified as 240, 270, 300 320, 380, 400, 450, 480 vibrations per second as 1/240, I/? '"'’ 1' 1/320, 1/360, 1/400, 1/450, 1/480 parts of a second J * '|U ih relati®n to the Tonic as unit which the musician usm5^ the 8tandard for comparing other sounds we have the relatr **** 2/3, 8/5, 8/16. 1/2. Thus according *’ *his view the hi« her Pitch is actually a smaller time interval A™3 « a definite fraction of the lower note* At first thought it msv appear t*at tbis «• » ■»<*» recasting of the t,are-length retef-°“s bet'Peen ,0"nd” notes, for wave-lengths should b- tlonal to But wave-length is a spaee-coneept cr« ted *>7 thMeta**. It is the time-conscioe**-* *< create8 the “ " “ ‘ ion <* in very much the sam*™? 88 Hme-consciousness creates the measure o f time that elapses bttw*™ two stroke" on *be drum- The size o f such an interval is < * » W ined *>? two succe8ai,e Btroke8 on th“ drum, Within the an* de ranKe howeTer thisinterval assumes the of sound > *?° successive pressure pulse, reach the org'h) o f hearhr 11 on* *»n8uage we can say the time-intervals PART® I-1V] DURATION AS MEASURE OF SENSATIONS 77 that are reckoned as silent blank intervals between strokes on a drum are the Matra of Laya while the time intervals experienced as sound are tbe finer or subtler intervals called Sabda-Tanmatra.

Moreover this type of reckoning has important implications that may form a theory o f Harmony of Sounds where tones made by combinations of sounds may be anticipated. At present combination tones are regarded as tbe sum of vibrations per second or their diffe rences. This suggests a mental operation which seems absolutely illogical, a point we may discuss later. We may only indieate here that if two pulses of air pressure reaching the ear from a single source (say a siren) can create a sensation o f pitch there is scarcely any reason why the two pulses sent from two different sirens placed in the same direction should not create the same sensation. When both sound together they should reach the ear sometimes together and sometimes alternately and produce sounds according to the time intervals between them. It would not take a whole second to hear them as is true in the case o f a single source. For instance if the first source has 1/600 time period and the second has 1/800 counted from a zero point of coincidence then the first combination tone would be o f 1/600 minus 1/800 sec. time period (the time between the first pulse of the latter and first pulse of the former, the point of start being reckoned as zero). An entire series can be easily calculated between two points of coincidence. The first one is 1 /2400 or a pitch called 2 4 0 0 per second. The second one will be 2/800 minus 1/600 or 1/1200 and so forth, till 3/600 and 4/800 coincided containing in between them the others. These notes are realities of the same order as an ordinary note, and not illusions as some music-psychologists try to assert. ^Necessary experiments however are needed to verify this theory. It is important to note that the so-called difference tone of 200 vibrations per second is formed here by the specially powerful coincident pulses at every l / 200tb part of a second and is heard in that fraction of a second and can have nothing to do with the entire second. To have a difference tone as 800—600 or 200 per second would need a mental operation that should cover an entire second. And such a mental operation involves in principle the subtraction of one tempo (of so many puffs per second) from another which is non- commensurable with it. This seems to be impossible.

A similar difficulty is offered by the so-called summation tone. We are not likely to get a summation tone of 1400 vibrations per second in the above computation whioh we may tabulate below. The series of combination tones between two coincidences at Zero and 20 78 THE JOUBNAL OF THE MADBAS MUSIC ACADEMY [VOL. XXIII

1/200 where the 3rd puff of one tone coineides with the 4th puff of the other should be as follows : 1 (1) 1 /600-1/800 or 1/2400 (2) 2/800— 1/600 or 1/1200 (3) 2 /6 0 0-2 /80 0 or 1/1200 (4) 3/800 -2 /6 0 0 or 1/B400 (6) 3/600-3/800 or 1/800 (6) 3/600 coinciding with 4/800 giving a powerful 1/200 repeating the zero point of coincidence. We do not thus get here a summation tone of 800 plus 600 or 1400 vibrations per second. It is here as if a sound packet o f 1/200 sec. time period (or 200 vibrations per second in present language) contains in it the series given above to be repeated in every successive 1/200 sec. interval of time. This packet repeated 200 times per second naturally gives a vibration number of 200 per second. We may note in this connection that some Western musical theorists have regarded the scientists’ theory of pitch as unsatisfactory. Thus T. H. Yorke Trotter quotes Watt in his Music and Mind (p. 154): ‘According to the most recent theories “ the volume of any tone includes not only the pitch but the whole volume of every higher tone; so that all tones may be reduced to a single series of hypothe tical particles of sound one half of which series we actually hear as pitches of tones.” The intervals that more especially fuse and are therefore the most consonant are the octave fifth and fourth. Thirds and sixths are less consonant while seconds and sevenths are dissonant...’ When we reckon pitch as an interval of time whose duration only is proportional to its volume or size we can see that the pitch of any higher note being a smaller time-in terval is obviously a part o f it. In case of a theoretically simple tone this time interval is blank but is, all the same the instantaneous measure o f its volume or size. A stationary source of sound sends its puffs of air pressure at given regular intervals of time and produces its pitch. When it moves towards the observer tbe interval between the pufiFs decreases and the sensation is at once o f a higher pitch. When it rapidly passes

~~1 The general formula would be: if frequencies are P~~

by us the decreased time-interval increases and we hear a lower pitch at the very instant when it passes us (Doppler effect). But when two tones are sounded together this blank interval comes to have a temporal orientation in which instantaneous parti cles o f sound will be created between coincident puffs, as already explained. Consonance will depend on whether these sounds so produced fit in as to volume or size with the parent notes. In tbe above series obtained from combination o f 1/600 and 1/800 (Sa to Ma relation), the instantaneously produced time-periods or particles of sound are seen to be exact fractions of the parent notes while the lower note 1/200 is a multiple. Thus the smaller notes support Sa while the bigger one supports Ma two octaves below. If we had an unrelated note of 1/1400 consonance would fail. This sustenance of parent notes by the combination notes makes them consonant, and parent notes powerful. But it is possible in some cases to nearly get a summation tone (so-called) by this method of computation also as for instance in case of 500 and 800 vibrations. This ought to give us according to physics 800 plus 500 or 1300 vibrations per second. But according to our t heory this should be 1/500 — 1/800 or 3/4000 or about 1/1333 app. which is somewhat higher than 1300. Again the summation apd difference tone theory does not explain the occurrence of a vast number of other tones of combination regarded as illusion. In the article * Tones created by the ear ’ (Science and Music, p. 231— 35) Sir James Jeans observes :

*• In other words the ear of its own accord and by means of its asymetry brightens up the pure tone by adding something of its octave.

He (Helmholtz) further showed that when two pure tones are sounded simultaneously, the ear of its own accord Dot only adds their two octaves but also summation and difference tones having the frequencies already explained.”

Again (p. 238) “ Summation tones were discovered by Helmholtz in 1856. They are much more difficult to hear than difference tones — largely because they lie in a region o f frequencies which is already occupied by the harmonics of the original sounds. There has never been any doubt as to the various tones being heard, but there has been a good deal o f discussion as to whether they are purely subjective or not. If they were heard only as a 80 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXIII

consequence of the asymetry of the ear-drum, then they would of course only exist Inside tbe ear and could not be picked up by any resonator outside the ear. After it had been believed for some time that tbe notes were purely subjective in this sense Helmholtz was able to prove that they existed objectively and although his experi ments have repeatedly been challenged, no one any longer doubts that under certain conditions, the tones have an objective existence and can be picked up with a resonator. Indeed, we can easily prove this for ourselves by striking c' and g' with sufficient force on the piano. We not only hear C but shall also find the C strings are feebly vibrating as can be verified by laying small chips of wood across them, in the way explained on p. 38.” It appears from the above that under certain conditions the com bination tones can be located but not always. In the above instance combination of Sa and Pa gives the difference tone as the Mandra SA. I f Sa is 240 and Pa is 360 then the combination tone (called difference tone) is according to physicists 360—240 or 120 and this is an octave lower than Sa = 240. According to the theory suggested by me this is created by the repeated agreement of the second pulse from Sa (at time interval 2/240) and the third pulse, from Pa (at time interval 3/360), that is, at time interval 1/120 sec. This combined pressure pulse from the two notes repeated every 1 / 120th second gives us a frequency of 120 vibration per sec. acciden tally agreeing with the difference 360-240. This agreement however Will hold true for all frequencies o f Sa and Pa which are mutually related in the ratio 1 /2: 1/3, reckoned in time-periods. Similarly for Sa and Ma related as 1/240 to 1/320 the fourth pulse from Ma would agree with the third pulse o f Sa at 4/320 and 3/240 both giving 1/80 where 80 is also the difference between 320 and 240. But combi nation of 500 and 800 vibrations related as Sa to Komala Dha does not give us simple difference and summation tones. The fifth puff from Sa would agree with the eighth puff from Komala Dha giving us a deep note o f 1/100. And no blank interval o f 1/300 sec. can be created between the pulses o f the tones because 1/500 or 1/800 will be repeated in that interval. Other concordant intervals and many disoordant. intervals would be created giving us the Sa and Komala Dha relation as semi-harmonic.2

2. In this series of tones the most regularly repeated and hence powerful tones will be of and seconds period. Then T^and others instantaneously produced such as 7 or frequencies 1333'3, 2000, 4000, 1000 etc. PARTS I-1V] DURATION AS MEASURE OF SENSATIONS 81

So much figure-work had t.e be introduced here because theories of physics suggest mental operations in hearing which seem to be unfounded and inconsistent with mental operations in allied lines of musical thought. For instance sound reckoned as &. number of vibrations per second is a tempo and ir realised as such ; a smaller number of vibrations per second means a bigger time gap between vibration pulses and sensation of sound is proportional to it at least in size and a musician playing four or more notes to the second wpuljl not wait for one second to realise it. It is therefore much more logical to identify sound with the time interval between successive vibrations which we hear as notes in minute fractions o f a second. An analogous mental operation is the division of a Matra (which may be equal to one second) into two or three or four intervals by means of strokes on the drum. Supposing we have two drummers divid ing the same Matra simultaneously into two and three divisions shall we mentally add them up and have a summation rhythm of five uniform divisions per Matra or Bar. This is impossible ; we would father have the sensation of a matra where intervals like 1/2-1/3, 2/3 -1 2 will be created by the combination in the orientation of the Matra8. That is also likely to be the orientation within the second of the combination sound pitch formed by two simultaneous sounds giving out regular puffs o f vibratjons. The combination tones thus are realities of the same order as any simple tone but this reality may in ultimate analysis be the crea tion o f our time-sense extending into other senses. This appears highly probable when we compare the wave-lengths of light with the relations between the musical notes reckoned in periods which are proportional to wave lengths.

n , Wsve-lengtbs Musical interval and Wavelengths of the ColouI in A. U time-period ratios flours according r to Musical ratios. Red 7800-6400 Tonic o f reference 7200 Sa or say 7200 as app. average. Orange 0400-5900 7200X8/9 major second 6 40 0 Shuddha Re

3. The orientation of this Matra will obviously be given by time-intervals t + i + i . 3' 1 Matra. This is so because the first J Matra is undisturbed. The second interval is The third interval l» f 1 — f. 'Fourth interval is 1 —§ = $. 21 82 THE! JOURNAL OF THE MADRAS MUSIO ACADEMY [V o l . x x i h

Yellow 5900-5500 Major third 7200x4/5 f« 5700 Shuddha Ga Green 5500-5000 Fourth: 7200x3/4 5400 Shuddha Ma Blue 5000-4800 Fifth: 7200x2/3 4800 Shuddha Pa, Indigo 4800-4500 Major sixth 7200x3/5 4320 Shuddha Dha Minor sixth corres ponds better as $ppg?' st|$ 7200X5/8 4500 Komala Dha Violet- 4500-3800? 7200x9/16 minor seventh 4050 Komala Ni 7200x8/15 major . seventh 3800 Shuddha Ni

Tbe Komala Re is within the red range 7200x15/16 or 6750 while Komala Ga is within the range o f orange 7200x5/6 or 6000. We can see that there is very good correspondence between the ratios of sounds and colours and the sensations of sounds and colours are well related through our time-sense.

It may be questioned however as a counter argument whether time consciousness can possibly extend into such minute time- periods as the undulations causing the colour sensations. Such a question is justified on the ground that our ordinary time-sense of the conscious mind is restricted to the sense o f rhythm as in Tala. Hence we have to indicate that time consciousness is not only a property of the conscious mind but extend into the very minutest cells of the body. When that is confirmed we can say that we hear time-intervals and see time-intervals in the sensations called Sound and Light which have been given the names of Sabda-matra and Rupa-matra in our Sastras. Fortunately some confirmation is available in the observations o f physiologists. Thus Alexis Carrell (Man the Unknown):

“ The central system consists of the brain cerebellum and the spinal chord. It acts directly on the nerves of the muscles and indirectly on the nerves of the organs. It is composed of a soft whitish extremely fragile substance filling the skull and the spinal column. This substance by the agency of the sensitive nerves, receives the messages emanating from the surface of the body and from the sensory organs. In this way the nervous centres are in constant touch with the cosmic world. Simultaneously they send their orders to all the muscles through the motor nerves and to all PARTS I-IV] DURATION AS MEASURE OP SENSATIONS

the organs through the sympathetic system. An immense number of nerve fibres interesect the organism in every direction. Their microscopic endings creep between cells of the skin, around tbe acini of the glands and their excretory ducts, in the coats of the arteries and the veins, into the contractile envelopes of the stomach and the intestines, on the surface o f the muscular fibres etc. They all originate from the cells inhabiting the central nervous system, the double chain *of the sympathetic ganglia and the small ganglia disseminated through the organs.

These cells are the noblest and most elaborate o f the epithelial cells. Owing to tbe techniques of Ramon-y Cajal they appear in all their structural beauty. They possess a large body which, in the varieties found on the surface of the brain resembles a pyramid and most complex organs whose functions still remain unknown. They extend in the form of extremely slender filaments, the dendrites and axons. Certain axons cover the long distance separating the cere bral surface from the lower part of the cord. Axons dendrites and their mother cell constitute a distinct individual the neuron. The fibrils of one cell never unite with those of another. Their extre mities form a cluster of very tiny bulbs, which are in constant motion on their almost invisible stems as is shown by cinematographic films. They articulate with the corresponding terminals o f another cell by means of a membrane, known as the synaptic membrane. In each neuron the nervous influx always diffuses in tbe same direction in relation to the cellular body. This direction is centripetal for the dendrites and centrifugal for the axons. It passes from one neuron to the other by crossing the synaptic membrane. Likewise it pene trates muscular fibres from the bulbs in contact with their surface.” 'fa v t y fi i ' ® f ' b « * d lo d ^ & u r ‘>£ii oJ i m a n r - i»: Now eoxa«s tbe most important passage in continuation which uould not be jfeparSted from the somewhat long context:

“ But it^passage is subject to a strange condition. The value o f time or chronaxy, must be identical in the contiguous neurons, or in the neuron djr the muscular fibre. The propagation of nervous influx does«i

Thus we learn from a very authentic source that the neuron nerve and muscle have time standards though we are not consciously aware of their existence. Hence it is unreasonable to doubt the possibility of time-sense or chronaxy existing in the nerves of our organ of hearing or sight. The above observation again shows the temporal organisation o f our tactile organ, the skin which in innu merable kinds of layers is in contact with the various mediums through which we establish contact with our external world. We could not hear if our eardrum were not in contact (as a touch-sense) with the aerial medium that carry sound pulses to us. But the method of measurement is essentially temporal and hence we find rhythmic relations between different sound vibrations that we regard as pleasant and hence the physiological importance of music.

It seems certain therefore that our five senses of reception are temporally related and out of which musicians have specialised in creating the forms agreeable or otherwise to the sense of hearing. The musioal scale is repeated in the sight range but over one octave only, or just less. Since the entire skin is time-conscious it is quite probable that it absorbs and is affected by sound particles which we hear and by those beyond the range o f auditory perception. Tbe organs o f taste and smell which are obviously forms of skin should be time conscious in the same way as the cells and the nerve fibres referred to above are time conscious. But we do not know what time periods or Matra are responsible for the respective sensations caused by what the ancients called Gandha or Prithivi-mitra and Rasa-matra.

~~It is necessary here to observe that the term ‘ Matr» ’ was used in our past to indicate both sensation and time which is evident from the following words in the Prasnopanisat:~~

Prithivi cha prithivi-matri cha, Apschapomatra cha Tejascha Tejomatra cha, Vayuscha Vayumatra cha, Akasascha Akasamatra cha, Chakshuscha drashtavyancba, Ghranancha Ghratavyan cha, Rasas cha rasayitavyam cha Tvak cha Sparsayitavyan cha, etc. etc. (Chaturtha Prasna). And in the Panchama Prasna : Sa yadi ekaniatramabhidhyayeeta sa tenaiva samveditasturna- meva jagatyamabhjsampaddy&te, etc. Atha yadi dvimatrena manasi sampadyate sah antariksbam yajurbhirunniyate somalokam > PARTS I-IV ] DtTRATlON AS MBA8TTRE OP SENSATIONS 85

Yah panaretam trimatrena omityetenaivaksharena param puru- shamabhidhyeyeeta sa tejasi surye sampannah. Thus in the former instance matra refers to the finer elements which in case of Sound and Light called Akjisamatra and 'fejo- matra (also called Sabda and Rupa-tanmatra) we find to be dura tions, and according to physiological evidence the Touch-sense is also dependent on time-consciousness. In the latter case the duration of the syllable Om is described, for which Sankarananda’s commentary seems most rational.

So we can see that our traditional type of thinking was Durat ion minded and the purpose of human well-being directed our sciences to classify the external world in relation to the sensation and their durational perception. And we need not be ashamed o f the fact that we did not start with the foot-rule and litmus paper as reliable standards for measuring the external world, when we see the present trend of modern science. Thus according to the foregoing line of thought we may classify the phenomenal world with reference seven planes of durational consciousness. Below the range of audibility we have the conscious ness o f Lay a as in rhythm. Larger units of time such as hours, days, months, seasons, ages, and even life as a whole accumulating sensa tions. thoughts, mental and physical experiences, etc., remaining in the mind. Among the western philosophers Henri Bergson has given ample attention to ‘ durations ’ accumulated in consciousness. In the Upanishads the temporal conception of the cosmic spirit is given by such conceptions as “ Panchapadam pitaram dwadasa- krtim ” where the five seasons and twelve months make up his temporal configuration. This is entirely a musical concept persisting in almost every phase of our ancient philosophical thought. Now we may summarise below the seven ranges of durational concious- ness:

Durational range Sense concerned Subtle element Cross element as duration as phenomena Infinite past Unconscious Mahakala or Anahata (and future) mind KaUtma Nlda Rhythms up to Conscious mind Kala or Lay a and lower limit of Sense of hearing Musical Tala or audibility with balance and Matra Chhandah direction 22 86 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXIII from 1/24 sec to sense o f Akasa Akasa 1/48000 sec or hearing matra Ahata Nada eleven octaves from Ultrasonic Sense of Sparsa Marut or to Infra red Touch matra V ayu range From Red to Sense ef Tejas Tejas violet perious sight matra about one octave Unknown sense o f Rasa Ap taste matra tfm v* * Unknown sense of Gandha Kshiti smell matra The unknown portion was evidently known in the past and modern scienoe would discover it if it did not develop at random and without reference to human good. PRAHLADA BHAKTA VIJAYA*

T . V. Subba R ao Tyagaraja terms Prahlada Bhakta Vijaya as nataka, prabandha and kavya. It consists of poetry, prose and song. The language employed is mostly Telugu and occasionally Samskrita. The initial verses are in praise of Rama, Ganesa, Sarasvati, Narada, Tulasidas, Purandaradas and Ramadas. The phrase Bhadrachalamunanela- konna in these verses would seem to suggest that giri in the song giri* pai is probably Bhadrachala. He then praises the bhaktas of Maha* rastra as well as Jayadeva and Narayana Tirtha. The work is dedi* cated to Rama, his istadevata. Tygaraja introduces himself as the son of Ramabrahmam, living in Panchanada kshetra, praising God with music overflowing with melody and rhythm. He announces that the nataka abounds with jnana vairagya vi jnana sad bhakti, details the conversation between Prahlada and the ocean god after the consignment of Prahlada to the mid-sea with waist bound by nagapasa and describes the appearance of the Lord upon fainting of Prahlada and the debate between the Lord and Prahlada, embellished by music, drum and gesticutalion. Literary works are classed either as sravya kavyas or drisya kavyas. A work like Raghuvamsa is sravya kavya intended to be heard. A work like Venisamhara is a drisya kavya primarily intend ed to be acted and witnessed. Works o f both kinds, however, deserve to be read as literature. It is their characteristic feature that is emphasised in the two-fold-division. Though Prahlada Bhakta Vijaya is called a nataka yet it lacks many o f those incidents which we are familiar with in the Prahlada nataka as commonly represented on the stage. Scenes relating to the Danava King and his wife, the pre natal upadesa by Narada, early school life of the boy prince, the test by the father, severe displeasure at the disloyalty o f the son, the inhuman tortures inflicted on Prahlada, the climax where the Lord in the form of Man-lion bursts out of the pillar and destroys the father are conspicuous by their absence in the presentation by Tyagaraja.- Yet all the essential elements o f dramatic form are to be found in it. It has a plot of mixed character, being partly tradition al and partly invented. It has bhakti for its dominant rasa, which is nothing but sringara divinised. Its young hero is full of valour * with the kind permission of A. I. R., Madras. 88 THJD JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXIII

and steadfastness to overcome all obstacles and triumph in the end. It has all the parapharnalia of the stage, the sutradhara and dauvarika, acts and players. The asuchya parts o f the play are indicated by the device of chulika which is not by the players but by song or verse o f persons behind the scenes, in manner o f the chorus of the Greek drama. There are about ten songs to be rendered this way, two before and eight after the commencement of the story proper. Of the two earlier songs the first is benedictory ‘Sriganapatini’ in Saurastra and the second, a description of dauvarika, ‘Vasudeva’ in Kalyani- Of the eight others the last is a mangalam in Mohana. The preced ing mangala is the most famous one ‘Ninamarupamulaku’ in Sau rastra which if tradition at its best for more than a century is to be respected, ought to form the most fitting conclusion of every classic concert. If Prahlada Bhakta Vijaya had given us nothing more than this one song, yet the drama on this account alone would for ever remain memorable. It is noteworthy that the first and the penulti mate songs are in Saurastra. While the outward form o f the drama is maintained, there is very little for the eye to see but all for the ear to hear. The music o f the songs and Vrittas is the very perfection of melody and rhythm. The song ‘Sriganapatini’ is an exhortation to worship the destroyer of obstacles and is cast in the traditional mould of Saurastra. It is remarkable as the only piece of Tvagaraja incorporating the most characteristic sabda of Mridanga, viz- ‘dhittalang’.

The story proper as presented by Tyagaraja begins soon after Prahlada is thrown into the sea bound by nagapssa with a hill hurled to press him down. The Lord o f the sea in great hopes to hear the dialogue that would ensue between the Supreme and Prahlada, the greatest o f the bhaktas, embraces and carries him with pomp and ceremony to the magnificent hallof the decorated city. ‘ Sagarundu Vedale* in Yamunakalyani describes the march. Prahlada has first to be liberated from the bonds which only Garuda could sunder. The song ‘ Vinatasuta ’ in Useni is an invocation to the sovereign bird by the sea-deity. The advent of the great bird is celebrated in * Vishnuvahanundu ’ in Sankarabharana. The bonds are cut. Prahlada is free but in the deep trance of contemplation. The Sea-king entreats him to speak. Prahlada wakes and begs his sponsor on whose bosom for ever lies the Supreme, to teach him how to attain the Lord of all. The king of seas in the song, ‘ Vachunu Hari * in Kalyani exhorts him to sing the praise o f the Great One as the only way of attainment. Here ends the first act. PARTS I-IV] PRAHLADA BHAKTA VI JAY A 89

The Second Act begins with praise o f Lord by Prahlada in a padya reminiscent of ‘ Kadannavariki’. Then comes the song, * Vandanamu ’ in Sahana preceded by a padya of similar sentiment. It is remarkable that many songs are introduced by padya or sloka after the manner of Astapadis of Jayadeva. In dvipada verses which follow Prahlada recounts the sufferings he underwent and implores the Lord’s grace. He then bewails his birth unblessed by the sight o f Hari. Narada who hears the plaintive cries of Prahlada comes to the earth and consoles Prahlada that having taken leave of Lakshmi, the Lord left Vaikuntha to come and bless him.

The third Act begins with the song, * Ennaga ’ in Nilambari. Other songs pour out the yearnings of the devoted soul. Tbe Lord appears. Is it a dream ? No. It is the Supreme in reality. * Enatinomu ’ in Bhairavi is the natural swell of satisfied heart. The third Act ends.

The fourth Act describes the conversation between the Lord and Prahlada. To test him the Lord promises to give him all the blessings he could enjoy on earth. Prahlada protests that his only desire is to be with the Lord for ever and that tbe gifts of the earth are nothing to him. After assuring him that his desire would be fulfilled the Lord disappears.

The fifth Act is flooded with songs of grief at separation. The Lord appears again. Prahlada sings * Nanu V idachi' in Ritigaula. Brahma comes with his consort to behold the glory of the Lord taking Prahlada unto His bosom. Prahlada is transported with unspeakable Ananda. * Kara ma inti daka’, * Cballare’, ‘ Ninama rupamulaku ’ and * Jayamangalam ’ which conclude the aot are but the faint echoes of a deep ecstatic heart.

The intensity of love and devotion, the stern spirit of renuncia tion, the high wisdom of esteeming the Supreme as the only Reality, the beauty o f verse and song where simplicity and grandeur meet in perfect unison, the richness o f literary merit adorned with picturesque similies and soft alliteration are things which transcend description or translation. They are best appreciated and enjoyed only in the original. It is a mighty master-piece in the making o f which have entered , the human touch of Shakespeare, the delicacy of Kalidasa, the lyrical passion of Shelley, the literary grace of Pedana and the unsurpassed music of Tyagaraja, for Tyagaraja can be compared only with himself. A study of it will purify and elevate the reader.. -o 9 0 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXIII

The nataka is important to us as revealing Tyagaraja’s own experiences, bis struggles and travails, his contempt of worldly possessions and his unquenchable desire to join the Lord. Prahlada was a high bom prince possessed o f infinite wealth, son o f the most powerful monarch. Prahlada renounces all for love of God. Tyagaraja bad great opportunities of earning wealth. Maharajas and patrons were ready to shower riches on him if he would but sing their praise. No. he would never stoop to naraatuti. He despised wealth. Rama was his kuladhana. Like Prahlada who suffered tortures at the hands of the tyrant father, Tyagaraja also underwent persecution for his outspoken denunciation of cant and hypocracy, of ritualistic orgies devoid of humanity, of love of empty pomp and lack of sincerity and devotion. He bore all the calumnies with a fortitude which only the firmest faith in God could engender. Prahlada had his early initiation from Narada in the path o f Hari bhakti. In the play itself Narada advises Prahlada that the only way to attain the Supreme is to sing His eternal praise. Kirtana is the way to salvation. Tyagaraja in his own life had the vision o f Narada who introduced him to the mysteries of Music and Hari bhakti. Tayagaraja had not only to win his salvation but teach mankind that Sanmarga lies in Sangita jnana and bhakti. It is a great mission well performed. Prahlada’s penance of bhakti was rewarded by his release from cycle of birth and call unto Divine Presence. Tyagaraja’s bhakti of equal intensity had its fulfilment. In the famous song * Giripai ’ the Lord appears in vision and promises to take him to Himself. True to the vision he attains immortality, even as his songs have. The parallel between the two is complete.

In the entire history of bhakti literature it is difficult to find> with the possible exception of Hanuman, another bhakta who burned with a greater intensity of love for God than Prahlada. No poet less than Tyagaraja could have given expression to the overmaster ing emotion of Prahlada. It is said that the great merit of Shakespeare lies in his detachment. The detachment is from himself and it is so complete that he identifies himself thoroughly with his characters. He does not impose himself on his characters. On the other hand he becomes in turn Hamlet, Shylock, Iago and others. Tyagaraja in this respect bad an easier task. Natural affinities made the identifi cation perfect. When Prahlada expresses himself forceably, Tyaga raja’s own feelings surge out through the mouth of Prahlada. Herein lies the supreme excellenoe of Prahlada Bhakta Vijaya which is at once a nataka and a kavya, an interwoven garland of prose, verse PARTS I-IV] PRAHLADA BHAKTA VIJAY A 91 and song of infinite beauty, a mighty stream of the tripple flow or bhakti, jnana and vairagya. While the songs in it are coming into greater vogue, a study o f the prabandha in its entirety is an emo- tionally enriching and spiritually stimulating experience.

The story of Prahlada is of particular significance on the eve of Independence Day. Prahlada is the greatest hero who by strength o f love and submission to physical suffering resisted evil and triumphed in the end. His unbounded faith in Truth and Non violence stands fully vindicated. Animated by a like spirit the father of our nation pursued the path of love and sacrifice in prepar ing our country for the attainment of Independence. May the sons of this great land o f rishis never swerve from the path of Ahimsa. DESADI AND MADHYADI TALAS

~~. -i9 5,t B y~~

~~T . V. S ubba R ao.~~

Adi tala is the oldest of talas. It is for that reason called Adi or the first tala. It consists of eight units. It does not find sepa rate mention in the scheme of suladi sapta talas as the scheme itself was conceived as an addition to the well-known and long established Adi tala and in no sense in supersession or substitution of it. To regard it merely as the chaturasra jati variety of the triputa, or as Eka tala in slow tempo is to over-look its importance altogether. It is the one tala of universal application found in all systems of music ancient or modern, eastern or western. In India it was known for long as yati tala or jhompatala tala. Its rudiments are to be found in the sarva laghu and the primordial chaturasra gati.

Though Adi tala in vilambitalaya maintained its kriya of count ing the laghu by beat and three finger counts and the druta by beat and wave, it was found, however, that in the madhyamakala a different kriya was sometimes more convenient than the strict orthodox mode o f counting. Just as in the case of Rupaka tala in quick tempo, the druta became the anudruta and the laghu became the druta resulting in the kriya of two beats and a wave, so too jn ad1 tala of madhyama-kala, the laghu became the druta and the drutas became the anudrutas resulting in the kriya of a best and wave followed by two beats. This kriya, however, did not alter the character of the tala as the constituent units continued the same viz.. 8, the angas maintained the same ratio of intervals and the sasabda kriya or the beats fell on the same points. It must be noted that tala like raga is entirely for the ear and not for the eye. Provided the beats oocured at the proper places, the mode of counting the units of the angas was immaterial. Thus the practice of rendering the adi tala in madhyamakala by a beat, a wave and two beats became somewhat popular towards the middle of the eighteenth century. As this mode of rendering in the continued sequence resembled the trital of Northern Indian Music which consists o f three beats and a wave, it came to be known as Desya Adi or Desadi tala. To describe the desadi tala as consisting of only four units for the simple reason that the eye sees only four movements o f the hand, would be in-correct. In fact another variety of Desadi PARTS I-1V] DESADI AND MADHYADI TALAS 9 3

kriya made familiar in South India by tbe Kathakas o f Maharastra consists of seven beats and a pause, making up eight units on the whole. This variety is known in Tamil Nad as Ezhadi talam or Tala o f seven beats. It is extensively employed in the music of kalak- shepas after the manner of Maharastra Harikatha sampradaya. It may incidentally be mentioned that Rupaka tala in madhyama kala is also rendered sometimes with five beats and a pause to count the six units of it. The pause in these cases and the wave in the regular mode of Desadi are intended to maik off the Avartanas.

When a composition in Adi tala has sama or Anagata Eduppu, it must, in the Desadi mode of kriya, begin on the third beat or after it and before the first beat representing the beat of tbe first druta. But most commonly in Adi of madhyama kala or in desadi the song starts immediately after one and half units of the laghu which has always four units. In other words the song follows the tala syllables ta ki ta which start from the beat o f the laghu or the beat corresponding to it in Desadi kriya. The eduppu of the song in desadi kriya would be half a unit before the climax of the wave. Taking the song “ Entavedu kondu” , it will be seen that the first syllable of the song “ En” would start just after 1| units repre sented in madhyama kala notation by a semicolon and a comma or three commas, and cover exactly half a unit. The next syllable “ ta” would coincide with the climax of the wave. It is by no means uncommon to render in regular adi tala of madhyama kala, songs whose tala is specified as desadi. In such a case the syllable “ En” o f the song above said would start soon after the tap of the first finger count and “ ta” the second syllable would coincide with the tap o f the second finger count of the laghu. It must be borne in mind, however, that desaditala always implies adi tala in madhvamakala, the most commop eduppu therein being anagata after 1£ units from the start. But this particular eduppu is not of tbe essence of the tala. The more important characteristic is the kriya of three beats and a wave. .

The madhyadi tala is identical with desadi tala ip kriya and anga; that is, it has also three beats and a wave. The liberty frequently taken in the case of desadi tala of rendering it as plain adi tala in madhyamakala is seldom exercised in the case of madhyaditala. The eduppu of the pallavi in Madhyadi tala is ordinarily anagata after one unit, midway beween the beat and the wave, corresponding to the tap o f the first finger count in the laghu o f the plain adi tala in madhya makala. This eduppu though typical is not invariable. It is not 94 THE JOURNAL OF THE MADRAS MUSIO ACADEMY [VOL. XXIII this particular eduppu that serves to distinguish it from Desadi ; for in Adi tala the anagata eduppu may be anywhere in the laghu but not after it. The point of distinction of the madhyadi from Desadi lies in the fact that the anupallavi and the charana of a piece in Madhyadi take their start not in the laghu part corresponding to the beat and the wave but on or just before the second of the three beats corresponding to the second druta of the adi tala. This eduppu of or 6 units anagata is uncommon in the usual Adi tala. It must be remembered that this eduppu does not occur" in pallavi but only in Annupallavi and charana. The reason for giving the separate name o f Madhyadi to a tala of the same kriya as desadi is to indicate the difference of the unusual eduppu of the Anupallavi and the charana. The name itself is perhaps indicative of the unusual eduppu occuring in the middle beat or madhyama ghata of the sasabda kriya of three beats.

The madhyamadi tala is not employed in kirt&nas. It is used fairly extensively in javalis. For example, the javali “ Sarasamulade- danduku" of Ramnad Srinivasa Iyengar in Kapi raga takes the madhyamadi tala. The pallavi starts after 1 unit in the laghu portion consisting of the beat and the wave. The Anupallavi “ virasamuto” starts at the central beat of the three-beats far away from the corresponding laghu part of the tala. Herein lies the distinction between the Desadi and Madhyamadi talas. Sri Tyaga raja was the first composer to use desadi tala in his compositions, Patnam Subrahmanya Iyer followed him in this respect. Tyagaraja has not employed the Madhyamadi tala in any o f bis known pieces. •*?

~~ha* Ha w im m k o d m s edJ ni ®M ' fa d wA *£&>*& THE NAVARATRI KIRTANAS OF SVATI T1RUNAL ■r-ri ... - V ,.L> \ :U \ B y~~

~~S. V enkitasubramobia I y e r~~

Among the group kritis of Maharaja Sri Svati Tirunal, the Navaratri kirtanas stand supreme by virtue both of their special utility and continuous currency. They oomprise a set of nine com positions which are being sung as the principal songs, one each on the nine days of the Navaratri festival, by the court-musicians of Travancore before the goddess Sarasvati in the Navaratrimandapam in the Fort Palace of His Highness the Maharaja in Trivandrum during the musical performances in the evenings. The following are the songs in this group : Day of the Beginning Raga Tala Navaratri 1 Devi jagajjanani Sankarabharanam Adi 2 Pahi mam Sri Vageesvari Kalyani Do 3 Devi pa vane Saveri Do 4 Bharati mam ava Todi Do 5 Janani mam ava Bhairavi Triputa 6 Saroruhasanajaye Pantuvarali Adi 1 Janani pahi Suddha Saveri Triputa 8 Pahi janani Natakurinji Do 9 Pahi parvatanandini Arabhi Adi

On each o f the nine days the particular song assigned to it is elaborately sung with extensive ragalapana, tana, niraval and kalpana-svara. Formerly the songs used to be rendered in a sort of group-singing, the raga and tana being rendered by the chief musi cian, the kirtanas by the other musicians also along with him and the svara by all of them one after another. But now the entire singing is left to the chief musfcian for the day and it is therefore more individualised.

The first six songs are addressed to Sarasvati and the last three to Parvati. They all form praises of the Deity, descriptions o f Her beauty and prayer for Her bhakti. Sarasvati is spoken o f as spotless white in form, resting on a white lotus, wearing white silk, bearing the lute, the book, the rosary and the symbol ef protection (vina- pustaka-japavata-abhaya) in her four hands and having the crescent 96 THE JOURNAL OF THE MADRAS MUSIO ACADEMY [VOL. XXIII

moon on her head. She is the embodiment o f all beauty and tbe abode of all learning. She is the consort of Brahma and is worship ped by gods like Indra and sages like Suka, Sanaka and Narada. She is kindness incarnate and generous in her gifts to her devotees. Parvati also is, in the songs addressed to Her, spoken of as very charming in form, having the crescent moon on her head, bearing the trident in her hand and riding on the lion. She is the consort o f Siva and the slayer of the demons like Chanda, Munda and Mahisha, and grants all the desires o f the devotees.

The sahitya in these songs is very poetic ; it is charming both in its sound and in its sense. The flow of words is slow and stately in some and swift and simple in others, but graceful in all. Among the verbal embellishments alliteration and rhyme mark all the composi tions. The prasa or alliteration in the second syllable in the different avartas in every charana as well as the rhyme at the end o f these avartas characterise all of them. The ideas are also beautifully put and ornamented with some of the common figures of speech. The language is Sanskrit.

All these songs are kirtanas and contain a pallavi, an anupallavi and three charanas except the first song which has four. As they are constituted at present, they fall into three distinct triads from the structural point of view. The first two triads, which, as stated before, are addressed to Sarasvati, comprise longer compositions, the charanas especially being often very long and heavy and so also each of their feet, whereas the last triad, which is addressed to Parvati, comprises shorter and simpler pieces. The first two triads, again, are written in major, and except for the slight exception in the third song, in full-scale ragas quite befitting the loftiness of their sahitya, while the third is written in the minor and simpler ragas and also in consonance with its sahitya. Again while the former constitutes chowkakala kirtanas the latter constitutes madhyakala kirtanas, The presence of madhyakala sahitya, except in the very first song, at the close o f tbe charanas and in certain cases at the close o f the anupallavi as well, in the first two triads distinguish them from the third. But there are some features which distinguish the first triad from the second. The most important of them is the presence of Solkattu in the anupallavis in the second triad which add to its com plexity. The absence of the mudra of Svati Tirunal namely ‘Padma- nabha’ or its equivalent in the first triad is also a noteworthy feature. In this connection it may be borne in mind that though iD the printed versions of these songs tbe expression ‘ Padmanabhavilasini * PARTS M r] THE NAVAHATRI KIRTANAS OF SVATI TIRUNAL 97

occurs in the third charana of the third day’s kirtana in Saveri, it appears to be erroneous as it means ‘the consort of Padmanabha’ which obviously Sarasvati is not. The correct reading seeras to be ‘ Padmabhavavilasini’ which would mean ‘the consort of Brahma’ which Sarasvati of course is. Some slight variations are noticeable in the rendering of some of these kirtanas by different musicians and hence it is not possible to speak of the precise srutis and other minute details regarding certain svaras in some of them. But broadly speaking, the absence o f mandrasthayi sancharain the kirtanas in Kalyani, Pantuvarali and Natakurinji, the use o f tarasthayi upto the panchama in Saveri, the rather liberal use o f Panchama in Natakurinji and the adoption of antara-gandhara in Pantuvarali may be pointed out as some of the noteworthy features. The tala in all these kirtanas is Triputa, the tiara jati being used in the Bhairavi, Suddha-Saveri and Natakurinji pieces and the chaturasra jati in the rest. In some of the earlier editions of the text the tala for the Natakurinji song ‘ Pahi Janani’ is given as * Ata’ , in which, however, it has never been known to be sung; probably ‘ Ata ’ is a mistake for * Adanta ’ one variety of which is the same as tbe tisra triputa of modern Karnatic music. Of these nine songs it is * Pahi parvatanandini ’ in Arabhi that has attained the greatest popularity. The rapid and elegant flow o f its music which has its range from mandra panchama to tara panchama is probably the chief factor that has contributed to this. The next song in order is the first ‘ Devi Jagajjanani ’ in Sankara- bharanam, though in thiB song the sancbara is practically limited to the madhyasthayi. Of late the Kalyani and Bhairavi kritis are also gaining greater currency which they really deserve. The rest are mostly confined to the Navaratrimandapam. But a careful examination will show that * Pahi mam' in Kalyani and * Janani mam ava ’ in Bhairavi stand out as specially brilliant in the group. The Kalyani song has a dbatu which is unique in itself and shows a blending of the characteristics of the sopana music indigenous to Kerala and those of modern Karnatic music given shape to by Tyagaraja and others. The pallavi is in two avartas, the anupallavi in six and eharana in nine. The charana falls into two parts, the first having four and the second five avartas. It is in the first part that a Sopana feature, namely the syllables moving slowly in the beginning of the avarta but more rapidly in the remaining portion and possessing adyapadaprasa, seen and in a refined form (Cf. Unnayi Variyar’s Madhyamavati pada in the Nalacharitam Kathakali— 98 THE JOURNAL OF THE MADRAS MUSIO ACADEMY [VOL. XXIII

Arigane rjan angu povatengane etc.). The second part is like an ordinary oharana, but the dissimilarity between anupallavi and charana is also worthy of notice here as in many other instances in this group. There is no earlier model for this and no later imitation. The only other song modelled on this is Svati Tirunal’s own ‘ Seve Syananduresvara.’ ‘ Janani mam ava ’ in Bhairavi is perhaps the most imposing among the Navaratri kirtanas and its position symmetrically in the middle of the group is justifiable on this account. Its very beginning in tarasthayi ga ri sa is indicative of its majesty and the vishama graba is indicative of its complexity which often makes it a dread to many a musician. This kirtana teems with ragabhava and it is a monumental example of the creative skill o f Svati Tirunal.

Some of these songs seem to have undergone certain additions and reductions. For instance the chittasvara now being sung in ‘ Pahi Parvatanandini * is not seen in any of tbe printed editions or manuscripts of the song and many musicians render it Without this chittasvara. It is not possible to ascertain when this came to be added to the kirtana. Again * Devi jagajjanani * is never known to have been sung with chittasvara or solkattu. But recently I came across certain isolated folios of an old and damaged palm-leaf manus cript containing a few songs of Svati Tirunal and there I was able to see svara and solkattu for this song. A little portion in the beginning appears to be lost, but 1 am giving below its text as seen there, with out arranging it into suitable tala-avartas ;

...... sqqftqqqTqqqqTqqTqqqqTqqqtlqrqTqqq q q fq q q q ft fq q fq q ft q q fTqrqqTq ft q q qr q q ft qt fq q q fq q q q q f?: q fq q q ft q fq q fq q ^ fq q f? q q q q q ft qr ft q q qr qr qr $ qr qT qr qrft-qrfttrftcrflvq qft qfe ffsq ^ q^ fafq q^ foz q^qt %fqq? fm faz q*F qrftr fosq* frfw 3PWqfq It is a noteworthy feature that unlike the solkattus in the three other songs where the svara and jati are interspersed, here the jati part follows the svara part. When and why this came into disuse we are unable to know. ,

N o w the question remains to be examined whether these Nava ratri kirtanas were composed with the purpose of each being sung on a particular day in the Navaratrimandapam or whether they are PARTS M V] THE NAVARATRI KIRTANAS OF SVATI TIRUNAL 99 compositions arranged into such a group from among the general compositions o f His Highness. The first view has been the one so far prevalent, but on careful examination it can be found to be incorrect and that the fact is that nine of the songs composed by Svati Tirunal in praise of Sarasvati and Durga were arranged with a sort of structural order and in a symmetrical pattern and adopted for the nine days of the Navaratri. The following arguments may be adduced in support o f this view : Firstly, as we have already seen, of the nine songs only the first six relate to Sarasvati and the rest are in praise of Durga. If these were specially composed for Navaratri, they could all have been in praise of Sarasvati or at least of the Supreme Goddess Parasakti whose manifestations are Sarasvati, Lakshmi and Durga according to popular conception. And if, however, Svati Tirunal had this Female Trinity in view, he could have sung some of these songs, appropriate ly in the middle triad, in praise o f Lakshmi. Secondly, we have seen that the first triad does not bear the mudra of Svati Tirunal ‘ Padmanabha ’. Even if we exclude the third song, taking tbe reading * Padmanabha ’ in it to be correct, the first two songs are obviously devoid of it, sq also the last song ‘ Pahi parvatanandini' . There are only two ways to account for the absence o f this mudra in these; one that they are not Svati Tirnnal’s arid tbe other that they are songs composed by him before tbe idea of having a distinct mudra for bis songs had dawned on him. The first of these alternatives is contradicted by the statement of Irayimman Tampi in his Navaratriprabandha describing the royal Navaratri festival conducted in 1835 that only the compositions of His Highness are sung before the deity. So tbe only possibility is that these songs belong to the early period of Svati Tirunal’s musical activity unlike the others in the group Thirdly, tbe seventh and ninth kirtanas are on the deity at Attingal and the eighth on the deity at Kanyakumari as is seen from the internal evidence iq these songs. This olearly shows that these were originally composed in praise of these deities and later on adopt ed as Navaratri songs. The absence of the mention of Padmanabba- puram from where the idol of Sarasvati is brought to Trivandrum for the Navaratri also deserves attention. Fourthly, even as at present, the ragas could have been better allotted among the songs had they been composed with the purpose of forming a group of Navaratri kirtanas. Sankarabbarana, Pantu varali and Bhairavi, especially the last one, would have better suited 1 0 0 THE JOURNAL OF THE MADRAS MUSIO ACADEMY [V O L . XXIII the majestic Durga than the gentle Sarasvati and the comparatively meek Natakurinji could have been well given to the latter. The use of two more or less similar-sounding ragas like Suddha Saveri and Arabhi, and both in the songs of Parvati, could also have been avoided. Again, Bhairavi could have been chosen for the eighth day and Natakurinji for th* fifth, for in popular belief the tithi Ashtami is associated with valour and the grandeur of Bhairavi would fit it very much better than Natakurinji which would, on the contrary, suit love associated with tbe tithi Panchami. Then again the solkattus would be more appropriate in the songs to Durga than in those to Sarasvati. 1 But one feature deserves special notice and that is the presence o f the expression ‘ navaratrotmva ’ in the first two songs. This does not, however, very much affeot our conclusion. Most of the songs of Svati Tirunal have three charanas, composed probably with the idea that they should be sung one each in the three different kalas, the only exception to this general characteristic being the longer songs like Ramayanasarakirtana, Bhagavatasarakirtana, Padma- nabhaiesadipadavarnana etc., where the matters cannot be limited to three charanas, and those in which the dhatu is very simple and identical for anupallavi and charanas and form a sort of bhajana- kirtanas. Therefore, there is a. possibility o f the last charana in * Devi Jagajjanani ’ being a later addition ; and even if this is genuine, it only means that this particular song was composed for Navaratri. The second song * Pahi mam’ , however, appears to have been composed with the definite purpose of being sung in the Navaratri- mandapa. While the description of Sarasvati is general in the rest of tbe songs, in this it agrees with the appearance of the idol of Sarasvati installed in tbe royal Navaratrimandapa for bere she is bahulalasitapustaka japavatabandhurabhayavara and without having the vinain hand and seated not on the lotus, but on a pedastal. The Navaratrikirtanas thus constitute a group of compositions, which, with the exception of the second kirtana and probably the first also, though not originally composed with the special purpose o f being used for Navaratri, have been used as such for over a century. They retain their original mode of singing fairly accurately and form a collection which would keep the memory of Svati Tirunal ever alive. v nu r

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%*M JI .erloo lo eq^J iahyf dd vtf awoda e* eofl8oe«Toffr» saw SOME EARLKREFERENCES TO MUSICAL RAGAS id boviovtj smbw naiIAiN£*ilNS'EJtUMENTS boiieq aJquO erii ni edl ^ttriaea dineaidgie mii oi qg^nadJ soniS .araii Jaift adi Ttol vfesefbue ad oi bamiiiiioo ainis*^ liadi bn* &0S&H eri3 *io yIifiS«l V . S. AGRAWALA, M.A.. D. LITt., r , . .beJaiod&Ie Banaras Hindu University. / ’ok ’m * *A tk(hity'anak an open to ‘ ^ m e n singing the Raaaka compest'tons’ (rpT^fRt'ni^:, ?#. P- 132, Nirnaya '&®gatf^6fii e^filbS), tsilM l^êVanorfs'Gi'îa and itsgaa associated with them (jffiito fee taken to be a definite evidence in su^pbn- nbl'FRhga ihwaie having come into existence in the nwefntb - e*nt;urtf A. IX He also mentions a Giti -fcfotEfttfrdfini , &WW 201* hfoMafambm, it ill 8.ta|«d t&at;.*be .Gati-vaa compose# op the basis of Dhruvapada (vf*5h% ,T a l^ (^ * ^ r ? 5t>and permeated by Bhavana ^^-ipaRBfsprr) or models, and sung to the Eeoompamraerifcofjaidute^^rqeptrg^^ci^^!- ^ tafflfl&fMfcfta;, tm daikbart} *p. fSl)^°™°*OT ‘Xfuil noiiaiiaolii adaiî .avrs *‘1 baa aoapBÎ .semen owj lo «iwian ®dt o;t edT Vrf“^, i h

name. But another veil-known prose-writer, viz., Subandhu who » t o jwwb vugne. bna .omiim lawtsa raJxui'iAXTp IMSnjS '.^«iere i£*a definite inference to Yfblitesa R^ga bdttg sung by, 4he Karp*tika 0»inatrels who selected the theme® of fi m w w k e * 4 EPfftW and romance\Q ... i,n« y p $

~~llJW K l^ H > W lW Aftaftl | (^ T rr r, edition, p. 2aifcne .JnemtijJimi bsgah-ia a saw fwp (i.isV> *niJ lo uuriaioup~~

The katfiatrfca ja n a wWe palace musicians who bad been especially bomxtred by* the king granting them the privilege of wearing a fillet or ribbon ($tpr) round their head-dress. If tbe Vibhasa Riga' was knowp ia Ahe §ipth eerrtuty* A. D.» it eanaot be an i8oiat®d phenomenon, but points to a ays.tepi of muaical compositions com prising the principal Indian Ragas. had b ^ ' f $ A outburst of musical activity in the time of tbe Gupta emperors, Samudragupta himself being the greatest patron of this cultural #

~~1 1 4 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [V O L . XXIII~~

efflorescence as shown by his lyrist type of coin. It may reasonably be ol*im «**h*f ai*8 riehtalt of tiiii Vi8yk,4t was in the Gupta period thAfcthe system ef ltKe ^itfdian Ragas was evolved for the first time. Since th e n ^ p to the eighteenth century the family of the Ragas and their RaginTs continued to be endlessly elaborated. .\dHtsmtv t vvSvkVW floqo1” , tl?e arlhient Sanskrit awj ,fipd0mention of a considerable number ?o^ ^ ^ j ^ ^ ^ | aw^cj^jRho^ld, form the subject of a complete dissertating. fywQpafemyq, Sutla names sixty instruments, such as f a f a q,JTR, q*£, ?mr (*lfo.|p$|n (feKwa ,«MB m w h t, g^, w, $4& faTift, m & t qfcfl, ’■ * WWtf, sfcsrrqft, q f c f f e ) , aat io {njeigTWSijT. 5P^fS)-a«*v« was a kind ofjjdrum (q^ and rjrjflft was a wind-ipstrupo^ . the raoufjh. In the list of Rayapapeniya, *r|$ was a tabor. eome- Wshati bigger /than ar ( ^ ; tiq t f e w m 1P- 37-46), reference is made to tj&R, feq^, and t,&$\ ‘ and also to qyar artd'% ^^ attfl n&x were very ancient instruments, having l&Wp'nSen|ionc$‘in a aiQiqq;ao snyiT) epf 19 »jnit eu; ni VfiviJ-.)* leoiaam to raiuoJuo s p e c ia l S iitro uf Pa.;ini { t v . 4.56|^^ ^ snbd -,,„Emilf ,# . ,m :y «s

K& boaoqqo b b ^#ah«v alilal ed# to ftiadejaftA brts kb'Ab\&A .e.i («vb*r) o.t baaoaqo aft - m%aJ ydsied# sfltbiaoca ,ylan«v adbhr/A ailf tfno ^ f ’ i .l ^ X l 'W i f K l l K N C t S TO MUSICAL RAGAS r odt to egbelwoni aid e! AND INS I KUMbNT~~i Raghavan ^ Q$ gaibule Yjpto oflo In the~~

~~-a qu sa«w wn»!m n aud manux <«* raentipn the concept of R*ga or a specific.Raga by m«n**.hb *« «i«v~~

~~Much earlier than thh tiihds of these l4 b wnter8;Kali<^8a speaks of Raga, and may ^specific Raga by name.~~

a i .1 »°ng in fch® prologue to the S'akuntakr,-— f*‘ *_**_ aJi to agnhia odi^Qj .ntyitS^lr^? Bed*# kfnob on ftdiSuillftM nwond-ifcw ad# ar ba& mgsmriA #ud ; «niY % JUT * ' ' '* lot aaanalaiiqoiqqft a#i o efif g 5noi)neoi io#Rd ad# .email #adi to *ss«H | ad# to gntaftaai-ftjP^NblteWilpya ftd# bras ^tiraixoiq odT .gnirrtoai eii t or of thdi^aih'8apadika,i's i&hg in ffL§ Metiicle'1$’ ailjof tfee ^ t S k h / S t fI'I9h‘>rfT baa ; ajfi'sifilA-AiflgrtftWl flga/ran# gfirboetm od# gniflftam* a« *8.; bil«yl node# eVad .loofdna »iri# no nefthw evad 3i£r jfira: .aiad ag*iH ■sdi'eiftv

Raga isiuinpiftfeakabk pbufc if » more definite refer ence to the concept df R*^W reqmrbd.,!a passage mtay^b$ oibed ftotti the Kumarasam bhava, VII, 91, where in the technical context, the meaning can hardly be missed.

~~cff rpqq sqteRfffaifc |~~

~~3rq5qctmr-*rc*Tt ijfd q q tw q sfocrrsffRR, n~~

After Parvatf and Paramesvara were married, the Gods felicitate the c mple ; Sarasvati sings of them both in sublime Sanskrit and in sweet Prdkrt and she is followed by the Apsarasas who delight the divine couple with their dramatic presentation of a Nataka.

Here Kalidasa embodies in the verse his knowledge of the Natya s'astra, and speaks of dramatic Sandhis (thematic junctures), Vrtt-is (kinds o f tempo), Rasas (sentiments), Ragas (melodic modes o f music), Prayoga (putting on boards) of the first type of drama 116 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXIII

(adya) i.e. Nataka, and Angahara o f the lalita variety as opposed to the Aviddba variety, meaning thereby Lasya as opposed to ^ *4hW question on ’iraSd/"Kaftdlisii not only mentions here the R^k ^s&c^bn^^o'i^veals his knowledge of the scheme set forth in Bharata for the harnessing o f the appropriate Raga to reinforce the emotional effect, i have dealt with this elaborately in one of my studies to be published, Mhsrtf dn Bharata’s stage.

~~'•’^garding a specific Raga, in the divine honeymoon that %flows, Kalidasa makes the Kirmaras wake upl&rvifti^ahcf Params'e- vara at dawfr WWh'Ausptefomi hyahfal songis and W8)lV&p£lJar~~

v* r 0 bM '**■*1o ed i ni < — —eewHfiVRe'ici eilJ oi eujjolo »<| Mallinatha no doubt takes Kais'ika Vina ; but Arunagiri and Narayana Raga of that name, the latter mentioning also its appropriateness for the morning. The proximity and the svg^ted*bxiira-meaning of the expression would also dispose one to UkeU.*,»*tM * J fmmMan m snfffaio p n r m shew a axuxrq-aammrx j w r o w intending the Raga Mangala-Kais'ika ; and modern schola^a|s®, have written on this subject, have taken Kalidasa as meaning the Kai^ika Raga here. li^lP$FT5't> IjP

eJ*iioiI©l sfcoO ©dt ,bein*m eisiw ' rtsv tide liavi«fl lollA ni bfln Ih^Kiv^ imMu* ni djod model lo egai* ; ©iqm o ©di edJ Jdgifeb odw BrntnrnqA »ds \d b©-«oliol ai nia bus * l o noifa4«e8©*Kj winaiMih xi©».fkt dJiw ©iquoo ©aivib

h i , SOME PROBLEMS FACING RESEARCH ON 1>! iu8 •laoiitoa adi INDIAN' LITERATtJRES ON MUSIC' lo iftroq edf cadit jsdS isniBnoo i«rm »W .foatawjast v\» ngra'iei ai pJtjm&unfuti 9 tit .gnianael bn* doum-ri oaibfll lo weiv elqoi**© 10I 98o(it4nj3dJ huad in aioirf ilaum i . * d *'n\& A l a in D a n j e l o u (Shiva Sharana) .,-q (.eocieiisqxe lanos'ietf ••••• m 1avQ;SIT .<• - .-til 10 isnisHia ni Research Professor, College of Music and Fine Arts, sonwfini p8tiibi‘- Banaras Hindu University * ! °8 • . *^i§ *!i, p . ' r s ’Si “liw"' "vff fra . *» in si ’•'4 f ‘-i f * o (l ii jri i to * Sanskrit literature is by far the largest o f ancient literatures Fbr h'early fift^ centuries it has produced works of imnrjitinijt m "almost1 etery field of humati knowledge and artistic creation, lyorbjp gjeberally far in advance of those producer in other ’ettbritfies at the tliiih. ^'The libraries of India were at one time .tjip largest in existence and a cause of wohrfpr to foreign visitors. But, following the invasions from Centra) Asia, the Middle East j^nd Europe, an enormous Amount o f the ancient books has been wantonly destroyed, and much of &hW^Wasleft allowed gradually to dis- ajifjekr through n^gle^t* and decay. The neglect o f ancient Iftecature j . . d .tio -.‘ ••ido ottioB jtr bafl»yToftq and ancient monuments continues to our days and constitutes«0 a serious challenge to the culture of an age which claims to fee iCfie of progress and efficjppcyA J>xipele88 c e m e n t s for the h is to r y ^ civilisatiori are allowed to disappear .without being even listed.t. ^oodJ

le There remains all UVey India a vast bomber of manuscript belonging'to^ ail hiwicbeS of SAfiskrit' learning as well- as similar wonpP in other Jilndian langTrigeS^ These are Mpersetf 1b public 'aha* private libraries, many of which hkve no catalogues, some qf ttie larger.’ ones not even a classified list of their possessions. -STosfc hiave a catalogue covering i emos We often hear people in India say that a great number of books

foreign collections o ^ S n s ’krit manuscripts are relatively small, even - M . l2ci______— - r the German ones, much too small indeed when compared,** some pfcq the huge Indian ones. The manuscripts in,..foreign countries are well preserved and comparatively safe and.it ie extremely eaeycto hate them microfilmed or photographed. Because of tbe Indian 1 1 8 THE JOUBNAL OF THE MADKAS MUSIC ACADEMY [V O L . XXIII

climate and the great antiquity of most of the works, hardly any Sanskriâg^rjy^J^ ^ fa ^ 6 8 Available manuscripts ajiôstôîes 9^ which only the contents are really important. We must consider that, from tbe point of view of Indian research and learning, the manuscripts in foreign libraries have been so far much more at ha^4 than^those for example in Bikaner or Darbhanga. (I speak here from personal experience.)

So that people may more fully realise the extraordinary influence o|Indian{thoughtapd learning on almost every period o f human civilisation a considerable effort will]h%v&:to be made to recover and ni Aarmlippmf .To efV- f l j l

vi^>f(^'irS%S”died 3“< h •« S f “ i V l f e f f ” . T ] " J t ! ° S l J W k i •*"$» W S 'j f f r * ! a" cient '™ 'k8-,w^ " m i r t M l STOifiaSS ?" *°m® 4i»i»S« bm. lo e.fn the ease o f music alone the number of works about which we fcavi refofertbes or o f whicfh we hav^ fVagmentS must be nearly one thousand; O f these about twofturtdHd1 Wovfld be Accessible. Bui if* ljlVWic . “ Iff1 Private eo)h?t\m yerp really expkvedra kwger nhihber £**# «<*s® miraproW addition^, manuscripts would be. obtained .whhdfc Would m*k& crfHicak editing ^ b j g j j n other subjects tbe number of work*is naturally T^/m^ao^^ftoiaaesaoq lierfi lo toil b e h ^ l o a nsrs ion atao go: Uhe pioWem n^w ^hh'finfif’ti'method >b^ whifeb in the context dkptwsorilitday possibilities one could‘'prifrbfefed3 to * ’tWe' m ore' imporfearete works ©f&Mttt&pft litferatuftf,thbse on music1. MWfyJWH^n^g1 #05> a ntwflbe^ SttytiStiPffP this flMd^caVffe to form some idsasiwbiohvIishould^lfle^ t^tflAiee bbfore^tRfr thh^Wb^fsls1 and i» ^ S o « » ‘ry. .,ii •^K8 aibffi pi efqosq taeil nedo aW t 9C^l )0SWteb $ k 9interl^r^wftfx ti©B *of •‘pu'Btfb libraries' ortis should oBtaip tnat the Central and ! #*«« IjvwWU.W .li.l _1» 1:1__ ■ .

~~10W naibfll adi to oanaoaH .bodqAT30 iAr t s fj^ftrpmsa ,J' ’ fffT Vl9~~

~~eftPt^rfcalnty ^mUtft^bffi) tlbe ^resen^liojernment ! liin~~

’ifeW tW -ShtfUM îflotondlnatedwi£ b ahdild be & 8 $ b e^ h p i^fpr.m ffttfW{ w biek iholdrffebmt sefcbkds ^ rf«!W^hîMfcff8%h1^§«ld»m»yriiaife antrcaftlflwtad. j | f o i ° A f c ° 9 f i § ^ £ . ^ f l v ^ y w f t ’sHj^rept.eiJT-haqB Sfhb^jTrtiSo hfna8po?) toefeWdHs ofeJ»br*!r» fefroê^^lrfMd-anrtha moatfcoriveuipnt Sofe|«t«aw.oood*naMi #«H .vb sdt 4 Mb iiwJroqini x»w .*, d ob ni?)bAeqw»eitM»ery* should tfe'dsVbftffMd'ft^ 1&p<$taoi manuscripts copied or microfilmed and making them âiYableHo îtefeovam? ûrfmbeaaMI oapliqbtoifitart i S V P fcmdAmhitifcmS#WA fur*rpoise siiwetftrg^ *»®* .copiB*. .smeWcnq wonl^WW.Kii^fe8«thi«g«8r^p»fife nfiHfiii tttoflfey*tiiffl%' amo\inif ^geiUtjflîa^r^stjSCW^sW^fedrt*^^^dP-p^r&ftdri. Mucfi k,‘ri M dohe fcfiiftkt flftMttmff crfi S»H

» ---- —v***'wi vmiiw i/jr pco yi ijii.aij.js3 ha ^.iiuicij u owerfa* t»nd ii* mortem'IWdfirif1 W^dkgea eôtblfon of tbe hragni£bjaw;ee fop the îwtitiow TWfst W ^ lA lM y'fcP ci'ii; aujSjefia Iwwd siffitiRpqsesi lo N iw k # ; sotay ‘f t i j g M e narrower. ed biJbia aMt^1 past. * In. th is undertaking one sbooM riot #kttf for i\ie ddVfeîrient to° everything., In most rfonnttteii ^titutiifVbk’o f nkitonaV inVerest started by private agenHes "and the Goêrnmehr 'c'olnesm to help only Ki*tek> > This GovertimburfaWs8 iW Its #oe>s * not support institutions which haW ’prdved tto‘’ fH^dle country’. It is very important that the available means be concentrated on fhe people and institutions wbp already possess espwiwwe at'idân do idaai baa bemlrhnelirt to beicgpe fdqilCMiaaffll dtadeldt Spite of, the difficulties ^ftfchrvp«ri4? scholWrsftip Vinavmdably encounters in a country f*ee<* tfritfrfflariy iWitbdtfiaii rleedsWfi'urgent problems, ^ kJW# oP W » especially itrNartrbsm Iî«]I % of a nmn.hertoftrreplaceaa a eewded vtainecaer^'ieoai erid neve wofts AM dtow bedsiOsi io dnuotfr* ©« dadd gnled êvtua a rieus Urodiiw ,bnA lahedsm eldalisva odd io vevtus daeaeiq dA .bojtada neve ed n«s jHow wwHte* yii#** on (b*Hiqtuo> duoddtw *row lellataq nkq dsetg da gniob yaud eta sU ubivibni * * » « bauoig eiom do«M .edtoite s’ teddona eno lo gaiwonif yidnobiftus ^ ,v , ?v .bebivifc saw il? w li feetsvoo ed bluow

orfw .dftebuda yir* loM ib o.i dnsdtoqmi ytev osls ed bluow it evsrf I .vbrits to bfefi w ouaa a abiawod .aiaeilJ * eiam od aeriaiw -sraoa aiaedd bna eefoidta .adood lo btfhl * od oigielU teddat emooed bled ebdw odd teveo ^IdAhavni daomb dwidw baa am od ia&s aemid djiodUjw ,gninralqxe,; afndatS ’id ooidaexe edi eonia itodaid laoieuco lo .aoned laoindoed ecnoalo gain asm erid .eonebive laoindoei lo dtoe ifla bedaevai sidmria to! 80Mat lo aeboa a daal beriaildaiso na as gnivig »dJ dJiw iasswvuoo eiii>p ioa etaeiama oiaum emoa id oga gnol eiieoq id ledipyoJ beinil gnied gnidi elodw sdJ .alavteim lo vtoedi aloodoa bna aeidiaievinU leel I .bniiicam lo eaetgotq sdi ao sinemaioo ed biuode eloidta to eiaedd iua dadd efut a ii eiem bluoda oiapm lo iuzz .JoVj ymsgaoa oisum a^nuAM hht 10 JAKauot sht 2&I oteucn odi to noitaigoJuiJidh odi Jaeggo« oi eqadieq guibnejfii beraiq odw oliw a’sdsifiY adi aiilnu ion noiiabwfjol sdi modi moist8 a si Vifcijru^H* SUBANDHLJ’S OVERTONES and odi ni sa i^msdvF. Hiiw noisssiqxa oJimoval

K. V. Ramachuisdkan diiw * ovof ni frrfgibb -moon9 bn* hatfoxa _ _ HU gnhmooo 'rib^ b^ h'A f? 3T^*TT W‘5 m *ft^4ltonA '.«*(»*# * ‘Does not the beautiful Padya alternating with Gadya, enrap ture, like the vocal song interblended with instrumental strains ? ’ So does Bhoja distinguish between the poem and the prose-poem, which went into the making of his famous Ch^mwp.^a Qn this analogy, Subandbu’s Vasavadatta would be a magnificent instrumental compo sition, a superb kind of Alapa with words. If Pater searched for the one word that most precisely expressed the shade of sensej that he intended, Subajudhu, tbe stylist evoked with his unique weeds, duel and multiple meanings, with overtones and undertones sq to say of whieh;0ne was dominant and the others sub-dominant, so that his music emerged clear against a background of word-mosaic, f j He was some kind o f wizard contrapuntist whose words provided the melody as well the accompaniment. , trying to extract the musical wisdom o f Subandhu from his indirect references and oblique allusions, one is amazed at the valuable side-light he sheds on tbe secrets of the musical art, though he did not, fifce Sarngadeva, write a treatise on music. FTFF-] pbppfVTi Thus, when he describes the rainy season with the rivers full and humming, like a singer persevering on a deep J&akali note

-I** yregfitrm fg lo'noitqhoavb ad# Jsdi ghiaaaq aril QJ 'ilRjfen ennolsd viuesd s’ nsmow no biow j«s! adT‘ .seoaiq the picture suggested is that of a Dhruvapada singer holding ms breath to pause on the Nishada of a Raga like Khem Nat or a Malhar, with the added appropriateness of, the Raga for the season,, When after the disappearance of the dream lover, Vasavadatta a ppearedg ni wot io t edit iu>ao ugiei s'gciis edit io ip iiq iisw b lifi ul

qfcrrfrfa T:’ ' F 1 "a^sadetcl no sjlslil to Ion Jud oi «*) Io noifqimetui «f siedT* ‘as if she had lost her faculties, as if she were swooning, as if were seized by a planet or possessed by a sty*W lftfti& s introduced musical terms like Grama, Murcha, Graha, Taranga and 31 1 2 2 THE JOURNAL OF THE MADRAS MUSIO ACADEMY [V O L . X X III

Raga, intending perhaps to suggest the disintegration of the music system from its foundation, not unlike the Yaksha’s wife who played the vina all wroilg in* iuer forgetfui! distraction. ‘Ragarajju’ is a favourite expression with Subandbu as in the line

a iOAHaa 7 rA ‘As Manmatha rejoiced in Rati, tbe kin^ took delight in love ’ with the added meaning that ‘ like the Raga, tbe king excited and encour aged love.’ Another favourite impression is ‘ Ragasagara’ occurring lultiu&od &di ton seed* 08 ' ? m ia dieti?< gnoa Utoov mU eJif ,«n»J ‘‘Hke'the bud of tbe e^rdl tree fVdm passioh’s sea* and with a variation in his description of her eyebrows as ►di ofjpt J nf -oqm oy Is.; m aa » ttaiii 3 a oo n i a g a eg ft ->d hit uivasft / s'uiibnsdu^ e d i io l diiw to baiit cJTetjuB a (s< •like tthto the currents of love’s sea’ , without losing sight o f the subsb ■ idiary sense of Ragasagara as a musical composition id Which a number of Ragasare cunningly dove-tailed, in the Gwalior and Rampur tradition*n hn, ad dguodJ ,*ia

*Rritwrfb fsr^fuf SRJffir .ftiw m no

‘they cause beatitude by very love' implying again that ‘the Raga of music generates the eestaey ; of Nirvahfa/' It1 m i f ‘bd observed fti passing that the description of Vasav&dafcta ip one c f his master pieces. The last word on woman’ps beauty belongs neither to thp colorists of Ajanta nor the etchers o f Etlora, but to S u barid h u t^ Rtefarji craftsrflart f ‘infl"the frigiiways and byways pf Sanskrit arft AfU .tm ag **fit I n .im Anw Jjtrtnm froa tfohbft 5fi t rfirw ,isd l«M resohant w ith b is trhfmfek drid overtones. iH MiJMkarMMv ,ievoS msetb adj lo 9 o u » i» ^<;qehib ^ -— *>dJ— teJls ------B«dW------In his description of the king’s reign occur the followinghenAsqqa r * wstos ^ * m m r « » * * * * ? - ‘There is interruption of Ga in Ragas, but not of tjlaka, on foreheads df%oAieri: ' there is knowledge of Murchhana in music, but no stupor ..aaxo-MMLada lLaa-.ao««lLALMd ^OBfcLi L lP m fic^

~~ifjorfdt IS *AATS W j YMXOAOA SOBAB DHlpfj, pVJSBTONES ?,v ) 1 k .t. a},T 123~~

has been com pressed a wbo4e mass of t cob rival data; Ga Was eonsi- dered a dissonant note a^od a variety of methoda involving its ^division, suppression Siq(!!d^grees ajad^oimflsioo ^^fetcBdopWd in 4#tgWg 4M & Tbe allusion to ^lurvb,. *iu r e v e ^ ft b e t ih ^w tendfbufs^W vj**l0iac.ttfv in .music and tbaAiifc bad ran been abandoned as it was later. The reference to Ohalei Riga**, contains a number of rich possibilities : it might refer < to sh»*kee, throbs and thi'ids ^nd in ter play o f Gam*M*nf* factor fommoB to Jktl R agas; it might refer to deviations and departures from standard types, like the Bbinna and Gauda/rom th# Suddha and the yibhaaha from the Bhas ha, and the Bhasba from the .Grama Ragas including also their agective, agitutive qualities ; it might again denote a Misra Raga derived by blending t^p diterant,as the late Pundit V. N. Bhatkande achieved in bis Hindustani version of the southern Megharanjani to which he added the aoga;p f •; &9

Now follows an important musical doctrine thathea.si close bearing on present m t o * ftw i , , , fm0!is) Jdgtifw# peioofesei ana^yljaoo edf ehdw yaw tdgiertt .iperil ‘ From love-reactiq^ are beautiful .^ainour) gestures Involving b?ntl of body, but no crookedness in thoughts’ with the added meaning ‘there is curvilinearity in Ragas.’ Bhanguratva means Vakrata, the quality of being gracefully curved like the crescent moon, as opposed to being straight. The belief that the Raga was a straight ladder Svaras, widely held by Carnatic musicians and theorists in reapppfi^ not only the so-called melakarta ragas, but also the genuine ones, ifl contradicted by Subandnu s doctrine oi Bhanguratva, which means that irregularity is the very essence of the Raga and that the Raga flexed itself according to its own genius embodying essentially.Ifutila forms and movements. : anil amooo noaaea qnnqa ad} \o fioitqiiOBsb i>id n l In recapturing the atmosphere of the early morning, Subandhu refers to thei streets lit by '' with tlie songs sung by mendicants in the Vibhasa Raga— a!*T had'; ;i ynam R*rf t«dt ‘ Sivararaa equates the Karipafcikas with the W#»

vernacular of Vibhasha.Whieh as stated earlier was a variant o f tbe Bhashs Raga, though o f which precis# Bhasha Raga this was a modification4la taore thari we could determine ib our pnesfent state of knowledge There arOi!'it least two Ragas of this rieme in the Hindusthani sytsem, one assigned to the Bhairavi that and the other to the Poorvi that, and they are similar to Banli of the Carnatic system.o There is a beautiful Dhruvapad on Siva beginning* Vadana Bunch* * by Tinsen, which appears td ha*e been specially composed for^ ’the temple worshipôfhts first patron tbe prince Rajaram of Mslvk. there are otttnr^ SohigS like^*‘ Mohati* Jago ^ o f the similar purport by o% er dd^npdêirt iri V#bhae. ¥uâ^ has described and illustrated Vibhas. ’ Vfbhas' is a Very beaUtifed and important Raga and from SlibandhUVallusion to it;*it I# inferable that Vibhas was already well known in his time and associated with divine worship early 5iVtbd(iridiVtfrigP bsbba ed doidw oi medJnoe odJ

tttifcwllfgh^t#uta ia^ ioqm i am bwoIIo! A t o * m *

* f M F l u J f K * Then straightaway while the courtesans resembled twilight, (skilled Hi the elaboration o f nocturnat Ragas) (even as they were experts in amorous sports of the night)’ suggests a wealth of meaning: tb

-:.%v tints are momentary, so is the love of courtesans which is just a jjjretence. As they are experts in night sports, they are equally experts Kanada very im iortant one, which Carnatic musicians are in danger o f forgetting but tfbrth revivin g and re-establishing. m bus eruiol In his description of the spring season occurs this : fjiba& dtlB .auimois lhi-> ad* lo e^k:*orqJa edi gnniriqadei n i

~~—*a«#I aaarfdiV edi ni atosoibaeo) gnu a~~

‘ that has many trarbiter# stnpefied^iis they hoar lh e Oharchari Tala of festive songs begun b y ATitas eager to Irsten to obscene songs sung by Vaibasikas evesydayn’uT aChis is. perhaps an allusion to the popular celebrations wben. jthfi gW aHaios ags*>? demanding song, danee and instrumentation^ fujt}, and frolic by groups of girls and feasting ofit> riv^r hanks and accompanied i*by Rabelaisian songs isimilar to thw nuptial songs •, requisitioning such Ragas like Vasanta and .’Vfangataf' kaisika and perhaps also characteristic Talas. Tbe celebrations' PARTS I-IV] SUBANDHU'S OVERTONES 125 'd however have now gone out of use in our parts, though the Holi festival tff the wctttH ir^efcki etitfence. f iO 3DMaOH3M3 8 HI

~~In an intimate descrif&itota ,i>f t t e «v««ln§ We have this idyll:~~

AVaCI A5f * when the old men wer£, eogross< in silencing the confused chatter o f children eager°to h ^ r the*poetic tktes tol^ hy exj^Wfli ‘story-tellers seated on the banks of the river beautifully arched with Durva grass.’ Tbwj # »fy :beda^ibrfHrt4w:.^h^ • ‘ttfetotttfgregate • Ott' rivet" banks is the &u« W $iifo&ndliute v m f¥5W ‘cM ld^^pW M #^ gathe^d oi^Hv^febnks to ffetea itwr.thei lived 6f Savitri, ''baihayanti, Sita, Ram* tu*l iKirtehna.U WhWpiananagie for piffttetvvtf nfthe»» rtobie. women and marx i a done id d*iol anaoa won Hit sad noitffiflslqxe on ,tevewoH mats^a -tol nAioatfamf:*^ eeoquuq ad* si ii .egnsdo

.eiiorb ad* lo vaolodovaq erii bnuQi siihainaa .oiaom la ‘ When the courtyards had people hurrying to the houses o f tellers of tates'dtafc^ weife «aontiw»ing «*aRjafcjtiifc:©f iatfcrthp tedi t#l98-r-Hafij&cene that was quite conam On two-decades jsgfi small town had its exposition of Ramayana etc. and people used to, edT .i accuse ad*— iabio anibnaoBab u m badhoaab am (a*lide Iftboai mi) g W S f e ricefields which delight and captivate herds of de^p .vf&OflS ip t^ ip g fl in respect o f the corn were perhaps wiped out by the music — -hnaoea ns ni a^laoa doo^evfieh o* a^abewon lanan aiora bc <*I rf alaaa maboor ihO .iebio gni owi 4fl# ^ U^ i o A .£ -*8 ^rfit r t ^ l ^ T T I J r i ^ l £$ ba® (o d ) «8 naawdad noi4«lai ed3 aomtg ,(08\I8) i*ma aoo vd lawol si aausig-cM ni &dt ‘ When the children wanted to sleep and were pleased at being ‘stroked very gently byoM woaaoa who tcknsatad aborts* accompanied hytthe rottttiori df‘thettowguedaadskagiagfiiliedullabydofloo ®d*-eafsoe

Tbe word lullaby is derived from a Swedish root’ w&cfi means *fco sing lOAokwajd a whiefe -awtbqs^fefcltoal children iskaown sk* othersfwotscofIndia as.^Mukhla mPdfltetf ‘ Mukhaghantika ’ etc. It was perhaps familiar to the mothers o f HrlbkVijfldaro?^ * ?° *»®id»e »df* bomiol i»qoq sal* lo aonaladrxa erfT * .'£?nabfl»A ®di lo w a sw ln o1) 1881 erfl'A® r - ) ‘ 83USOT&gYO 8'0HaJ!AfXi38 [VI-I

: Hrbi mtii »?sd A P8YOBOsL(KMCir '3IT?bFifrj BY . P I pWHFFJ fooenlfloo ejii 2np’n©t«Am‘^M eb«2s^t»,w nam Mb 01k nodw * m a& &T*lrP$S» * fe. b* n m **> avwCl diiw bodoia vHulifoasd isrvife od.J Io sdnad ©di no b«t«oa ©dot It is a well noted but mp^XipiAined if»ct that tberebs*. bee©]-* vory great change in the structure of Ii*dihn otuqftfrcgn *boi& £q«r bundredyeara. 1 Prior M-fttonMWO. AO).* tbe »^nau0i<^ogwal,de»c sew isdi t<* baser ©Iqoeq baa .ot& an'aTamaH To noilieoqxe adi bad nwoi Kama 1. The ancient: a t a n ^ scales; an^l w f | ^ 0J|f^ a fe s ^ ^ jy p d by modal shifts) are described in a descending order—the saman tffcteft-i d^cendihg bne.^ So are thc morcchay^s descrihect' fn the abiad eisvijq^o fooa J d g ile b doidw e b lo d o o h ©d^ ^d iuo beqi w aq&dioq m»w moo arid io iooqten a i It is more usual nowadays, to derive such scales in an ascend ing order. Our modern scale Is

~~2. ‘ t*rms* of two fa m a tf -. Sadja Grama andMadhayaw^wMtja,!.:; ;Whe«W^M>e Sa- grama the relation between Sa (Do) and Pa (Sol) (is a jperfe~~

dwbomB a cooil immmb ai ydaliui brmw odT noi %do Ir the ittusicat structure of olden timeaSa (Do)'and :Dai(SoD. Were ‘ variable14’notes ; when waafstihg a comma lower?than its Tr» Hifi.iAarn Ad J. ad. laiiuiiai.sqadiaq flutar si— m4» ' sdiia#ti%s rtdoM- * The substance of this paper formed the subject of a writer at the 1951 Conference of the Academy. PARTS UIV] Twaa BRONE IN IN B U N J4HSIC WttNW

standard posi tion it was called CW*& -«*dp. There was similarly miojpka jnmmmmmuo .(tafaqmioq so \brm ,aoiimbm% ei& W l ofdfeasq idansfeiiddfes ribt 8eHoW*"0$ any variation of Sa and JRa. No musician or an audience ti>f the gmnbfe/w© now-take it + Q $ b p a # rq srtt&'.f*? .«fcr$»«i»e oeo rfeidw m oil tn o iin q ab ynn ism Io e ia ia * 5 It is a significant fact tHaT Id the hf ^lbsio tlio relation bf-contiguous notes was more important than the r potions d fa tftd&a (Dtt)^ Thfttf (waacwfeyulmtbaE system^fflmntoW&la cnlar Mtighi8w iQ g 9A $fc# W l also ^nfcdfefddfto Jmvd baODBsd raiffacirtatsfca oibnooa ©d>) smoib ad* \ In conlempdrary tnWiicir# i I 84 logger efeefai method of description of vMi&plI? Wftfcifii a !lth niigbl hours retaim^err v*Waflttt«*hK> edT -onqoiq) ovieoieq Tiiw raelrmg-io edf onlu |y d tudLyIoiUqq J i mod ,jo a ^ a e o n ^ m !

~~0dJa6)M 'TtKtKrareniailiBy three functions if ^tone.-M, .imjodjs^musiq~~

WHiSt (nit 4*rfj aesy cd Ihw ti noiseuoBih snioserol $dJ uini'd baATbtfrW -rm ifai l i i M u f p H background against which the p C k i t W ^ ^ ^ ^ H t ^ p f .it f l g .^ g w h c .u g sung or played. It also vwm tfa-it'99*' b « » f? f accurate intonation of tones. This aspect is not very important in the present context, and therefore Sffno¥ienodikn3sea further M i* «““* ="»“ **> .«"**"« ni .1 •mdJo vflf. gnisnig .omoi art*—yf»of©m edj'io omd &tii ad few abiorfo $ i8 w H h« n p .!» IW M M W liW ltAl'h.W W fe WfWR do state a eiebuegna noitomelo 08 Tho^fiiwt question that atisos is, ?? How do *m>p*rmv$i* gtleflf t o in iK if meanin^fiil wholftj*t-aB a tiin©?!” n < Tbe mechanism t sugges ted is ttoeidibe mind peneeives not iaoiabed feonea: but their relation* 4hips and relationships t*f th«m«bftittlisfc . JReychet lti^i«aUy^B«eh am organization « f relationships m built «p h^bifrqpj thooae^dseie properties o f tenaafmpkjwddJ&bd^^^ tbefEentc^«5M»iy>ttkf tneehintefe#nvolved in theipeo^uwfcicm>ahd peif cftp tiflfi^ l^ f^ w T h e basis for such an organization o f relationships is the tonic op/fihe

~~«» W f » < m m m # . # *» #?p»9«4 M drtail fur‘ h8r «»)• Tbe eaternal ,cpMsf« «fft,late p f t^is ie.tjje irone-rwhateTer be the 123 THE JOURNAL O # irWffe JiOADEMY [VOL. M H t~~

insti iment so UsCd Fh« drone, rh*»efore. ih n.-t. absolutely imus* pensible for tbe production and/ or perception of mwohocj tiMjr i* obtioiw fironl the; feet E tbafcf one ?eae /8(h%g ppaoopj»p^pi^ !$;,£, $rone. „ n* 10 nsioiai/m oVL The third psychological function of the tonic (exterwdlJj>»*pTe** ^Hlld^fl^^c^^^rbitnndifap*? TI&trimniKli*,v*he(W>te ifrom S4i tto- %HMP Sny5 tnelodyyakiteâtartf and; foiiisbk ft state of rest any departure from which causes-uRreife. r9ftohf9d(^^îi^l£St tn**ilingia « si Jl J a rm in g fteeestewajtto? nanderstsaad tfefr.nMirornweul** phe#«h i^!M tfe9felto[ mxmvriMi1oM'& M y 1 W W r r f $ s^lir&liwonT Tbe tîsnWJ}1» ; th ^ fa r e n^prosppt ^% i$,To affian^ The organfemaFfitt !i1W^ from it; not only this, but also the organism will perceive (proprio- Spt«€»r-a malcy, ^TOeêuyo-lnuscultaf tieha^lotiîff1!’ti'tf ^dtÂhfeh^/tHiîbdi- cates the nature tobitf an# a #e*rt note a o d i bash of tonal integration.

~~From the foregoing discussion it will be seen that the todl# ('6V the drone) has a v~~

o f emotion engenders a state o f ri^tiV^-frtii^nlar t^ritidrf fH! tftfe lllster thiriffeW f d^terisiww - frfll affect- tire vosalr cfeords m So tUftt tf t#wJnWSMM opening hole I f Vott of thh1 kfhr^iiWttnnfeirt tIdySf By ■HHjHi^F'7 I 3fK8VSiVifrQ Tm mikOA DRONE IH miMAaBH®rffilCJ ak h tjo l SHT

stopping the string fret by fre$ eutelii’ process gives ascending scales (gMnfif? groMftf, aaeendm* scales replace descending o ^ f;{/ ^ loniM ioi«M nenoT -This is partly true. We shall Sexamind* later %he infludriefeof gfrringe&jastrunîits in J^p fluctuations # our musical fcrop«au»a-aM ur^ i t th'brîs l f afe$cio ’^sytfhologieal £$8$§t oPWlfs development whicî has notf been c&nsidereA in any> study ?*I have iome across. ^Tn Mery simple formaiof society, where there Is less 9tt^-adWcWd8a^ladîQKis*«^^ldl tmtSa fnrms o f social expression would have been integral jyicVSipfr flQgiftl activity. (It is only in this sense that the words ‘spontaneous’ and ‘thought ou trage uSeda hlfelictlnyidtkiinotoiiBpiyiolfanQliMtidiSris in AM'#01 X R tfffliM k“ &*•* J “Ws 1 « l< * * B W sion would have come forth as bun^jf .^ m fll/o^ ^ fp io n .,; ,^bjs would mean that the note first sung would be high pitched and the Wtoefr musical fo io ^ w ^ f r # h ie I^bis,

~~af t i m Social encourage him to express himself ‘explosively’. He lbiiWid (arid is more inhibited,; hence he tends to depart from a state of 1 S f r % ^ M x r t f y wi8fo % ishing~~

(dilrLsd.! Io awipvmi diitrol adjelaoa anibnaoaob a nLdtadi fosaxe.vfim Tnis process might have gone on in all parts of the wond from t»£rV «aMieWtJtrtiity. T,‘# e 'j SnaTJWBh?«a?(fg ontsi in all musical systems. Bui ev'ritr !riotviM ^ ^eah ph d'f««k tf mHsiaisitidMwadinhrkedly deseewdibg eharaefeer, aM ,elao« gmbneoseb rri . th* prefie rW Whf M m m ogfi^P M&ic &ij %b£ recognii e buy gramas, -it is well*known that in anoientitn usieology they* had three standard scales : Sa-grama, Ma-grama and Ga-grama- Tha last was obsolete even in the time of Bharata. We have scanty and coofaatfitflofo regarding this scale; , HoweveriV it will be necessary to discu^ePbri iriipr-relatioos of thesa- tbreQ standard-ecales*ifhioh arer given below : jrseheq « svari ,:**a eaob #ael erf.t (fo8' acI bn* fa'll) ##p THE JOURNAL OF THE MADRAS MUSJC ACADEMY [VOL. XXIH

H'iUoa goibneosa sevig sa»ooiq'ÂBWB $ -til ?,d 3©V| jgoHia add gnrqqoJa Stf.gvtttfa* *&$) W ( # « ) G a (W> Ma (Fa)lPa (Sol} l»j? ft’ajtfl Tones Major Minor Semi’ Major 5 Msjor w Minor* •fI8>Senjf S^tWufhii srf# tsKffll Hilda 9W7 .aui4 ^l;u 3 ai eidT2 Ma-gram**n m w o fciSaof Ofc Oidt j j i «» 8 !(PfcauU I>haf Jaltofovab ^ffiHo # m rB Semi MaJ°r Minor ii1®toW oioa ecoot evad I*^buia $aa ni mr-dnsa#© ns^d ^Jon «ad i&idw Ga-gratoaimiHi odJ Base©! aftiisdJ Ga iw , Ma >«a 1 Parinol Ghana y/’NI ■ fFbhfa-,’ 86 ©I d'MajorfU Minor Minor i*.Minor jlchlajtr © Srutiaum oiauirS n i a<**89iqx©*lo sanSl edJ fceno if 3 aadJ '4>©jUi.> vf©fobs b dona nl ,'fuo JdguoriJ* eaei hn« 'auoenaJnoqa* ©iooi nj#*4 (j ,iwThe oldest defined scale that we k;pow of is that of Sam,an chant and it closely oorreapotnds to Sa-grama. fc Hence it is safe ton assume that this grama is the oldest of the three and the other two are later n*9d 07ed hf now noiaaeiqx© Jsiooa lo eimdl hn« 'frooooeidoqB* sbiow *wfJ ledj eauea siriJ ni yIô ai Jl) .^Jfrisoa ni Tbe reason for the.introduction o f Ma and Ga-gramas has not been even to this day properly ‘understood. What follows is a plausible suggestion in this regardVuc* djml &$\oo ©7ad bluow «oia boa betm iq rfgin ©a bluow gau8 Jain ©Jon ©«Jd JadJ neem bluow r8^ The basic criteria for the construction of a standard scale ha'iW been (i) the tonic must be unchangeable — i.e., no variants o f it are allowable and (ii) the two tetrachords must be, as far as possible, symmetrical and every note in a,tetrachord must find a fourth and/or fifth in tW otber. ,H ,\{t rriaolqx©’ lleBiuid ««mqxs of mid lo ©JeJa a moil Jiaqsb oJ abneJ od oouod ^baJididoi o iorn ai baa) qrnAwJS} $ftw^toift?cient scale? ^.descending o n e s ,^ ^ ^ ^ who use ascending, scale*, (|he relation o f fifths is vary important, we may expect that in a descending scale the fourth (inverse of the fifth) to be of equal importance. Accordingly we Wjas nlwayt en p si^ ^ P d n -va ria b le,b y antient musieologisfcsv1?!; I » # descending scale, Ma, being the starting point of tbe soalh, is not mîfiahW.oi tfayq^JogicaJly,,îaatiM the tonac Cas.. understood in the- eenae o f our discussion herebut it is dominated -by tbe madhyama.W bna arttaig-al/ tflcajBi§-fi3 : 8©lsoa biabneJ* eeidJ b/,d baa Y'l®*38 evad ©W .aJaiadH lo emiJ ©dJ ni neve eJaloado eaw Jsal oJ V i (ii) By tfceisecond eriterion, it will be Been from the following ■ table that in tbedSiUgroma, of tbe three important notes Sa (Do), Ma* (Fa) and Pa (Sol) the last does not have a perfect fourth ; »*RTS MVj YM MSOADBOWB IN INDIAN MUSIO inIT 1S1

~~»rf* io 99M H o ^ u J a o iy edJ t a b l e n * &mirmq edt rooY* .€~~

yfno Ion nfw *»(toih Tbe eriFSo d U h %> ------In the above tabl the relationships of fourths and fifths have been •aim com puteda/1 in *»/ a d//aaaaaa.Ma e s c e n d i n g orderA./Iar tofA cobformaaAfArai t/Ato tViothe ancientanaianf rt^gQ^nninffuesceuumg ftAAlAB.aoaiou. .Oran no notralo 9tasf^tts ail nsniiTctii ssa JOfineo ,910131301 ,nitn D9fiui iljl i t can also be noticed tba&S&and Ma-gramas have the most balanced pairs of tetrachords. But, in Sa-grama, whereas Sa and Ma bave both fourths aud fifths; Pa —an important note —has only et * * j fifth (Sa) and no fourth.! T o»rectify this another scale had to be formed wherein Pa found'tt fourth and a fifth. i! Since the sealeswere descending, Pa is lowered by a comma (it is to be noted that Jti is not raised) resulting in M a -g r^ f. bill? fîs 8ca*e‘ though Pa has acquired a fourth, by being lowered, it hap lost a fifth in Sa ; Sa also 1* a fourth. .JM) iO aiaJnA. Jfi3r.n1* 11^ Again, with both th$ scales combined, Ga has no fifth and Dha This drawback is amended by creating the Ga-grama whpîn (jhp notes fij$ thereqnisite counterparts in the other tetrachords,,, ôw , jn Ga-gr*gia ,th? jpwidbyaraa— which was shown to be a very important note in ancient music —has only one conso* narit.9 Pdrthef’ fhe paricatoa^Ss no consonant n otesat all, Sa has only £ic[ynsonant. Neither Hai$ Itbe' iwo tetraohords bafafi1oejf..J These feason’s might have fcobVtfbuted to tlhe gradual disappearance o fth i, ac.- le.1* ■ ai 11 - (8no, ™ 8,,U18 M P TB® JOURNAL O^j THE M*MDBA3 MUSIC ACAL1MY 'fWOLr

~~3. From the previous discusgiorthe great importance of tQRIC, Sa iajQbviouA. - A .~~

Therefore.-* variable Su is unimaginable— avd impossible —^rn a type of music accompanied by a steady drone ; hence, the present day musin.has no oyiuta sadja. £d the *st% f a steady drone. And drone-accompaniment. therefore, is’&a later diwtop- ment.in our chamber music i'* iTA j *8 In the light of the foregone reasoning it follows that with the emergence o f the drone ih chkmber mW&ie, j the musicolc%fcal system gradually changes towards the description to musical elements in terms of the AOnic, Sa. «H <*rfa Now, a Style"Of music that employs a steady drone wdTV r ot only not tolerate a variable Sa, but also tffe vMatf<& 6f tS¥ fifth o/4he ton I c “Pa J ^ mi V.W.V-MI. '“VW */****«. I uv us I IJ AC VUO IXIUOV IUI UU1 lOiUU and acceptable relationship, next only to i n son and octave. A mis- —i— -aifuissv.-ab ij'ioio:u> oilioJ m3>»iaaa,odL-if,! %o on«anvA’A> a xii bsnjqraoo tuned , therefore, cannot be included m any scale of such music. Tfce fifth, of Aitp AJa-gffapft Wag

tt^m ^cvuta sadja and eyuta pancama form the Kakali Ni (Si) and Prati Madhyama (Fa * j o f modefii musiy.^ Others have deriVWl J^ratl JâdWyarn'a from the ancient Antara Ga (Mi).18 . Jiuc With the ‘diaappeaTanee’ Md-gramu, alldtld#wnr f ii^ f all dh* three TWeHrtWeMHb iSHj^bei^bfn^^sity'bf‘theddea • of gcAn^s klsHh yly cefeW to e . ^ >P attcf it is “M itA ? itigtesir to ^*'wnW01 ^ ^ moil ijfjTTfrfiih. ft4 1 ,od news ed nap doiHW) eisoe > nie It is just io this regarc^ influence o f instrumental music specially the stringed— assume great importance.^ -In the beginning itmiuet'fcatîb^riJ^:i'!ttfpl^,hfiîlB:côrd tîat served as a drone. From ihigilheevaribuhf fftJger -^bar& ¥h*8t7u men is 1 lave develppecL, I-9, (See £g> (a]*And.table‘««CHiJfIO° 0flj »HolJI8° q 811 , . «ri«0ed -ted Lpriaini eoot iota to mi J n*dw .eonatani i o i . nai Xu"v lft fi&fiifcwiww a(i^c»thi9»fourth string from one wooaJ* iVfn^b^ftVb ^H9?ingitJM|ti«*«!hf4ntfa8trument had a string foreayb srut^fp^^êrîsf^â mradti hdWeuWeen 'bn thedecond strihg, S m fh * iW w sww f-a finger-board instru- £wiZ?jfr w >th» opdtf rntkig that Will form the startup ppintotîgammt, fori*w*h«4o*est note possible on a 8m. Would also be the ? , T O Woitalei odi uadt ioaJaoqon y m M * -uitMittis instrument f^ lp Y ^ the ancient scale, Saw lH ^ otft& P fife^ il arjd tffjSL fch^ ppe.n. stjrjngHa Bu*i this leads to an absurdity in that the ope^stjjy^ jy^g^jf^hp^nwest note possible on a^trihfef «?n

also) aueheS&thd ‘rfotb’S'i note o i the, gamut both im,theory t 1 bnuoeosiaTOow »araft ana-ooUuai practice. JneioiwedJ beoubm aqariieq .aini sidT lavieim.« begnadom edl to , ,1b.m ake this possible Sa ralustafcpiacb^$fi o^Wfb afttaiMftV t*hat is, the whole of the ancient scale takes a downward ‘Shifty note for note.^.^y^n ^ 9 ^pcient standard? scale of Mulflfiiiflitibi0jttiodern standard ,pf H ujd^tbani i musi^ Bilavwl, is'stf^'posed to be derived by such a process. On the other hand it is also asserted that the eld erale of Ni, after inch a the R“g“ Sankara of th***«« * obafcaftyH t great WtonttWiif S ip e rim e n ta J ^ v ^ jg ^ o n ie neceeeery befbM wty A*W ’°* and l h 8 at A n $ P * £ it> Wbwmiflteni lU ieuasdi noijf#'kJ«n<^ *riJ j® sdo Mc^ft»ni8fbi b-8id-i©i» bo Sm™** vod# epii To*188 shiubniWajamfMin Semi ’ Min Semi 8 ' Sru^s baiaqm db ein alion aigiiiav *iq| edJg^l ed? ^ ^ 'M U b H B B THE JOURNAL OF ' a, AC A JEMY] ^^UBtl’XKf 11

Tbe ancient standard scale of JMtdFhajji.fcas taasf been replaced by tbe modern standard scale of (^.îTôbamgi ha^nbiMn doe to the imperative psychologic^ pea^Bsidy *4 taetdswottand «le cdnsequehi drownward ‘shift’. Ijy&bRftb du^* tanfchad in£neneos»f the Western Major scale (which can be seen to be differrept from 0 m .modem one), as > « e fciee i ‘V,,. „ irvflii i soiubs/—b s g n n i a eui v;ubi >'3q S,iiC 5. Oneof the remaA£We fe^tp^ Pf ,^sicofcw,uwds ♦he definttKW* tit Variai|^QT a particular note ‘altered’ its position, the contigppjuiidot>ta 1 m16b became a variant. For instance, when the major tone interval between $ j.?*u d .$a. ( that old > sea(fe )b WiuHbded&l ^ i y i WW VMV a semnbne (from fqur styling tQ. two SFM4ifehbyi»i»*i«peMillf/Ni;itaiI As in Bharata’asttddidd W iffim M m roignt. fcnqeaifc c«H tbe bitfthi ‘/a^ < ^ j,^ c^ ^ ff5lingBat*iegrl»adi*qo beklfcwÛtrt&rifcidV5^’ft dayo tê stîn^ piayîMd enâssiait, tbe ootttigUotis tinUUWed istring would also sound1 differepfiibe«ai J 1 / * — “ A ------of the changed interval. This, perhaps induced the ancient musico logist# to ÎqtJbft ‘ unchanged-’ not© also *4 4 8 riarit.®' % Her&(nis also

— f • ?ti nxTTTt . - • ,• • h-tpbnaia notes to tfcg tonic, S .. had not yet acquired so much importance as at preaenU 0*L Vi ii bnarf isdio «H# nO .saaooiq a d°08 ^ 3VI^ „ J L aam iw ojV + * *»«• ’»«* -M ^ ^ Wn ^H owever, the dmtp^^o. promjn^nQp o f ^ e dfqne |il.«»«bbi-sa in a gambt w'bdld bd^¥Jtslif^ m ’ relation -JgM i (ffiPH Pth ^ytf«wsa.do

Thifl retatfObSl'r,/'td'4lie’7{ PonicJ"'^ec^des o r 1------^ore 4 »ripartaat ‘ w * — - than thst‘ d relation to eoiit f \is note, A note is varied only when its relation to the toii fe te irtti&r Otice again the mutual influence of a psychological nped an(| the eonstruetion of musical insifumerits call be ’ ' * observe^. the ff,ie^ng i^portaijee of firiger-b|>ft#wa^Mbi*n sqiftd jaeioaa fsflJ eiasssoq e i P * nirls Sri T-V. Su bba Rao has stated that the changes in our music and musicology might, have occured in the time of Matanga (5th-7th A.D)

n.holel£Z£8jga_i3^m/'* A; Connected account Nagasvara^ra^ was published by £>k>*. V. Raghavan Tn the H i n d u , and the account^ wwfy.j.j recently repro^iqed4ft,^if ■frwfenl J see. Vol. X * ppj'Vbs^ l . . . ___ ^ 1 ~ i \ " .oiswfn mo fli ©fei Hii moi PARTS M V ] /M a a A 0F , ftS[#t ^ N INDI4 Na M 8ilft JA%au< ’ 137 or perhaps ev^n prior to Bharata (3rd. cent., A .D )/7 He has not explained tbe reasons for his vievr. Scholars would welcome a detailed study of this process from an aulhoqrity like him.

ritT In.deciding the historical .da.teof these change*, we should search fqr a work in-, which the difference between Sa and Ma gramas is not mentioned or there is * nomenclature which is indicative of the lack of distinction of two such gramas. Such a search leads one to the ‘Svaramela Jvalanidhi’ of Itamamatya tidhQ A.D.). (However, see below;. For the first time both the lowered and lowered Pajpae their ancient names of Cy uta Sadja and Cyuta Pancama. Baft** matya calls them Cyuta Sadja $iaadaand,Cy qta Pancama Madhyama, tjiotf is, they have become variants of Nhaqd Ma and not qhSftap# Pa. This, obviously, indicates that variations of Sa and ffc ft beginning to be prpkibiied. Also,., it, is. in this book that me fwft find the term sruti employed he mean also a drone:" His Suddha Mela Vina (which, incidentally, cosra§^4>ft(h^tqil^,f«*oderu vina) had thi#ej dtfpaff strings called the sruti strings. (In South Indian musio the word i l uie#HVfimlan!^{h^^i&Wotdh^^Whd drond)? ’ ftrfther, Ramamatya was the first to describe finger-board instruments in detail. Another significant point S that he was to iff* book to clear the great confusion that prevailed in the musical world

imaginable that different parts of the country employed different S tandard scales— as it is even now, the Hindustbani standard scale being different from the Karnatic one - and differ ent nomenclature janJnMp inoiD to anion biut a // • ♦ ”( •mm m to aisle leutm odut 6f notes. . r -amaJi \4 tt*)inw saw as ■■*wah i*« «*©-il u»i)«dtav JsoiitIji eeodl_lo et&iaolajisojri odj sc , o finutp a«w .avjam , Now, it is only after Ramamatya that we find successive authors lo Jiaq. ifaae ,,no ,'anicm saan , >1 mTWo/jasflWi .ejmn emphasising the ‘disappearance of Ma-grama.JPupmrika (later 16th cent. A.D.) recognized only the Sa-grania^ a^ragas being sung only with reference to it„so Sa was the graha (etart^nj^ptej of pll ragas. He also mentions the use o f‘drone strings in v^ m ^ ^ Soiqanatha (1610 A.D.) definitely states that, though in. Ancient, music there were yjotr nos slid ‘Snsmr” ° Tlmiow alj ^jJjirpnn‘1 jails flattened Sa and Pa, in the desi (profa.ne) music of his time these were really considered as variants of Ni and .MaJ*, By *tha, time of hi. anisSifloo #10210 jn earoj iqjp.,: ;; .&a«a Srinivasa and Ahobala (later half of 4 /th cent.) JVWgrama is nq .avsn aiooJifS y ; . . . 'iQwiJt aiemsirvrf a JPvTiLfrieou.71 1 Animr rfir»n.vnif70/l A Ion in tKoir f imo airon tna maaninir at mnrn_

~~!m Ta>^S~~

~~However, prior to all these authors, Kallinatha (I5th cent.) in his commentary on * Sangita Ratnakara’ Remarks that variation o f ai note does not make its neighbour a variant.85 * ■ ¥>ula~~

AH this indibates that fn the time of these authors (15th to 17th cent. A.D.) great changes were taking place in our mnsic. It is probable, then, that snch changes might have begun a little earlier than 15th cent., and that the drone became definite component of oat* tfhSmber-music by the end of 17th century.58* By the end o f 18th teiib.j the older system Completely goes out of vogue, for by then BH&vel (?) replaces MukhkiCas tbe standard scale of North Indian musbcl8* The present standard eCale of South Indian music (that of K&fttilfangi) does not show sueh ‘genetive’ relation to Mukhari. It/ iS more of an arithmetical convenience, created by Pundarika, who took tbe lowest variant of a note as the standard ; for it may be noted that his contemporary musicology was highly confusing and he bad*to bring some order into hia descriptions.1 ,ylUrtuel» biow edJ oh aibni »1 tio8 fill agnjtia iJuts edi bsliso egnnJe Yffdifift ^ac| t'^at aPPears contrary to all the evidence cited is that all these authors place Sa on the fourth sruti, and not on the zero sruti, which they should have done if drone accompaniment wa* common in their times. This is, indeed, difficult to explain. On the one hand, if this were taken as a necessary part of the logical deve lopment, it would indicate even a later period for the changes in our music. This could not be, for there is enough evidence in our Raga- mala pictures illustrating the use of the tambura or a simpler drone But it is also not easy to know how far these writers were describing TfiaielJtnapoa jnf-imSiQ i , . . *a ’>p* mail 3a:‘ > * the actual state oi music in their times We rind some of them quoting almost verbatim from Sarngadeva Also, as was written by Rama- matya, theje was much confusion among ^he musicologists of |,hose MorfJue ajnaaecoiia bqff ew ,, . . naH vagld Jt «W0W . f times. Perhaps, owing to the great changes going on, each part of ip o l teJail aJnanyuT .me; . , . ‘laSfeedJjiriiaitsftqLSpo the country had its own musicological system. For instance, W conception of standlr^ apales had undergone changes. Wk ereas, in North India the Standard scale was Mukhari„ which was later repla- wipl;.. fixOeuarnoH „ ptLa as the standard*.givirg u* tbe modern South Indian scale of itana- J ■ . - r i t!i all J ■ L C L ' L-- iii x kangi. Even tbe definition of variants o f notes is highly confusing in Ramamat^^^vkiramem Kalanidhi. ^nd modern authors have" therefore, found it difficult to decide upon the exact standard scale o¥\bose times. As $ubba ‘ftkoffias rightly pointed out, Venkatarriakhi rilffiOA.D.' further 'issue by identifVi^ bis standard scale (of Kanakangi) with the ancient one of Mukhari^ OtV W i BaRTS t-lVj f U' DRONE IN INDIAN MUSIC

contrary, we know it without doubt that the vinas oT RainamatyaW time closely corresponded to modern ones —that is, the open string as Sa and Ri on the first fret. If this is correct, then Sa must be placed on zero-sroti and Ri on the 4th. Even in spite of this obvious fact, those ittusicologists stuck to the older placement of notes.

to It may be urged that this contrary point denies the whole logical development of the discussion. Against this, the only thing K that can be said is that this is the only contrary—bulb resona^ly e^ p ia ip a ^ Trfa,et an^.aJJ. tbe other evidence adduced indicates, the soundrjqgM^jtto* argument of this paper. The evidence of the indicates this. The only inference is that, due to tbe extraordinary confusion then prevalent (and even now we are not sure of many of pur musieological and musical faottv^heae U&ers were not describing, in this regard (pf,plae,efBff^ti?f sru t^bj^.fil^pt^rcoîjtijqn s existing then. As late as 18th cent., Sangjta §nra gives cement of notes following Satr^gadeva! Even to this day we itit^J<$,the division of the octave into 22 srutis, without any fvidenp^ of acGUf#PApp^tiea^najysta, fl ni oJiiiTbc external iastion of the tonic infcoa drone and its emergence in our ohamber-music have caused revolutionary changes in our musfo and masleology? roost e f these have; already been studied/ Two other important points of Interest aieî) tbe increasing tendency to describe all our scales toêrme afbtwelve notes anil) (ii) the increasing freedom of melodic structure. describe musical scales in terms of twelve notes (seven standard and five variants— no idea of temperamelii'f^ here'; may be traced to the influence o f finger-board instruments. THiC emergence of^ fittgeK board instruments finds its dfigin in the drone. ¥he most primitive Stringed instrument is the converted bow, l^pol or/|H^r^ 't>eiihg attached as a resonator. Now, a single string twanged continuously becomes a simple drone—tuntune and ek-tar playing a melody more strings may be attached parallel to the first one or the! single string may be stopped and or stretched. Tfie former method is more obvious and Would have suggested Itself earlier' to men. This process, obviously, gives rise to harps arid lyras— tbe sâramabdhlW/yBl etc. ^ l t m&| be noted that even the'yal had tbe shape o f a bow ; so did many harps and lyres).** Since eddta string, including thetonic of i scale, could be indepen dently tutted', a variable Sa could be a part 8f tbe musicological terminology. The advantage of the finger-board instrument, however, tBfftilftfie open string itself gives the tonic of a scale as well as the' H& THB JOURNAL Olf MADRAS .jpTZSIC ACADEMY [¥<%

drone; and the relation between a note and Sa is more easily, perceived and measured than in a harp. Bub the .construction and. * fin ^er-bp^.in sif nment is less obvious than of a harp or ajyre.[0 jftnufe ,$be later, djevelopm^jBjb of fitter-board instepments. Now, in the ease of a finger-board instrument, a fret is not necessary for playing every note employed in music. Stretching, sliding and pressing ire iabtiie o ft h e tMfiniques used1 for producing variation of number of frets has been found twelve, though there are sitars with even less. All tlie otter finer shades df pitch variation may be achieved bjg the meth'dds meritioned. ^88‘lWet-easing influence of finger-b&A&d*’ Wfetru merits, #bffer8fri the drone einerges into importatrce,'Wd; W becomes the norm. The connection between the twelve frets of a finger-board instrument and classifi-catron of ibilbfi as ^rfittdhfe bfitW lvb ndtes is tfbvfbttej*' Ohtei ttgain, wb firid the % ^ i f i ^ n 15th cent., questioning the classification of standard iifd vatfantiriofes by Sarngadeva arid5 most-bf them main taining5 that’1 She lie adnoaeh or .s'ujfiiu jfs oilxjHai'io mobeetl ^riisasToni

vaotfetefom W):tl,is I* ti>« it h o , , J -v in in Srinivas,... It ,, cunout mth, unat .jM§** *me* mtoteoA defi»m ,,,%>% ,n" rvals in tfrms ic« w * w *»*• W t t m i W ) VfiSipiiptervais.'" This & >M rii*fN in*nhW fflntoi flw b riw m ?l ff«* mn, mtoW* fawMiJj'm i t «• p. t r n u m kun,»j.f>f,ft,§r^ffai»oî4!iostr,»ni.sntv,t,s w.oqjfl hsse gf*ei)lt,he.s(,e«*i, iSg-tengths..iff;« (stting or tbaîs»anees of frets from o^.enil.far e*ei> M IM IM IM * W faifibviW is,»'¥l loss cunqfeerspsjip.âg ,W ggb

*>V A i“ 0tr»!nents weipprsigleitt, .^wgs^ardjgtigHM mei^gs iwsrce y m s tthe bKsh^slasiOf vl^tht cento. a^id skfter drid 4ha compositions of ^y<^^ja*i^'Othera^SiNi^kdM Ua» at aiedtll .gokuwos nabbtd \n» « m*9\mWk cbtftOitded the dtdttd made JPsmlden appoaranc^ Withot^ af^yElation to tire development of our music dr that it never existed in any Of our musical fortos. The main point of the whole dracusSron is'that thwtfVbne was In the begihniiig a fdlk-jhatrumeht, never admitted in ecclesiastical music arid only slowly coming to in fluence chamber-mu8ic. This is a social process Which has affecteW1 our' 'm uiic! Rrifd ‘mustdotegy greatly ^.hrid tbohdi8!careful arid detailed study* *d eldibw* * yd baUouuoo Awm tut m il .oiaom siasnaB boa (an

- s r e m f t H M Ju >i r*i*R*v I lo atto a a q m ap-ow inw D ivi.;- ag» ascending scales. They can now;be examined ,n greater, detaflj. f a the purpose of such a study we may divide the three forms— the ecclesiastical J marga), chamber or court (asthan more commoniy calidd ' classical’ and folk (gramya), tbe last two forms being subdivisions of desi music. Further, following Sorokin, wo Musical foftWi Ideational, Ideal

tHISll vftaloiu ‘hr** f«u(.t°si’ss|oo» orff asewtfed enoilfifoi erif niwiodw t*ris4fB ‘ In Ideational music the main thing ift not how it sounds-BOH pleasant or unp|8f«tflfe-b"t wb*t is behin(1 they are mere signs or sj'mbols. The music is notin tbe sounds as they.« « « .beard: by the ear but In thia V behind the aouodtf v which can be grasped only by the mind and not by an organ of percepfcfdtt 36 142; THE JOURNAL OE THE MADRAS MUSIC ACADEMY [VOL. XXIW

like the w r ,’ ibln order to grasp “ what is hidden behind the soundsWi one does not need a purely sensual ear, but, so to speak, an immate*> rial, supersensual organ of perception, *speeia) intuition, reason and mind or, ..., one baa to “ descend into oneself ” .....A given combi nation of sounds as perceived by the ear, may be most ugly—most ip^arwopips, unpleasant, unenjoyable—and yet, if it meansitoitba something great,f forr.* wbieh t it ,ifl(» mere symbol* < a mere “ symbplio stimulus, it pa, great f?iheayenly oS IdeatioaAl musieil Under this category com eour mantra* aud Sam an chant etcl* which have, been termed as marK» *musjc by our ancient musicologists,* Socially such music is associated with magic, rituals of religion a«4l occultic practices. It is very important to note that this form of mvsie obeys the law* o f mind and body only in so far a* it use* these element* as means of communicaliom and xm matrices of symbolism . AHi Ptbei> psychological and physiological Jaw* are disregarded^; * qsrfT, inefil» Sensate music, on the contrary* the aim is to please the ear.- Tlbe criterion is its “audibile beauty” at its face value, regardle*ia of any hidden meaning. If there is such k meaning..,, it is the meaning5 of this perceptual, empirical world (descriptive music, programme music etc.). The ear is here the supreme judge and it decides whether the sounds are pleasant, enjoyable, charming, ravishing. Tbe music stands or. falls by its “ audible b e ^ j^ ^ M u c h of film music, folk music to a great extent and wbat is called}^ mu

sastri e6 if Sensate-Idealistic as in Javali, Padas, Tumri, Tap pa etc. OfMi t m l m i ,( # p « r | ) atot b&& tacisaalL'*' bhfia ) vlaomaioo m o m Ideational, Sensate and Idealistic music have existed almost from tbe earliest forme of society an,d have influenced one another—rather*, they are indicatiye P^t^e patqre,o4 society then. We fiad thaear-^ liest records o| ^ c h ui^^Jpf^mceaip tbe ^ratisfkby^s .qnd Naradir, Siksha, wherein the relations between the ecclesiastical and prpfane SeS»« are discuMfd.*’ ' t t o S T 'l M 1'® one can see that booksRs on n to- nmMsUi m^S^lleal diore and more wilt! fflotapef (desi) music. gbflttos edi nr don si cfiaum edT .eiodm ys 10 a n a i s m o m e i« yaril

~~doiil^Mantraa a n d Sflttiaftarenotf cahdd M a#g»i but a nbf»-vodiRGN« IN INDIAN *11*81#) JAKaUOl »HT M l~~

>g9g^fw as akea(%JBdica*04, Ideation*! music is bound by psycho* logipaksmd physiologic^ laws only; ifcifofWr aa it draws its material Ifinfd planes. Also, since it has a defined -purpose,lists symbolwm» nnd theiqaooustical correlates! are defined aolT iinn*ntafcleq*®»wfafe«i8 tkftf«btwigee that sap takfopdsea! in ec^ssiasticall (Ideational) ifausio I are very few and slow. Indeed, it is said that modern orthodox priests still maintain the traditions of ancient Saman singing, at Cl .of'Q n tk eoth er hand Sensate (desi) music Is highly controlled by ;: psycho-phyaiqlogical laws, dependent; as it is on ‘audible beauty’ll Herein can be seen the externalization of the tonic into a drone.- In i archaic society, when there was;not much o f organized social struc- c ture with the attendent consequences, as was pointed oot»i*arlier;s perhaps, we may find the beginnings o f drone, when ascending scales i begin to e me rg e E v e n now, inspite of .a drone, simple folk melodies! have a maiked descending character. (Incidentally* it toasf tof bSl of interest to note that some. Himalayan folk, Prof.Alatn BarrielaWr informs me, employ tbe upper Sa as the droned With the emergence t o f the drone, Sensate music acquires a strong acouBtic, external c©r*l relate*helping in, melodic - progression^! Since Senvate mus»dbih*®tte restricted Wke Ideational music, the drone furthers tb i .creation ibfa nfany and,; varieda melodie patterns, iiiftfais form of miMiI.,o lb isf) therefore, 4fl ‘Sansa,tej f music fdr pleasure— be it a ‘soplnet»*A cafced pleasure! r*$t derives much froha Sensate m usics the mutability 1 of mplqdi

~~EA.RTS I-1V] TM XaAO4DttH 0P''Ill JAWaUOT, SHT ^ 5~~

N ibaddh^si^., unfrettdefriated Fwttetfcq^rt© 4'dm^^citil called tbe'Tam bura;iriTh«e latit# -itf Hto • Sifcai']: '¥lrW Whu^ ;f*H^fefbf£, correspottdh»Btbe t^bw rftf %tU Middl^’ lâst^” 'This question; t Ww'tW Tumbura > ‘ VâPlS^ft4fet9f¥tolâj Ya fin g e r^ iiw ^ ^s iriw d e ^Q ^fe id d d W j« *on ai aJrsJ fjBoigolooiBucn sjjd di 8A ,Jfl9fflD il A A r f m A instrument ,inffcni#om to'r,,tr e a, mostsnofnnj ancient a aeefne“ being, #ilW jtbe drones erm swfiHMle*- From the simple drone would develop the tambura and otherVtringed instruments— harps and lyres by attaching a set of parallel strings, finger-board instruments by bowing and or plucking and stopping the single string. The following tjible gives the relationships of various types of stpid^r^SlHpments B

**» SW • f i swaram andala & 4k-tSfc athjr barpe & lyres * T a- s*. fringe r-boaixj Instruments bowed

~~nonfretted larod, jQttu-~~

j f r e t t e d ' nonfretted dilruba, esraj sarangi# vlftlin, etc. fc a*. IThe above scheme not only shows the relationship of the drone • ^ t ■* ^ to yawous instruments but is also indicative of the origins of the tambura. Further, finger-board instruments are developments from the aiitfple drone; and it is well known that finger-board instruments like fkttinari are very ancien^»-^J&tt»nor amtttomsftjrctfrie Bible (Gert ijt, 21), and perhaps IfPw&is t^nnari, though it-is always trans la te d ^ harp. Kinnarijvyas also wn in umna as Khin as far back as 3000 B.C.*0 Therefo&Lbe f^ k e must be very, very ancient, indeed. (But how far the a rone was a main element in our chamber music has already been discussed ) In this connection it is important to note that the term vina need not necessarily indicate a fretted ins- 37 i H i f i l l s 11 $' t* m § ? e * «* *c o S « c ^ s* «■»> * «.<■* 5S S “ g. GL„ o g ! s B ^ sf g •*• — * s*- S' I ! «e. k a t 3 ^ t < i . f t I I I J * & 5 §■ tr a a ~ © 2. a. t i s . ^ac ®*?•

~~i4 3 S- S“ a I P * . s :, 2 ^ ij M a* a. 5 2~~

■ 1 O' * g J 2 ^ a » jlhSQToibiewKMi «T^rttVJt I J , . - * * 5 g | 3 . fc ? i J * * S 3ri . - =S ~® ** ® B- . © g Fig, i ‘fshlwitlai two folk dronea, tuntune & ek-taSc^and thaf,Tambur a. ^ o 2. 3 § -^he etosfe simiii$ri£^ and relationships o f tbe the threat i $ i a y b e cies

~~^ a l s t S l s s J a. Q. -j 2* Folk-drone : £kMai^~~

~~Bowing~~

~~§ Q F p; ® ® aT u~~

2 S te ^ 86 £ ^ w *5 & <*• -fch^cfiu fcliWidJ Instrument (K iirtf)* — ^ a H-i yjc ^»y . «C ® B s S S 5* ^ o © * *■* & s S i o ^ g* = £ s 5 S: Saofa Musical Tnstrugnegt ( % $ e < ff c O 1 & 3 5 & & 3 « ^ c fe a B 3 a %T ®l * o ^ q. ^More^qpno>nJy Biown as Kinnarf:.^ g 3 i - ‘ 1 1 s l a *S ^ £ H ► « ; S i ® i . 2 j-p- *■ =- £• $ g- £ « m ® 2. O' M ^Ffgure^ jeprtfiu & dgfroto '.fcrtipt „ ___ ■Jrith kind» permie®ioir from b er « w. Sj §Mt|. M ilw ir^^S ^ Werne/ Laurie Ltd., ^oj|dQji, |he*p^>l^iera.) £C ss. ae5 ®- & 5. §■ a fc THE JOURNAL OIF OTEKITAIJHAH f MUSfOUlkCADEMY

The word tambura is usually l^sociated with the rishi Tumburu; and the appellation tambura supposed to be derived from his name, as it was his vin4» W haGwir may be the co^ ctn ess of such a derivation, it may be su ^estM |^.at the worclc^tAtfljbura (or its older forfp tumbura) may be relate^Jf tumbi, meanin _ *" We know that the gourd has beeti ver4f «»^irfrS*Hkly used resonator for stringed instruments^f©¥^4nstahcei, even tbfc folk ekt.ar, has a goiiitd fol§ such&a pi . (V. S. Apte ih his Pr Sanskrit- English ^ctioriary’ s the following from Bbamituvilasa, I, SO :

I* snrrfj 1 * o X / Thcife is also tljfc Ar JeTit Mdtftn word $umba-h •gpurif, flask- p$i na pk iir|-deri v® blel lndo-Eurfipean lumô^ The burning o f alb instrument after the/qâterial of i^ ich it is |o<ê is notiiicheom- naott'-«e.gi;, venc£(bamboo,îgte), mrdanga (made

S § ). Thtfg ram as wl cales The most tl» i^ were t|e Sa- and ’he thi|d, Ga-g sdlbie even §v the time B C.,^-400 A S . 3 information-is available y and~ unrelia discussed more fully notation gi are ua termsctof the an pecifically dt Wg ' (A'.s ; ' «| SarSigadeva, t.nakara’ . ttyy^. Kunhan RajaS AdyafcLibrary, pt 3, vv. 40- -j®*'

~~5. For a detailed study of this subject setf/my sychology of the Drone in Melodic Music’, Bull. Decc. Colly Re: t. (BDCRI), X I, pt. 1, 1950. // YU.DRONB IN IN SL& BE MUSIC JAKtfUdl. SHT DI9~~

,bevftef• Ti¥i#'.4rt&nkcertainly itesnpi khfiff»notioto;oflfillk)fi!ttt) tbe gaps PWKW doriffg aaJihj|n)S.nM.; Tagoro -describes k. nSefe hisi Spi«l?^ *912* jppeiS/14.arBufc, the Raja perhaps studied Indian music at OxforîitHjl Utueeht.; nooJ I Aw felaptfprimWitMh anilyaiîd^h.e Wa,mhttr«fJ iîlow-'being FHifr itv

~~njadil^H The S[bovejmty fee oplylqrlfc) qf *sfche imaay explanations- for the development of the three staddarcj i80al!fe$;£UBidfdl aa^bA ,*£#»~~

~~OS I fr J!ib*a Pui^tl. p. 58., o f this Journal. ^ v ^nB ^ 1~~

~~THE JOURNAL OF THE MADRAS MUSIC ACADEMY W H -tiH~~

aqsiifitl JBhetStud^ of murechanas. from which the above- derived, has been .a notable contribution of late Prof G.'B. Auhrekw; of Potfa&l F.r'Theoryland Praofcie#4f Indian Mdsi^. (Poona, 1999)V ^ u ltjio lx O J* oieuio. n «ib »I berbnle eqad’req ai«iJ ad* | S? h 19 H ?/hStringed ltt»trtt«ie>n'tif i9f th4 ’Middle Ages’ (William'4W4ve«g"*Ik)h«dontp pJ ItSfil'O" Although ftttêr-bohrd inSfrbi ments can be traced bafcte pkftikittllvitoaheieUt ttoweaf^hdy fcrfi’by no oaeaiis so well r e p r e s s e d as t b e r fiustromontsj wjtboot finger- afrW?[ MW* w *Td a relatively unimportant part in the o£^tiq.uity..^ board instrument illustrated for the first time, according to Panum wbfrrtbd FntOifelort* Babylonian (p.°192) (It will be o f interest to know of Mohenjodaro and Harappa). Panum jf^so gifya the. ^rj^fin ^ the monochord (ek-tar ?) as the Near E ast—^gypt, Arabia (p. 2 1 5 .) cf. foot note, 50. .bicfi .If «fs 2 % /flThitlhas^Hlrâdjif bttdn/îMnted .oak in brief in m j, ‘A Note on the Drone in Melodic Mi&fe'I Botn. UnivsylXVIIi?' pt. 2, p. 82 (1949). Cf. also Framjee, F .,o p c i t , p. 24. _ _ SI 5? ll^'b^ p^TF Ti 21. One of the forei“W °% rnon was G. B. Achrekar. Vide., Framjee,imjee, r.,F., op. cit., p. 83-85. I*®'*# iMiM&MfK ^ feefore ,»f«o 8 and After Sri Tyagaraja’* Time’, Hlir.j'oUfriltlf 1 16.

toI 2&oi ‘Sangjto* RafenahifraV 0hi >f£l pt. S, rffÔ.- lT r. $ Kiihhan ■ Raja, Adyar Library^dSfetS) îdfijala oemri4 ed) lo laaftiqofaveh edi # r ed Mv. QC*> tP-e<&* ?£ten karar* a nd > JHc ; Qhsaiitianya Devn# * Pididtu lalion a 1 M e tb q # t^ d jfmdMn Musicologyhffdki ;B»)m.i I3qivvp X V III bhlOlf^P Pfcnfr .PPfi 33at»o beeqa edi tii nuiimeJU adT .biooai & lo aoi'talq edl -«««&. Ratnaeh«fte^n - ^ .0(R flilThe R k ^ ^ V ^ ia ^ jc11 ^ u ^ B (IPWVB Madê; 4938). n App. ,V.l Ifi. 224.^ Dîdw a elidw a iojIA . seen nr> ni* 26. Stevens and Davis, vi$e ajstq ti ‘ Vmrio^B Types o f oAbsohttfe F iticbyU . Adous. Spa.,AgfoiXfkflk,T|5 Cbrf * lo favivioP’ ,.T ,i4i«in»dm e8 .1 0 -^gol .laf®7MiT,Sabbdo Rao, jTJIV^ ‘ Riga’s ,*if\itf1 M fcM f? XA)I,fe Mheq iaoholaid edi baa eiuiBfl erf* 10I aaoaeei edl .luR 28. Ramamatya, -Svaraiifetf 1Ki.SlRWte’?,9ffeea< a f 't e fl(^ ’ M " i•I§ -y & W * ^ m h a b f f i F a * i m % U l Ch-JL yW 50 anid 53 and Ch. I ll, v. 26. .Lamooh aid-1 lo <.86 .c 8K ' MtosiW JAdHUOL 3HT |||

°* m on O t ¥,'"T^ &inR 8° ' ,m neope# lo eortefavrupe edT 1c norlSwm -mtV $***’ ■•*>*v-'i 4 f !>n ,4irfl .9!non a ni -*wl«? lenot arid wond 30. Bhatkhande, V. N.; ‘AA€dmpar4tlve Study of some of the Leading Music Systems of the 15th, Ifitb, 17 th & 18th Centuries*,’ Sukthankar, B om bay^ pi* 61 M‘ ,.tJ .ladohndaii}? 04 01 •&&& ,i*^l7fidCr 0^? id ipT .mtnoD daeO .xs3 tâeneTfiHV 31. t bid. pp., 47, 51, 54 & 57. 8 V * dO .1 JoV/goifaanyCl lainjfpp bn* babo8‘ ^.miidH ,mifoic*3 .14 6nm* ""* h». ‘ B **» Vihortlm1, Ch.,I, m mentary. (Adyar Libr. 1945) p. 20. „ ,4i» .q o ^ ^ .O ,«a i* ia «8 .£4 ... 33. Bhatkha,nde, V. N., ibid,, p. 39. Incidentally, it may be ffftt^ff^W Sêêlotfm en/of our music has been as indicated here. it is m on?'ô8d*('lbJf''&h8W lto' P f H the f f t S W f B B2 q /snadbia*! edT' ,.0*101 *d8 .44 34. Ibid., p. 41. (0461 t.vinU bioixO)

«*' 351 Semite Ratnakara. vAMykt Ilbr'4944V*Vbf. H; p’ 98, Com mentary on Sri Raga. (B491 ,u;h(\ tm «35 %bnjL»*pbprp vina is mentioned as KalawatS^ without further description in Heraachandra’s ‘Abhidhana Chintamani’, DevakaU)iUr,i v 289. I am indebted to Prof. P. K. Gode, Bhapdackar Oriental Refc& «* f « ••'Ho ** ™ Of! 3Q. ^h^^se^m& to bave bCeAHhe^^kbd^TdWilli’^cdCorcfl^g to ‘Nagmat-e-Asaphi’ of Mohamed Razza (1813 A.D.) ‘A J ______(f>J?7A\ IOTT OTW T . ). pp. 35-|^j f(j , j ftio-i’i yni,1ais(unJ iu'1. jsnooMi .a^eiloO 37. Subba Rao, T.V., ib ^ ^ % # i4 # .n9fHWli,8n‘ ***■•» *» ***>

P.. ^azUuW !V ^m ohm ^ ^ liuT%pr. W # ****** * M ™dnoT sd* "9dn* 8t> .(iwdfluT) labmi <8£6f a^oda edt oS irtsoiefqquB edtf obIjb eea 39. Danielou, Ala^n., ‘ Introduction to the Study of Musical - tyrfaff 14 m jjw o +'b guKLoifc.0 ^dJ Jjitft ecu dJ efojw a^ma(T..Io‘ri A ^ y ??iw < t m ? r J f o s r * J - Though Prof. Danielou had expressed the above opipi^pl jp hip hoolpj referred here, he wrote to me the following in this connection : -Bhf be Q&erfHdfc.- k i’my Mtitfeal 'Scafls ;df3 t)ie vibf^titfg of 'air’ings being given in Natya Sastra is not correct) 1 •FigtfitesF Wfer* to V h b aetMhbpiftioh1# 0 frets without taking into account th » differ©***** in

* Kalavati is mentioned in books aB Tuinburu’s Tnooa. iMt! Ah’ Tafhbura Vina.—Ed. | § f THE JOURNAL 9^ MUS^9{1ACADEMY f y f lb -v M H V

~~The equivalence of frequency ratios and string lengths maj^perrp^ us to know the tonal values in a scale. But, arf pointed Out, Ohl^ the mention of~~

~~of'frf use of instrument* a n d~~

^..W STB M w rn .«w« .*«I *i> to .in ^a « 40. Krishnachar, H., ‘Mt»iQq ty-nder the VijsyartagftlfBtbpnK.! Vijayanagar Sa*. Cent. Comm. Vol. p. 369 i.phfrwar, IgJJ. |(. 41. Sorokin, Pitrim., ‘Social and Cultural Dynamics’, Vol. I. Ck A flcl/ d u iOJIit/ ibg^ 0 adnodi / 8 8 BP ,A(u«n«mocl .So 1 ’ .OS .q (6MH .-tdivl ur^bA .^sinetn 42. Sankaran. C.R.,op. cit. , ad vfltn 4i .yilaJnohioal M £ .q , tb i d i ..VT .V ,e h a s d i i t # r i a .£ £ «!>n?%» jSangitg’ , k *$ m % PrtAVil)% lfr f^ n 0fJ ai fi .aiad b<,t«o 44. Hivale, Shamrao., ‘The Pardhans’, p. 25 ff itVd’C?H*‘‘ IV (Oxford Univ., 1946) J 4 q ,.#>idl .48

~~-mo45gq Qfrayi <£,y‘TS*pHistory of, # usm*Y pp. IS and n4ft (Regan Paul, 1945) .pajaH hR no Vietnam~~

la tlliil Sri Aurgtomd^i; i f to Human Cyole\ (SH * AuroHindd' A&ram, ]jMM|Bjl«va(X /laaauMftfirfC) aaadbrddA’ s'eibnadoaaieH ni noHqiioseb IninebO ipijBbcwiHa ,af>oO ,/L 5 bj*i3 bshiabfd m fJ * v 47. Sachs, C , op. cit., p. 194 and Panum, JJ., pp. J f e y | | g

od rMiw&b^ffoiPkAb ii$dW JQ *ford- History o f IVlasip’, f>£ 170 >1947)( (j ^ £181) fixsuH b e e n e d o M to 'idq£8A-o-iafa§*^ 'M, ^(jtTizarai Pre^^w}^).*M^tliafrlfâte ûe’ftt’Mrcftt^he Decc^y. College, Poona for translating from the original (in uiûjHfre chap ters on musical instrument)Sji*jBâ<^h ,.V.T ,o«H *dd«3 .TS

■’ u,uier the title Musiki, which describes the Tunbur as a fretted jnf tmmpptr j l J936tjntj see also the supplement to the above f j938) under (Tunbur). laoiauM. kt vfemfet edl qJ « l<3$$h$ relief In thfe^J1^uVre Museum is almost indentical with a rrtKHrirfti KiVrii14° evtxia erit baaeaiqxa bed uofainMI .lo’dl djanorfT : aoiJoennoo isirft ni gniwollot ad* eat c£ aiolw ed ,«nari hewetVi ‘Northern Indiap Music’ , Vpl. I, p. 20 (Ofrris- tq p h ^ J,phnSO|h<^ VilSW^tdvaral i.i)1949) ton si b U h b Z av**K nt navi* 8niad

eoioBieteh-j)* p u wqfbs gem navi* vtUffl«lto butftem ed* tuff .»■****• h^*bt/! ‘V^glcichendea Worterbuch der Lodp-gwmani. cfcpa ^prach^n'^ Re vised ,ap(i< ®dt ,by id. Pokomyi Vok«I^p;-708- ( Wjft^ter dertiruyter &.©DU, Berlin^ 1030) tnnoaoe otni yrida* twortJiw start mxx .jo 7] tmmkok oi&um a^aazM xht to jajuiuch, hht hc£ ausU* itii&J w l seiedaeiA el beJoreb eie segeq wsl *m3 edT .asvia need Bed a le * daae ?ol eaedaiei edT

nevig m d t Oti sagei iH*d1«rbaijlSfhP> fit tatrg itrolflvidT safe J 01 .sagm 3?. ni aa#ig oilfffft&) : flams A .8 fo»di¥#Bft!?Hgafyjfe parai,fq|id Saoebay* aJ Gar a of af*W»g these*SednathanamdJ -eoiaSfo(eldp8toef4iiieW lâhliBiiii^ V itt* <%fA' «(M dchii*y ul^CteHt .l Jfeft sakfc to ha ve been iimfceSd th tbe ^ddaâfW /W Sattl^batmâbbtit1 9rteh*i«dr»d,a*i(iKftdly«*eg a^5 ftoMWmftte. stei-t^d u b ja r ig & Q M ^ t M «ft& PfctMfliiflftt! ‘tf ditto fWtaaî* mlweb%a»ia<*ppe#ttJbyyh# d^cMmiof»fIt&*o«tiC$ .fSAsWfl^ltifltfSKab He wtrim sroqSÂiftik*;

~~rffl^^P iA b9m ftnw 8^ li -inoRtei?g~~

. « » « ™ m (iiivt. .MmiM) thab^hert*fifttae s4m» vertyi valtpfetevmmu*- m&fafkti 4l|ftMNMMP edn$*n*>Ited®iûraohenyduiadrtfel I«Wffi4dW ViXM* ofcftlte&nriiyvthttHîfi/ %$#&§# uatf* Jteoarffl^tdVhvafo .Qf Yizwwrttfarafa.j AItffi(5^»Mhi?J/;rea#iifipiol%) fKribhittfcHKurti#bfate)t hhr*; soil') taikflfito B¥i»teteJ|raj^fci«i l^ftrfw »^d«i»jfc<*c^ osraf avtiifaA vefiy^ltsM e |^|îBSbiîtiif|lwêteiftX)f’JwdiQh a ^ f i v t n &fa**-s«a fonelfe^fiBMttiB^-O I«veipptt)a«iiô8r^*ll)Qredi<|da> Aritwrat®, %MSd*mid0$i twoaririutthk faaftitaari$i»A 01«)of-*H*» TfieMi belengstfeoi t i t e m p f y i *$&¥$, th¥fhiW^^ of Sri D. Dakshinamurti and Dewan BaH#rWr *I)^SHrAihk ,J M ^ M t h e ^ ^ a n q M ri^ ,^ W p r%W^Te tfian niM l o ^ l E b^frnadW (ft?n.te » i8l«yiib?^ft 8it**s'V*Wfi*k9dMD '*nW .Arofewâ ^ rfit^y@f M M W b e v a «I«d enedoieve .enedmA ,ae jsi vftboe^t bwl md^tonfligfoa for ec^ti raga is given. 1 5 4 THE JOURBAL O F THE MADRAS MUSIC ACADEMY [V O L . XXIII

The first few pages are devoted to Alankaras for thirteen talas. The lakshana for each tala has been given. fo, 16 talas. Thirtyfour gitas in 34 H industani ragas are then given. 3. A small manusoi'i^t'contains 55 CarnBtio gitas in 55 ragas. erii 4s.*> This maRusoripti.contains W Taeoris iA; 1# HinduBthani mgam; (ii) 35 Jvhematae hv 10 ff industhani ra*»S. ‘'(Hi) 43 ta p p asm I 12 Hindustani r»gast> '>(SV):l5 Bhajans in 12 H industani ragas. (ii) 2» Holes in H) Hindnstatii ragas. i (vi) 31 Dhrapadsi W i) 42 Khyals. (Wii) 22 TaranaS. ^ One Chatarang* with Sabda and svara. 2 Gajjals; Q(xiil A few miscellaneous songfc— Baramas, KabarAiHNasteta Kabarva/nBohar and' Harati. (xiiif fw M : MfrfoBtbaM; tAlae..,a»4 M AUnkarasj^Xiv) IWd.ca- ^ i ^ l a . f l^atrTTT^^W Defla to2& pafcfcef ris.8 Qljmai fixation of Hindustani ragas ** regard* 'thettfafferenttimertn tbe jdft* ttbep ttaSiftflfcatP ibft &UB&-; 46 Jati Kyiwilu dancing : where, m e , tw ^ tb ree^ fou * and more ftt*j.piart*<>/8daraw are givqp SahiVyna fbrtbese are written Separately. oH pratftiee^-63 W ateWrk^f* (xni^JiiPB(lasUu®v»fB bhB HStthitytf Mi^ T NfiibellBheohi-^ Adfayafcma R«raayatti*u Kirtw««fi^w*hrt/v*i mAyi Ramadas *®Vuk> nas-r-sahitywveydyv 4>ifewbxAlksf''fKHk^naevfTBrair»gSfSi Asbtapadis, Lalin, Dariiwt*s,dp GctpikwiGMtasfcjgutfwdn# Banrvui Gopalashtakai and g ^ i a b w Js?>)i Afohao^aakfl Airarebann avaras fgr, 1X>1 Carnatic ragas ,66nHindustani jragitt).lo(sni) Asaton*' «od Afearbbanart kal# for^ 4 Carnatic ragas and Hjiwiusthaili ragas. »d(*viif’' Saungyas for fofrmatle ilt H b d rrsws-fl Imt> iiwc»airfd«i»

^ »& h§shftfc*$ malika- Knfca yrjty. r§>.,ivThes? jn^p^edjjtp b<*d#*dl» OB auspicious ocoaaiopa ., like ;,Jat»kAnma^NannAkaEana/-I>olotAava, Vardbaati, J^rathama-rajasvalaj 'Uptflw^And - cerem ony^V J SOt ’of Krftte for each day, Vivaha — a good number for different occasions

,$*pse^fe .ofexlwwter^fulwded 1© betting and played oh the Vink at the various ceremonies in the Saraethanam by tbe Court mosi- ciane patronised by the Maharajah of Vizianagaram. h ' fi- j r 'The first ten p#ge* are missing but this oont*ine also the Ssnfowri Subharatnamalika j# Telugu at in tbe MS. 6. In addition, it has the Sanskrit Sank ari Subharatnamarika * for all the items, songs are given in Sanskrit. , ^ ,« ,r>: i. aCAvaiartswuS Aiusev'uia. Io .m m ow l J L .sadfwfSM 9& contains #/note op © separate paperto the effect that the following five books (evidently manuscripts) vtmtv lent to the Maharajah (Ananda Gajapati) and is dated 16—3^1^86. „• •?■• (

~~,an$lfebfto>Wi*re ia dot A (<$ .aaUT iasriieabmH hi lol bn* «mU*T (iii) On» hook contaimngiTelugti and Hindusthani alankaras. a*i*va One hook containing the Saungyas of alankaras. *v* ^^do-’A.~~

~~hndui.fe! h « (v) M ,itndltiMpbnA ,*v«*MnaAiArfsrn«'/ ,mn t^JsL «id fThis note clearly shows that those mWnuseripfcs ‘i f f more than!~~

0 6 y e * H ol«JP>1 '5i,, U)1 « » V ? * nohaJO fl a ia vS a/M JaiO si noift>*.« amipr Jibfs'i ,i?£tnf| ,*{*ptu a — »«;•»« e»J J o »mx« mil Mn/i oo«o TJbuj, i§ j, bqpk wbic^ôntains Ô Tan&mam a number of, ragasr— Gan la, V arali, M a!a vasri, Sriraga, Arabhi, Narayat»agaula, Ratigaula, Hindola, ChjAyagaula, Saranga, Andhali, Jayantisayftffa;1 P^ V ? ama> Bhauli, Bibaau and B hupala,-16 C a r ^ ip and one Hindusthani ragas. (ii) Tana V a rn a sS a n k a rp b h a ra n a -A d i, Kambhoji-Adi, Sri-Adi, Todi* Adi, Gaula-Adi, Kambhoji-Ata, Sankarabharana-Afca, Rhairavi-Ata, Nata-Ata, “ Yertikakt Kam^ bhoji'Khanddjati, Atd, Todi-Adi with stara and Sa&da, fTtidi— Sahitya only, P/jara/-sahitya only. Ten with svara and sahitya, two with sahitya only. The last four w^fiowposed on Ranchi Kamakshi by Sti Syoma Sastri, (iii) SriSyoma Sastri's Smrajati — Kalyani-Adi, on Sarabhoja in Sriraga-Adi, incomplete; KS* « • qudfl nollhl tîs 8ma^1 book Wehave (1) Sada8ivaraya’s kritis— (4) wit^, a pencil-written marginal remark tbai j ^ Jt$irudu) he w as^lfprfu Svarakalanidhi) Vachamagocharame: Athana, A di; Dorikenu nedu-M Devagandhari, Adi; Nikepudu Dayavachuno; Abhogi, Adi; Oh Raja RfcbJei^*lJR ^ a iq «ii,9^h!^lisfv^ lf7 a (^tykg&a1)* KVltis! (5) woieo caiot lafudal a ni ndvig no4» etad easTH lfA .ugAi ds*e * .

JS’tbhajkri A*N*y«ke. 'Ada? dMana«inV4*ha>a: NfcUlftflrbftJU'SVTi.8tJTODIW> j i.b pooeilsrevidentlyiAiri VU»c atowei I " ’ MW? ^PP^WkaMBlI W ^ M ^ 9 ^ W 4 ^ h >rl Manasalolo. F>hucaiam- Atfii <8H Vifcottahp,h¥(!*) raya GbrraeJl a*y>ul w)f !(&) #66b iSifcapafce-Sarafca: Ruf*tk«m, Sri? Himas&ilaHi m M 9U 11 a Ta viAV’A • Sriraffii’V f ilKamrtA • ftnir PanL«*ama^ R*g tHMAtAa &ani-A . 1 dJS. i. All are in Sanskrit. , flrS Marla Jagannatka Rao'e sang on Venu- fWpuhO Behng-Chapn. (v i)' SaMta Chaf ussrajati Triputa, (VSix'TWrns.si- ttata, i@£ufe,« Arik%h*» ’^Srayan Gatife- ehort pi«ie*. edXIftf nett? ibook i* .otjy 56fcb 8®.yeAtatodi sad ii .

~~II. Two MSS. of Durvasula Survanarayana Somayajulu Qaruio B e WAiMjldop by< 20 y©ari tha^-V^rm Tenkat'araiankrl)as. ThesGnwMHQtipis fcw^inewdjfcQfi yterahjlci adood »vfl gniwoUol edt~~

1. This codiHins — iâu^ gkyalu fo r 14 fsarnatnf Talas and for 16 Hindustbani Talas, (ii) Arohana and* 'A'tat4»£ana, svaras for-j, 101 .Cwnatici ragAs and <*>& fHAndusthani.- ragasiO (iii) Arohana, avaroharja kaiaevaras, for 94. C«rnatitiJ%^^BirtdO¥t»hani ragas. (iv) Various parts of the day when certain H industani ragas have to be sang, — details with ragas for ojbtray davs and m Vaaanta kala. (v) Sri Sankari SubharatnamaitKft-fcdliS with Mutlu ’$ mras. Jatakarma, Namakarana, Dolotsava, An*lttjk»alAatoiô;Vkh#hiiiiti, BHkk » » l i t i aWifta m#4P*sdJ importance^ o f j J this section is that the Svara notation is given for all the Kri|jp, each Kriti the name of the song— Kirtana, Tumri, PVta, Varna ^b0f Matlu \gA*gj**»./iiffiids enabled usA*?!fchojwi;ttaeci*Krad8af ffhesd>6ki -soWgs ifaWAMftWiiVltfl.sahifhJiWlA gftm&ki)frO .niobriiH .ftlue 8aoôarRj|.W^ Ae'wriVfen' TV4hW: «* * l| 0 * jinasga«r: « t t » ' beWiftl cM tfly^W ' Ragas ~->Kknitdboji .NaAaîSsnkarahhtomiiafc, Todi, Bhairavi, Sri Rage,* A ftftjbfci • ¥&A*ffisQ aullhi j@a4^.Pafritfiy40«AiMi Jsiar.dw /BJbairovi, aBaiili. mdalMjihmi *»&4olP ^®lon« Bhairavi number of Ragas like H indola.. Andhajj, Maniraneu are. mefttVofie(l'aAfih4,^fng R aga\as'^j^r^feia. "feamakriya, Suddha Sîadja arefifrid&i T Pantuvarali. *»"JtegASdPW®|jlMA'’îs(t i t i n M e h s t ^ f t P t P Bhupala is nieiHtehftdottH^Hy Beulh^.asi *Mtilk.;-Bfeag»..il Ritigaulah .. y-nlh$iW ^sig M a Tnup it it^ clear that this is a practical method o f denoting relation- 8?>t!feet^Wn tWbdt folTO V^hkatlmdk»V system. nnediiou ; ibA .arcadlA : ecnaxBdoogaajBd'mV (idbiaalaieiavS sâH dO ; ibA JgoddA jonodoavaâG nbuqeili# ;ibA .iwiibnaâveG I/i: %iwil teM * ar5!»',«? ( eftch raga. ATI these have been given in a tabular form below.

D u r v a s u l a S urvanarayana S o m a y a j u l u G a r u Asthan Vidwan of Viziarama Gajapati aud Anada Gajapati (1842-1896) No. Name q£Rpg«RM smana’iKfffr ai ebsm aiiameH Remarka made in A V Tana“ 8 M ?JagajT 5[ Io?o eeaailomatf .o>i

• 1 Xata adbbug 8& 2 Gaula Suddha Mela iiatav uina4! aîiiamaH 3 Varali ££aaV ad(l acI ainagivaiaM inainafl adgaM 4* Sri Ragam Bhairavi apaV a l anaiaridaiadnaB rnfijn&H oaSM 08 5 Arabhi inainaH 18 6 Bauli Malavagaula Ni-Varja in aroha ivaiiedH iffRjaaH ud8 Hf, 7 Saranga Nata anaiaddaiadaaB iriaiaaH anal. 88 8 Padi .apaV-ad \ eaa.2Bbadg agaH hg tnaj naH hg 48 9 Malara Sri âvabnvA | affS^&P*1 ijorfdmaH iaainaH agaH 58 aB JQtf Ma: Gaulal,a aina^^pqaiq^dD | aO-aaaiadhag mibniH 88 RI}/ & HnûqrdMmbbuV HaiavuJna*! avhdafnaB 12 Kedara tniu Sankarabharanam .« . ilaiaV aviuS *78 18 Riti Gaula Huseni ,;8 . mtf ' /Two_JLWKJ A/Ji®l»dvcM5Dbaivataa •• i r-vr T aialaudug *88 14 Hindola Sri Raga Higher Ga | Pa Varja^f Dha ' — * a io g MM Juddhjt Ga 15 Andhali «diiT|).iig I jmjmV ia tiJT ilavaiavg ag«VL *04 ?a?farj bnJQ/1 *g.i ddaxA ^ * ’lavagd'*la a(n(;q0JJi; - r aJaft HaiaV agaVI 14 ? ) tobnloai .Badbbuî^ sM aO *d(f Sampurna Raga (?) Kambhoji, 18 Nagadhvani nckU>uuvJhtlaf,k)*ag (;) aiaddaiadnag atfnaaaV arihbng *S4 Nagagandhari Sankarabharfmji :).Ag ishadas 19 iboT ainaasV alob.ilH *84 20 Sruti RaWWf)-flO--Bini»»Trifl£g avabuA ! aad( ivaiiadff a!nasaV adauaH *44 udava Sampurna 21 VelftKftkj-ag j aV!Alwkhan,aY jtf baa ad 114 ajiaiaH JsJiiaaaV *£4 22 Narayam Arabhi aJnaaaV adiqoO Manirangu Sri Raga Dha-Varja 23 i iboT aidBn&y *54 24 Nadar iM ^T ^fi^vab oA | ad(I isdgiH agaH hg ivaiiadFT-ag.elag *71 f t ad# i II il i iW !W m > I fr+Sl avafradg j a4 aqiA | ifl adbbtrg ffoddoiayf fv aiiedfl mi ana a J *84 Ramakriya ’antuvarali Devakriva Malavigaula | a v a b a d g iaaaatnavaT. *94

~~■MKW No. Name $ ifigf M ’“ "'•V .fli oi •fa*“ Remarks made in ffe^Taname MS®»$2p fBMH~~

28 Suddha I Namakriya Pantuvarali etaM adbhyB must) S 29 Megha Ranjani Malavigaula Pa Dba Varja HaisV f 30 Mano Ranjani Sankarabharana Pa Varja ivjniadff h8 *4 31 Ranjani iridaiA 8 32 Bhu Ranjani Bhairavi aittagavaiaM ifusH » 33 Jana Ranjani Sankarabharana siaM agnaiaB r 34 Sri Ranjani Sri Raga JShadayam I Pa-Varja j S»-Graha iba

~~: jam *. DM1 G*A1» . gffrobnir J l I E£-j£i VMfJMfip*1 * yiAjylf^anj® gpsrqaPAe ^fnrqqpffe qqpTO -JSqtfpXa^yBni \, \ ifr^J#o| is a, Gita wi*h i f f 8~~

« r * i f f i e t r 1’ g.W f'l.]jtfiW -UGara TancUun\m. f9 Sa Ma Pa Suddhas I Cha-Ri | Cha-Da—L-Ni | L-Ga [ Sa- 12* qfAWLsriDSr j^atsru- G »np I D**A*M* I 8*"0WP* Graha | Sampurna Raga (?) 56* Takwa (Takka ?) Arabhi Audava Sampuna | Sa4 Ga, Ma. Pa, Ni, ShddhtiL If Cha*-Ri | Cb&- it * GP^® i«»DKIUI jjanjppob gprq -tr gwuhnuur j GP»-K! I CP»'IF , W f f l * DafJRi-Grafea 57* Suddha Todi Sa Ri Ma Pa Da Suddha [ L-Ga | Ni Varjfc | Oa-Graha G^P* 12* I»nl'U8r GPmih&fta ggnpgiapp ttisvv V nij’’ -» gsrobnlu» | cp»*K? I CP»*D» I K^KI I 8* Q* m * gMfaftifcgfclF? £SaBffcteoji Gba-Ri J C^hft^DA 1 D-Ni t Avit^va Sampurna | Sa-G" a | Sa fjusyDkY^ai Ga Ma Pa ^% j&D M* |B^y*fevani' #k»*R» I 6ba-D»/| U |fA p d»» Sunpu™ | Pi-Gr»a» j^ a Qs. «U Pa .Suddha (,'„)

« 4 H M t t C h % 2t * Sa, Ga/ Ma Suddha j Cha-Ri I Cha-Da | Ka-Ni , ..m ;Mapgala Kausika « Kausika ’Kambhoji Sj, Ga )> %• m w row Gaula m & i i i &* iffega Bahrain I£SB)ppoli m im m m torn <*»*«*

~~JfsMi* Kokila jj Kambhoji~~

~~Q 9 0 J 9 m u . daS-Wi b B w i w Z I tr/isipjr Wfefjar g^rnsijro f t *t£J R»d8»j» g»u8»j» » o i i~~

Nata Audava \ G^DajVafja-l Ri-Graba bS*i Raga Rj,(Ga ¥U K|h Chaadrik* (jw ?RrWlgBiH0*ta 7 # * RamaOhandfika ^sftHgapli Shadava ldP«*B®tf8iidaW iLsrB*-Graha 74* Chaya Tarangini Kambhoji Shadava Sampurna | Cha-Ri I Cha-Da ! Kai-Ni i Sa'GaH?* Ma:? 26* £»?*» (I»FF I) V t8PPP! V«q|r^ svaiSnuw I g»' 0 *’ W® b 9' AV HP8 Stfddas Ma?G*ahas 75* Jayarama Taran- Gaula Shadava 1 Da-Varja | Sa-Graha Gl»P» I wasbnunr, k «^ * U) 22* <#*« g{ni g» gtr ^ar gnqqfjffs | C P»K ! I G P ? 'i ^ r M ! I P G * ! S*' »» Vegaritaranvini Audava Sampurna f Ni-GPI&P? 53 gti r,pT li f F l H* b* W l P ^ n ® * Ma, Pa Suddhas M^fftunonnji 7 ^ Deva Gandhara kudava Sa^^uiW^f G&tfrafiis*! Cha-Ri | K aiJS y hZ Vasanta Gandhari M O T f a u l a XiMkva | Sa-Graha: j Ga-Varja |'Ka-Ni | Rest s S d h » * m Sydllh* *©#*»* u? S^ri'

~~% > # JH ' I- ■ =~~

~~No. Name of Raga Mela RemarkB made iu the Tanams M.S. II. 2.~~

Malika Raga Audava Sampurna 1 Sa-Graha 1 Guru-Ri 1 Laghu-Ga 1 Rest 82* Suddha Dravidi Shadava 1 Da-Graha | Laghu-Ga | Guru-Da Rest Suddha I 83* Ri Varja 84* Ragini Shadava Sampurna I Ma-Graha I Guru-Ma 1 Laghu-Ni | Rest Suddha 85* Gandhari Shada | Sa-Graha | Ga-Varja | Laghu-Ni I Rest Suddha Suddha ? Shadava Sampurna | Sa-Graha 86* Rakta Gandhari 87 Rupa Gandhari Shadava 1 Sa-Graha 1 Pa-Varja | Guru-Ri | DaghuNi 1 Rest Suddha Bhairavi Audava Sampurna I Ni-Graha | Laghu Ga and Ni I Guru-Ri I 88* Dipavali s m iq ’ s-ts qmiLeBf ep'Ajea iu ppe p»njr bf»V Sa, Ma, Pa, Da Suddha 89* ViMehP !* noidot. iu L&fteuj po ppe pcwqiuk ShadavaSampwrpa | $a^Gr«hapt Gur u-Dp J Laghu-Ni | Rest t- ppe Motq is srpseuf epna —^ir&wimopiui j^rmrjn5 qvu»t«rul»oi jprfr]*' jflsuiLWifor Snddba 90yu KjaftWF3’’ gem g*pwptrar yppeti j.^s ShaslavadSfc- Gr*h^ t Ni-Varja t Guru Ri and Da 1 Rest Suddhas I *.«$!##•» Divfft^Ra^®8 AH1°P » » am-nmjreq tti/ y * S h 2 »k "lf 8a’-Graha3| Laghu Ga and Nipf Rest L fA» J •- —*—--Buddhas Shadava rf Ni-Varja I ft a ^ h a I Guru-Ri | Laghu-Ga I M* Sadehi j R a g a * u j s t G 8 0 F J^Graba I Guru^Ri | Laghu-Gai | m jSviw* ttankula VL»ppi 105v gu pjs&Jr p» 1 Q*'Aw.hr i D* buddha 1 0 ^ Rafcfta Mala Malavi Gaula B»-Gr«ba I ft*1 AI L91-)9 I r ° * et (J® I H^*P r

l m Rfenepalaja ftbaadj e » nF I>a*Graha I Ma, Ni-Varja J Lower Ga I Re*t Suddha xhx 102* Deva Mar^ftfi Sri Raga Ni-Graha 1 Ga-Varja 1 Higher Da 1 T™ anaam m* tM ^ tth b sa m Arabbi ^âha^piêr R4 ^4 Suddh*, \r ,r^n -Ga\ Manohari m * Malavi Gaula W w * i W f & » t %*%***& i 0m.fi m | p«*p „.o r ( Bl* qqp gnqqyia FoS^Note . Mgas which are star-marked with atiPSSferfek itW w cfe Kat6,fea; is1 ddffed thus—SaWga Hbairavi m Xatttka, Javanta Seni Katakam, Abheri Katakam Tanalo, Suddha Saipan ta Katakam Tapai»< # b » tbe? pest the word katakam is absent thus —Jaganmohini Tanalu, Janaranjani Ragam Tanalu, Maniranga m * A M M is unique in regard to the heading t i p G®r»r»ffi4w*tie ! Rfttaka^ân^m aij^Gara^tajiqei, L wader- stand, are different styles in the tana play. gnt»g j ^FOitrpsr f psrSpu i G Ô 'K ! 1 giiqqp® ■h K«b* Oirnqpgw gpvq®A® | g#-0Mrptr j | 0m.« rftpu-||l j yea*; m * ysrjtfsr 0»oqpuu gnqqp® | gpffqÂ® gam Lulu® | g®-0L»psr 8ff* 0 sruqpaii gp®q® I g»-*, i.*p» i G*'AVL1* I sap gnqqp® gnqqps tf* gpsrqBAsr | '/jg-Qurpsr j 0nLri-]^8 | psrSpi, \ gi| m * 4 I>iffA{qi gpuqsAtr 1 D » 0 i»p » I ]^r8pu-0® f 0ntfi-j)® gf-sp gfiqqp® } gnqqp® 8 5 * n n ?p » k **» lfriq®A® garalnuj® | g®-0L»p® | (§fH,a‘|JfPf psr&pn-Qa | jfest- W>: m * ^ ' »» %?' M6F KGiup.ps m®q© in ppe t f w u m j f g IF 3 * ni*x ni*x I Awaqvq? o i e a r e w 'W»aoof

* 0 0 % —i J ;ii', % ' v IflaiSt'SJ&'W] ll£ltM&ftl*tt6 tHT 4-M3

nwoHjfeiifey tiSfetfeslih'g epUkft**flatt bd‘riote# herein: * The name ri of ^ e t W & ^ & £ e >ft&ioated drPthffiitetit ' JlgfejM Higher (R$tchr*)*?#»t m ik m [ S&tfbanthil >0§, 0hyut«^6Ha®*a ( m m u y m , fcmfcfli Ri*'"£rMUga Ni and Dha, m M a lt & M Kansika i^Kalsiki) dShpKhkali Ni,ipBi»rn JMy-Isa^fiti Gi.afion® tMa* JLhghu Ni, V^i^kDlianBroiauai ^tanibio *>rf

tioned. There is no mentiefe9W a^»Brfil.n'%i8>^t^ lii^ iettt^^:*Aii»e d^OSdis seem shabbe rcocesaabvrfcM .oharly [understand howt«>M,aga is Audava or Shadava. : iBbniKaandbhrijii Kaoid ftndariiijuxsta- ^§ewi^«^^ppae pnder- ift, Ga^# ia.lHftfltttMMfil aftiS*tf$

Gandh^te^B^^l^f^Afl M>9fe*9u3w}#fe* . m m ! *

.iB h M S W A n ltalSM&n^¥«!fco.P!^fWAi MfiuWYj#VSe'fftdfe^fS ? ife y J rm ^ S ? vmrâi?S5*9no10nBI£fj 91001 baool 919 eegai /oflto pi S wmAfWlq#e,MiSiMh&ti * « W W 4 M S t o / 8 t f % 8 & f r manuscripts there are nearly 40 ragas for whi^^g|ânajtn| w eîven in,this MS, These manuscripts thus mention in all'H O Carnatic to ! .novin ©ie Bflieve aaedoiefja one Bnaaoie egai d?>ee 10^ .8 FitCclS. r 0 , : elqcpexe. Some det»ij? to jratjl ttt to bjêrftioMd. The headings are like this- Varali Raga lanatu, lanalu is plural. (Jâ tMJWfe^r

e^Ho va^sqqu^ aniV Ho m, : 8ruiJ aia ioH anarioisva, baa snjadois adiuflisi r The general run of me tanams seems to contain a numBer ot distinct stages - AyittaSf, MHkfa^iCUd^rafft', -MdfcU^, San- chari, Muktayi, Thayam, *Wlgftlhrf^SbWIjtf^Sthayi AvdftM»WWbMn¥< & ifi^ i# lu M * $ i /»Wtoteiili«^\rThkyaB«AdiiSIuJitayi £M4 THE J«W*»AL 0 9 TH» MADRAS MUSK! j ACADEMY j ftVoLfc**#!

t*r* given ia Ft few ragafc.H.ForGhana Ragas and many wefi’known ragas, Aylitta and Muktayi only are givei^ai^pr Arabk*. AudMuktayis ale gitew in seveiv tanams^h Then under tbe heading s#«tt?«bapfl 5k»toaia9 ,S>We «tananD| witbiHMnteta^l! .fci^jlftffe/d follow eleven Tknains with Mufctpyitp A , »d

,iM j All these tanauls ion 104 rAgas are very rAre. iiTHesebte almost gone out of practice and perhaps the ordinary musician sotf the dtey is, nThey. require, gqqd study,be .UnghGaad prîped^gulajiy^,Afaa/SuddM samprad^ya >efffthe ( ^ n a i ^ r e ^ s ,^ n bf preserye^^; j(,9ai lt . aj dledT .benoil si a^Most of the manuscripts mentioned!above contain Gitas. s, Some details about them wUl be tnow given as under: r*vsfcw? io jsvabn A -tebuq a ’ sahityit’ W tftH* feltaa *A ift Sanskrit^ Thfe sahitya o f tbe ‘ t&il-kncrtfltr gitas tik^^'Lafhibod^rari is oHangAdi tbiw-^l.ambodara ■Warn k aW e foHLaaAWodkrAe l£ktimrka*A,ei ebev' » T h i^ ‘ehange'ris «^f«j!f?hima, pa,.dha®i/Ba, 15» dha^ pa, ma, .acaaast eril ni asisva y 8*.- ri? sa iloM siJaab ,eq^} laoov ,.e .i . It ia oteaily indicated tbat r i ; with a top atroke is the higher ri and that w ith^ntrokeat the bottom is the lower svaran The- aroha and avaroha svaras of Carnatic Kapk given above are very interesting. W e find in Pallavi Svara Kalpavalliôjf Tiruvathiyur Tyagaraja son of Vina Kuppayya, onet o f the four, jmportant sishyas q f Sri ^Tyaga- raja,, the arohana and avarohana for Kapi are thus : lo ^wafijurr ii B im n o 'f o f pSnei Jo runtiisasg ed I 4w8 §9*W*s9§> ,®fc» rji BîlllteiBft !Vi» Jft :tti7A - eegftta lonilsib iâdJg$%ii!ld^%iIW|ff!f» .mavarlT tii«do i with Ghatnsarufci ri/8ftdhaYanîg8t/qbe^W'»M^h* and.^sikfjpijv^ . PARTS I-IV] THE VIZIANAGARa M MANOSCRIPTS 165

Examples can be multiplied like this and these gitas help us much in the study of the ohanges in the Raga lakshana. A compa rative study in the march of Raga Lakshana from time to time is worth making. 4. I now conclude by giving a few examples of the arohana and avarohana kala svaras given for the Carnatic and Hindusthani ragas. Ragupti. Sa ri gaa ri ga paa ga dhaa pa/, sa dhaa pa ga rii pa ga ri sa Kapi 1 paa dha ni saa ni paa/ Carnatic J rii ga ma dha ni paa ma ri gaa ri sa ni ri saa Sahana ri ga ma pa ma dhaa ni/ sa dhaa pa maa gaa ri ga ri sa ni rii sa ni dha ni saa A study of these kala svaras will, I am sure, bring out a number of interesting facts in the evolution of the ragalakshana when consider ed along with the arohana and avarohana svaras given for these ragas. f>.-w 6tr*Hw.atii Io vol a SKMVIS V* abifka^ *o» I .* .w % u i ra^flaiil.nH h tta olJj.tpaO s/U ml o*?ig4ai**.* 4» i m m t ^ v a <\W aarfh «£ a»| *8 h *«g w ..bcpa^J #s h «g-aq lit ■*§ *<| SfiUfa as —

~~\Statf fn Mm it* adb «fi<| f thaM' n ift a* h smu h »m aaq iu «sih ms r.% in f~~

\r« *»6b s m aq aift ag h arr*rf*8 i *a if .*$ i* «f a*jib as ■ •• ^ ■ * ’.• ■;. >>*«- . ** a*« ia*^‘ **• ' r h i « .fat> gtrhd ffifi I ,f|iv> B«M¥f «[»‘i tiH-if*,? to ^btrte A -r bknteo naiifw at.-ai'ffeialfi^t i %ftf i o <*fci »i fctoal ^ a u w m io i :* efe -ttft atrig mffiffttt sa-ndt/iav «i:**ioia &dj ii4j» be Y M a iu O A oieuM eaaaait a«T ho dt-naiot s h t

~~la adb aq am ag n ae iVI- i A AYIMaAMAKAGAK in ae as sen aq adb iVi vA . SUMMARY OF TUI? alaca nJ vedJ to a'f.nai a ei dl~~

~~h a o a l a k s h a n a i t / a i IJIJAO~~

It was inall)«i(lici^si^i^^r#l|itlTi^^ Rfkga 4<^WslMcWiet^t$i4^ the <^feoeBqea^firii«8(|]xpirti^Mftn*ittj«fe ^fthliAMusic Academy display ed greatest interest. These indeed^ form the most important part

1iiW (W s<*n« ift fK lw f.fjt coslsKftm hereunder. Some Ragas were reconsidered at subsequent 8®j£$}$P$j^[ the suggestion o f some members, and the results of the reconsideration aresdlflSqgwdsta iwpraxu «g h sg a8—iA .1VAHIAH8 AGHAVIA

arfa §&^l!ftlêre^conBidered with great elabora tion «tel&2&.I EH&ir&i rGfeflentk to th8,ns*fHr SwM h4î€HM fiss#dtl^DSâ?t^^ the character of flattened but they APW%8G,WPib?mMrtll£*kali Nishada; and certaij^snpd^p^^êm^hp^^pjQt^fpught not to occur were pointed out. atiatfoiA ©df ni ^(lamioVf .alam bnSS ©dt lo a^nah a ar il ,nu >&$AjYEBJU. M b b G ii. iriiib*i(f*Adhtt ml baa stavisdG DoiasoJadO Av— Sa ni a«i>p«ri*itoaP^*[dhiaA|)*ddbae^|8P|ri'piq »dT

There jftreiSejVierabTaiira.sarcbaras. ag'fre a foot& 3 ift&A&feSbhal. It need not for that neasda big considered iaa -Rhasbanga. It is a ^ T O a^ J M ^ a d b bu g Io ©»u ©dT aleoi bu£S ©da Io ay.nsi a ei a I PUNNAGAVARALI Ar—Ni sa ri ga ma pa dha rt?,d,88,raTO(I ae adbAdfpsK* UK Jn^gA .H O H «M ^X R3 is occa8iorflfliy1u#^®aitt4flq%d.tlfajiaf*44i*9t •fel’a* . .abca d&$ ©d# Io a^usi a if,jH .nommoa »i m adb aq jjy p Io AHIRI. Ar— Sa ri sa ma ga ma pa dha ni sa A * * -fe aatfh*>ffc)rtg$ f t 4 r P ^ o n ^ ^ HA8

~~It ie . feV a^ tV iV U l.. ‘‘^dh.rant olndhare i. one.- sidHaH^dWdPffi M s 3 $ iW iW ^Jtaga . . .©IdT8ai moa e when it is sung. 2 THE JOURNAL OP THE MADRAS MUSIC ACADEMY [VOL. XXIII~~

~~NADANAMAKR1YA. Ar— Ni sa ri ga ma pa dba ni A v —Ni dha pa ma ga ri sa ni r, . . 4. 3LHT n o YJIAMMUB It is a janya of the loth mela.~~

~~GAULI~~

aaonaHaiMoo The usg qf;th*

edf kAUR,A&H^diAÂf--$aritgaima- pa-dh«f-niihani saw dl -êlqaib ûiebaoA oi8nMV.#d-t-$ft diaq JasJioqcni Jeoca edf wntrf sfcjobni mnlT .dasTJlni Jasfseig be tfSWMI *HSNN»°» iV W I l f l i M it f i ianfS0of"?6e! lueupeedua la baiebisnooei mew susgaH ecaoo .labnneied noifaisbisnoosi edf do Bfluaei edf bus ,aiedaiera scoos do noit8eggu8 edf ANANDA BH AIRAVI. Ar—Sa ga ri ga nunfxi

•aiodafe dfiw bei9biaaoD^ei9w*t5^T)^?! fc$a of frft&a i*>lhi$fH ^ ^ s^ ^ aa Ob^^flqti Dhai^afeniat PFMofflifiPanfee^ She*regdf do lefomsdo edf iIadJ # liH ^ R K dbiS ^ S tf',ft,r^ a ^*

.fa.fl&fiBOTt 8iAi*-fta ri'ga m a^a:un«pi»i ni*dfc**n* «** mdT a si f i .BgnaAi«f4flSariBidl«fepiEi!®oa gai Bt>ai«a Jadf lod Jon bean f i It is a janya o f tbe 22nd mela. The use of Suddha' permissibly *q am ag jt a8 IJAHAVAOAMM1!*! KAMBH0Jf.*gA*ai-8o si 8H It is a janya of the 28th mela. .ifialslt Wjsh&dar 'ill Itho prayogd* ^ o f sa ni pa dha sa is common. as ia «db «q am eg sea ae ii s8—lA IHIHA SAH4 ^ a o ^ rrrjSft r*^»a««| JghdtMteitihi* »fl * »A Av—Sa ni dha pa ma gat ma ri ga ri sa . T -aqpo si piadbncD anaiadbaS .atarii dill 9df To a^nst a si f i * mlfft fflii*- s admissible. .gnus si fi neriw a ■m

~~%io JAwauor, sht I~~

YADUKULAKAIi^p^p^j, 4 f-r§»« PJ n?A ga n?a< >pai dha? sa as *3 am .A?—Sa gi dhf Pa ma ga ri sa ** d ^ ^ t r j a ^ a ©Ptfe* 2 8 ^ me'aidmu dlOk ©dJ lo «^aa[ & ni i l it ai bssm aJaviatlG ©dl J«dl noisa©a auoivetq a at bled need gnivad NILAMBARI. Ar— Sa ri ga ma pa ni sa .ijineei/iiwiO ©aw

« n ib in «rih 4 V^ S * i P“ f t Pi ' ■- ! Ik i%£ if n% ^rana. Kaisiki Nishada occurs in RS ift*i R?i K b tP tth ^loo gntdai ,slem diOS adi lo JB^nsfc * s* *1 ATH AÂ * !:Arr^S§.rfi(Jwaj.,p^dl>» nl*>ttO(I%!fr A0HAM A v—Sa ni pa uaa. ga ma ri sa It is a janya of Sankarabharana. The prayogas sa ri ga ma and ni dha pa are admissible. Both the varieties of Niphada, occur as also Sadharaoa Ghandhara. "' It . ,, * aa It fig cq fim aq adb m aa~ tA ily-JRILAÂ^^.^'iAcr^Sa ri; ga pa dha >faH ,4aol ei *ibi! bn «0 d)02 9rfi lo a v nsj sAiT7lâ .b'b^ha spa ma ga ri qfmis ©is uia?wdQ It is a janya of Sankarabharana. Kaisiki Nishada occurs in the prayoga pa dha ni dha pain am iig h «g b8 — tA .AJ i f i! 1 i 'J

§a ri ga pa dha sa «dl «I .brad* A v—Sa dha paugA iRferf* Ui *ra l 1 J se in aq fitn fig b o -iA .nidriaA BAULI. Ar.—Sa ,ri ga pa. dha sa h ift a 8 - v A alan, rf.t02 a d ^ f S a f V t S l P* « * ri' Wood. '«rfbb»8 It is a janya of the 15th mela, . „ . rI. ,, , as in firtb aq am n «8 ~ tA .WAaJiUU VASANTA. Ai —Sa ga ma dha ni s a - A v—Sa ni dha ma ga ri sa T 8t am ag it as ©gasu ©dT .ale® tui&S ©i % v na[ a si j* The majority was for considering this as a janya o f the 15thl#$lft while a strong minority was inclined to put it under the

LALiTA,.g A-r—Sa ri ga ma dha ni sa « * - * A al«n bnSS odj #»« **dbnef> bn* < * ■ * « . It is a janya o f the 15th mela trnd Ghatussruti Dhaivata Is frequently used in both Vasanta and Lalita. 4 THE JOURNAL OF MUSIC ACADEMY ;[VdL. jffctf

~~RI$DQLA.r «2 A r- Sa»|a Wa dliAB W A >' A JI J>1: Kl A Y as H s| am sq A*^i-iSa ihi~~

Hft^l5!(b£X V A § A ]^ ^ .! —-i$a*ga*a)a pa dha ni dha sa tii nuT>o afeuUiZ idiaiaH A^^Bk hi #hfe"Tn^ ghi jri gar" fa It is a janya of the 20th mela, taking only the Su^ftd DhAifVafa. MARGA HINDOLA;* Ar^'Sa ti ga ma pa dha t»f saM ^ sa h i!•'■■ Av-i-Sh til diha ma ga sa bn. It is a , janya^ef the 22nd mela. i fiddaiaifusfe io fi / sis j a sa Mtowu.jJjadMi'/I ip askeiiav edi die# .«ldi8*t0»ha eta eq *«2 osi.fi Av —Sa ni dha pa ma pa ga n sa Gandhara is long aftd %be playogas 6 f SlnJdl.a “afhd 'Cfeatifisruti Dhaivatas are simitar* to thbfb df BbairaVi.' It Is a janya of the 20th meia o o f fti biimmq u b i ^ i s i ' / l i4ia,iaH anat*Kdeiei taH lo a si ,i i RITIGAULA. Ar —Sa ga ri ga ma niidha ni sa adb eq ago^aiq A v -S a ni dha ma ga ma pa ma ga ri Sa , )a Tbe usage ni pa ni sa is permissible jn fcbe Mandra sthayi. In the

jjniriiJl fifem nt8 add lo evnm SARAM a TI.' Ar — Sa ri ga ma pa dha ni sa aiadboaD Av —Sa ni dha ma ri ga sa In the Avarohana'^n Jifj^ dha tba' g*af‘ saîs aisb siicidha Dhaivata should be tiled. It fe'fa. jfrfâiWTh^20tb mela. ADtn7m * ci .sbffl 4131 edl to «vn*i a ei ll ABHERI. Ar —Sa ga ma pa ni sa Av - Sa ni db* pa ma g a ri kh —-iA. .IJU Aff Suddha Dhaivata shoufcf hi usexf.'1 i f Is a janya o f t he 20th mela. 1AnriT1, nu. dJSI oriJ lo ftfftai a ei ll DURBAR. Ar —Sa ri ma pa dha ni sa Av - Si ni dha pa rtfa rt ga fi ik ^ f KA8A 7 It is a janya o f the &?nd mela. The usage sa ri ga ma is prevalent.- ycr6â±{ « m wdJ ôiialii^noo io! saw yJhojem erfT xt a v a ttt *d4l»b«g ii lPil £>1 h#(ji 1opL.aey/vyjitpnim ynoilB s elidw NAYAKI. Ar—Sa ri ma pa dha ni (long, dha pa sa A v—Sa ni (long) dha pa mari ga (kmgj.Af&blAJl

~~Nishada and Gandhara affe long* It ii a janya of the 22nd mela S^nchara* like sa n ii^ , dha ri n*,.*ri pa m»i rigas rri. sa are not uncommon, .bjHaJ bciB alnasaV riJod ni feoan FS*®TS,My]i Yfeg~~

KANADA. A r^^rlga m^p* m*tdha nlJ^HAVOTffM J88 ai-'dbo^paraa ga (long) ma ri sa Gandhari %ff8tAi tnâim Iî tjho ^peeial prayoga ri ma ga ri sa, Sadharana; Gandhara ©oeuvj.adb in a8— vA adb .aq era jsa afemaaaianonaB oil8nejoaieda.9aio8 .beau si am * Av —fea ni dha pa ma ga pa ma ri sa XSMStt B.1W W T PS fl “ « i *»«.»«» Rishabha is long. It is a janya of the 28th mela. Prayoga like ms ga ri is ocea8iotifl»j|(«*M; « « si l l .M AYJAXJIIM AH BEGAD,*? '" ^ r 'L ^ g W / W ’ rfS; pa’ fchm pa sa as n a j^ n W djfayfeiyi ri „ a a aa am aq ,aa it in aa aq adb ,as in adb aq am aq aa h b8 ji aivkfim ltm M%l8 pp*qhm (im tim kM mb- Though for theoretical purposes Nishadj^jfl & practice it always descends from shadja and is lower than Kakali The usage sa nfdha ni sa W f k m i& i h \ one. iifi'ts 9m'if: .-BgiiUjttMAaau ion ai aa adb aq ag aa edii adoia riguodi ni . A R A B 0 I. A r—£a ri)j$%pfIyihfkjr»a,fig ,ROrt , ^jia #q adb in ae Av —Sa ni c(ha pa ma ga ri sa. , MJ fiai ag ansdonas Nishada and Gandhara are alptnm lb J* a.derivative of tbe 29th mela. as in aq am ag a8 - i A .AXIBCm AHOIVARAYAGU DEy4ÂW)K|AjB^ A f ASa ri ma pa dha sa si ii ,ijlieiayl si abadeiK

PANTUVARALI «#i*« »A .AaAMAX m ” Bra (8no0 «8 *maqA*dbgg ^dhai4i sa adbbog lo sail edT .alem ffc*jjndf*#i*%T”^ n » d?tbna*> It ought to be classed under the B lrtS titW ?"* that the Antarft^^J^rj„p£|lHto ,i*Aa ^qipe^^.i^yened Bq jjfj^ ]n BH l(J jn Bg _ 7A

si a r am o a ViS.in adb in aa if oAKAJNbA. It is a sampoorna raga. *g am h agoâiq fjAyeq-Saaili) gil ma.Â«UisBtib8i9 lo ayns{ a at fa Av— Sa ni dha paima aiuginraftn saiadhe8 ,sa it In the Ararohanaîn.^he(||raj£oga n^»_in^ri 9UG^tjft,^t$lhya- mais used. oome.characteristic sancharaaaresa riaa pa ma pa. dha «.!»,» dh. p^** fi S”.W A ’of t«3 8 f a £ 7 7if agoâiS .alem di8£ edl lo aynsi a ai ll .gnof ai addadaiR HAM IRKALYANI. It is a sajUjg^wfotfagjifcioo ai h fig BCD Qjlil

a. aq n 4 r«q | V ^ faA % d-hW i s?.aA03a « . h ^ V A | i«,W?nlJft! -mW a n sa Sa ri sa pa ma pa dha ni sa, dha pa sa ni ri sa, pa ma ga ma ffm iti&Mir&tium) 0 M m . it 808oqiuq faoitoioed) tot ugnqriT ifsjfsH nsifl fowoi ai boa aibads m oil sbrieoseb sya wfa ii eoi.toaiq ono IhE PPi fce regarded as sampoorna, though aroha like sa ga pa dha sa is not uncommon. The Sanchara sa ni dha pa ma ga ma ri sa is Tranent. Suddha Mfidhyama in sanchara ga ma ga ri Sa is permissible. dlOC Kisa janya o f th a &5th mela.»; eta afadbnaO bna abadsiVI .fifserr UDAYARAVICH ANDRIKA. A r - Sa ga ma pa ni sa «s adb aq am if *8 A t ^ S a * ^ ^ ( It is a W e Nishada is Kaisiki, it is i$ ,v 4 4 ha ^fMlkStffani lo o si aa ic adb aq am h r *" U M ‘UiAft m u |Tni» 1 * * 9ds . f1 . ,? . /m o latooqa A v —Sa m dha pa ma ga ri sa - • 1 It is a janya of^tfft §$? hleHi1, ahlUisa ^BhashairtgL^ Chatussruti Rishaba and C lf S t ifc ^ r ?im fY y td a ^ a^iissible. Sa ri ga and {jg ha pi $a v e j f r f t J ^ g g a s ^ .alora diH ed ) )>> aynii^ s ni )T PURNACHANDRIKA. A r-Sa ri ga ma pa dha pa sa*8°*B1ct edl lo aolon ad) aodflj bna agAvffT T ^>^?h % F j|?a ffif Affi^V *8 « mdSdraei&l»ylfi4ll#ift4tyi and dha ri sa are admissible. .agsH odl lo oijsheloeisdo ion si Y M S aiO A 0 | fA O 4 *AK8tfiti*HT VO JAWaUOt 3HT *

~~KEDARA. «i -iA .AQAMMAX as ii fj* *»* gw rhsar—vA it jtt>^ifWfifotf*9 flfpmel#b«1^ 8a p&nwt « ^ d i ttd* and sa ri ga sa are special prayogas. “~~

K A F I^R Sm rof'T dta. AOKAHA8 AWAV«BH«M aa jh> i-’ -nrrt aq. in stf—-.vA .. Ar—13a ri ga ma pa dha ni sa A v -S a ni dh$fpa*iM gt ‘belong) Itflfe %djfcrf$a%¥ ffce'S2rffl VfieWA .A JA O ZA S ACIAMMAH as it ag am aq arfh a8— vA Ar—1 hindustMan kapi. A r-SVI ... j^ fl*,fcrtrtw . ,.. a .i a Av—Sa3a ni dha ni pa ma ga ri ea In ma ga ma antara Gandlfara" occurs ajjd* ip m^dha' m ^ a k a l,' Nishada. Kakali is used in tf)enA^lfana^ l^b isJtia~janya of the 22nd meja .aletn di8S 9di Io a^naj a si il

~~KARNATAKA SfcffWS? h IJAHA7A~~

~~BAUAfiAirtSA!' sftr~~

«t* ■ijpftjojuji, w tSs »idi Sk m i v m u W j h *- .ieiqqi/2I «aea7 Io amav ISAMANQWARI. b iAi»qStt.fi jwSP. iuA.5rr%ri ma Pa dha ni 8a ei frunsvSI anBhiM adi ^na aferri sVmB[ a ai i l It is a janya of the 22nd mela. .agjn iadi ni baaoqmoo 8 THE JOURNAL OF THE, MADRAS MUSIC ACADEMY (jtfclh.pXIJJ!

KANNADA. Ar—Si;ga ma pa m» 4ha£ai*A /.RAG 3 X Av—Sa ni sa dha pa bo a gam a ri sa b an H i# *>j*nya o f (the 4<&tfewe!M3ii04(«*g%M«ftqA ga m P f| g a ri sa are exception#* prayoga** " 0 » .M?>o sq* aia m ii as BRINDAVANA SARANGA {-^-77^ P® *&! '<{ AX Av.—Sa ni pa ma ri ga sa as in sribsq am a& H iief—-iA 0 (8< K .iw fc a iiw » n ^ A f in«8-vA KANNADA BANGALA. Ar^$# pi ma ga **anps!!dh*£ati Av— Sa dha pa ma ga ri sa U is » -m * 5 I*H T B 0«K IH m h jbs jcrn mit in arlb in m — vA

~~3^ aiatna am eg am a I 1 avnlsjf a '“ sVFT n‘“je i T ? ni beau si iia isX .abadaiX It is a janya of the 28th mela. B|eai~~

~~PRATAPAVARALI. A r-S. ri t y,,TAYMkyi I~~

s. in .ib ^ -sW tiW a w *ri “ in *3 —?A NATANARAYANI. Ar- S f t d h a WMy/isj a ai dl Av — Sa dha pa ma ga ri sa It is a janya ot of tbethe z»tn28th mela.mela.ya is IT ag eai aq in arib in a «— vA -o^aTq^A^me&CI ^ n a s ^ ^ J ^ fi^ a f lm silt lo avnaj a ai JI * 1 Av —Sa Hi dha p# ma ga n.sa , .a •aagoyaiq oiJaneioaiaWo era m ann aq bna am «§ iB .ag It is a janya o f the 15th mela. j BHAIRA?H gtt ma pa dha ni 2a * W A * as ag am pa ma ga ri sa It is a janya of the 17th n»W?»*® br,SS ^ lo B ai Sl

N ARAYAN A G A ^ A b a4%Tr£ft m*UhF* nidfc*¥tfiWllAa m ag am h am «q4s1Hr$PJ8-ma 8a r* 8a ri Ea .ago-^ftsw p^ tf Mv Jf$ m wtiwww w*ihe varna of Veena Kuppier. M ANJ AR I.»** Aftb. Sa jgfti'li f t i n g ptfAi dhk ni m 11 « g « a Av^—S a b id h a p a « s g*a ri sa It is a janya o f the 22nd mel&ofdieaimba si ebadai-M ifailaX fa DEVAMRITHAVARSHINI. . Ar-Sa ri ca ma ni dha ni sa as in adb aq am « i j f a § £ n i itk rfsa It is a janya o l tfle Mnd mela ant the Kirtana Evarani is composed in that raga. .alam hnSS aril lo a^tei a sill

~~S /W [a-IV3A RAOA t.AKSflANA ’~~

~~GOW RI.irt Ar-MSa ri ma pa ni «k 7 Hi&I I; ah ii ag am aq A^^Sai hr~~

gift « .muq..... Mo n„ « Il .1 HAUHJO irigu©HlTTAKfANJAKI. 'AMNiisitbfi fta msboiu bna aq a'O in ydi) arJ*us -i Avwi|Ni*^ha -pa.' ma g«. ri sa n i'• -‘*v V- iuo ^ Hi» nirtoA ni liiOOO obI® t>a It is a janya of the 22nd mela. POORVI. Ar— Sa ri ga ftifc pat dhfctfiisa )9f AMA V AH&A Av—Sa ni dha pa ma pa dha tna ga ri Eft It is a janya of the 15th mela. Sa ga ma, pa ni hi is a special usage. .asgoîaq m&heo ni aqfs et fiiaviadtl anbbua »d L BEGAjP^V £,^f.êc^n.sid^tqtl- tfllnlW l ^ id^d t - M t > T?«hada should be termed as Kakali though it is somewhat less than the typical kakali.alâyl use^ iM tb'^âm â aotfn from shadja. 1fts'positrdn is’between kafeali and kaisiki but nearer kakali than Kaisiki and could be exadtly k®OWrf only hi laJPshyfc.™ The prayoga pa dha ri sa oqppf«dfj^cla88ic^9^qjpwMnn« nishoo ni n m o oela Av - Sa ni dha pa ma ga ri sa.„ ^ , ArP/ / had w msnadoia aTifitt* smoi dJOP. to a/aaL a si il . ATA n Dha ni sa ni dha and ni sa ni dha are used in practice. Sancbaras up to tara madhyama are found in compositions. The mkd$Ha fiknchaih;is’lsaf da pa dftW Sa with a slight sfmde bf kakali.* _ amuqm,^ w°4?, “woo® hluods aS iq adb aq bna %scja aa ii aB

occurs in pryogas which include tara shadja when that a is long, and in all sanchardy^hfi4^^t4ftfi^!i1idh?id!ik _ SAHANA. 28th $dela.K J?rl~&et *SJ*JfrsP4^ri ga ma pa paa dha ni sa «8 n ag aoi aq, adb ;u a-, -va. 15 Av — Sa ni dha pa ma gai ma n ga n sa m. , assoyaiq otieu9ia«i«doh'tbe&Miiado anJsdl §xseia aqrwpnoigib wplfdl dTn » 1 he sanchara ma ga n sa and ri ga ma pa dha ni also occurs. m. ,, Z2g isja ii sen aq am anfraq #>B ina^T The gandhara is an tara. ,, h n eq am adb sq BILAHABbIj, j Kaisiki nishaddioccurs only irv pa dhani dha pa. 1 The prayoga pa dha ni sa is occasionally met with, si

~~GUNDAKRIYA. 15th Metla. Ar-r-aa fi pa in a ni SftWOD as ii b'j jui Avi—Sa ni pa dha pa ma ga ri sa «q i Ga sa ri g& ift an old prayoga. .6bm dJBI mlJ lo jr^nrq a ni Jf~~

~~GU RJARI. It is an old sampurna raga dorrespohdfiftg td tlie modern MayamjUavagaul* /of tha*ilfl~~

~~MADHAYAMANGHARI/H 22nd Mela. .17 >10 OH A r - Sa riga ma pa ma ni dha ni sa. 'A J Av —Sa ni dha ma ga ri sa. ^ j j The suddha Dhaivata is alpa in certain paryogas.~~

flba^NBLlPAKA. It is pr*ctich\ly satafc as Karabarapriya. ' ed$ nsnj aeM Jadwemoe «i >ti dguodt ilada/i sa bennel ed bloods MANIRANG. 22nd.Mela. Ar—sa ri ma pa ai**.iI*jLai laoiq^J iUdad 191A9U J«d ulisiio! bos ill Aznmi&b ft m - .atbada Ma ga ip#, prayoga i» not admissible, te ed bluo-j bns idihiaA nadl

*« GOPIK A VASANTA. * 20th Mela. « wtlb «<1 9 Av-i-Sa Of dha pa ma gtt8#^b <® Antara gandhara chatuseruti Dhaivata and kakali nishada also occur in certain sancbaras. as adh aq am. sg am ii a<4 - iA .abm

NATA. It is a Janya o f 36£h mela and its arohanam is Sa ri ga ma pa dha Sa and aVarobanam is Sa ni pa nda rFSain *fi(* odT anoiJi?.oqmoo ui bnuol oia sma^dbmn aial oi qu esiadofisS Though; pfay,?gas like Sa ga,.Sa ma, an d .fa N.i are, lafg^Jy,- Sa ri ga ma, and pa dha ni Sa should occur to show the Sampuurns B W a of tbe Raga. ai sibsds inriJ n»dw sjbsda mai ebuioni doid» ssgoîq nisi ASAVRRI, ^t jany^ttf the 8th molfuia donas Us ni bns ... Ar—Sa ri ma pa dha Sa , . o u t s as nr adb am aq am m J* *8 —iA *1*M dt«L .A A h H Ad z i A v—Sa nj dha pa ma ga n Sa sa n as si watj> ata sq ami in sr ~ v F ° Th following a n tha characteristic pâ^0r^ss£0 a W o u a . ' Sa ni Sa pa dha ma pa ma n ga n Sa ; odT pa dha ma pa ri ga ri Sa ; ; „ ’ in JBiib a$anni pa dha ni dha pa dha ma pa ga id AJIil mafH>ga ti SÛfloieaooo si as in adb aq agoâiq odT

~~jb* g* « sa apo .obarAotoristiocyaseeba prayogasj Chatussruti RiMi^bba ocour* j# madbysma skhayi and. tit is twa Bh&shanga. ..eldissimba PA UTS IV] KAO \ LAKSHANA 11~~

R1T1GAULA. It is a janya of the 22nd mela ; that Suddha Dhaivata also occurs, that originally it was in the 20tb mela but according to the current practice it is the 22nd Mela. BHAIRAVI. In arohanam Cbatussruti Dhaivata occurs when the sanchara is Dha ni Sa, when ‘ Sa’ is long, and in all other Sancharas and in avarohanam, Suddha Dhaivata occurs. ANANDA BH AIRAVI. Ar—Sa ga ri ga ma pa dha pa sa Wo Av - Sa ni dha pa nsa.ga ri sa. Pa ni sa is admissible. Antara Gandhara occurs in Ma ga ma prayoga. Both the Dhaivatas occur. It is a janya of the 20th mela. There is a very rare Alpa prayoga of Kakali Nisada. VASANTA. Ar— Sa ga ma dha ni sa Av— Sa ni dha ma ga ri sa It is a Bashanga Raga and is a janya of the 15t>h mela. Chatussruti Dhaivata largely occurs. LALITA. It is an upanga raga. It is a janya of the 15th Mela. , ,,t 0,8ja ,nJ5 butov ans - ; ifo: Ar—Sa ri ga ma dha ni sa Av— Sa ni dha ma ga ri sa SAURASTRA. It is a janya of the 17th mela but there are prayogas of Suddha Dhaivata. Kaisiki Nisada also occurs. ARABHI. Ar— Sa ri ma pa dha sa Av—Sa ni dha pa ma ga ri sa It is a janya of the 29th mela. Nishada and Gandhara should be alpa and should not be long. SAMA. It is a janya of the 28th mela. Ar—Sa ri ma pa dha sa A v—Sa dha pa ma ga ri sa Pa ma dha sa is a Ranjakaprayoga. VARALI. It is the same as the 39th mela; and that it takes Suddha Gandhara. It is a Sampoorna raga and constitutes the 39th mela AHIRI. It is a janya o f the 8th mela and that it takes several foreign notes ; and is a Bhashangaraga and should be rendered with a knowledge of the chaya. SRI. It is a janya of the 22nd mela. Ar— Sa ri ma pa ni sa Av—Sa ni pa ma ri ga ri sa Pa dha ni pa is a Visesha prayoga. r

~~12 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VoL. XYIII~~

SALAGA BHAIRAVI. It is a janya of 22nd mela, Kharahara- priya. Ar— Sa ri raa pa dha aa A v _ S a ni dha pa ma ga ri sa It is an upanga raga and also Ri ga ma pa prayoga seems to have been in vogue. - - PANTUVARALT. The Kirtanas with Antara Gandhara now known as Pantuvarali should be called by the old name Ramakriya ; it is a janya o f the 51st mela.

KALAGADA. Ar —sa ri ga pa dha ni dha sa Av—sa ni dha pa ga ri sa It is a janya of the 13th mela. NATAKURANJI. It is a janya of the 28th mela. Ar — sa ri ga ma dha ni sa Av—sa ni dha ma ga sa. Ma ni dha ni pa dha ni sa is a very characteristic prayoga. The following prayogas are also to be found in practice : ga ma ri sa ; ga ma pa ga ri sa: ma ga ri sa (as a rare prayoga); ni dha pa dha ni ; sa dha pa ma ga ma pa ga ri sa This is an ancient chaya raga and should be rendered according to tradition. NILAMBARf. Ar —sa ri ga ma pa ni aa Av—sa ni pa dha ni pa ma ga ri ga sa It is a janya of the 29th mela Dhirasankarabharana The prayoga s n d n s occurs in this raga as a visesha sanchara. Tara madhyama and mandra nishada are the upper and lower limits respectively for sanchara in this raga. SAINDAVI. Av— Ni dba i i sa ri ga ma j a dha ni Av—Dha pa ma ga ri sa ni da ni sa 22nd Mela.

SAVERI. Ar —Sa ri ma pa dha sa A v—Sa ni dha pa ma ga ri sa. ‘Sa ri pa ma ga ri ga ma ga ri Sa’ is an Arshaprayoga to be used, if at all, cautiously in accordance with Ragabhava. The appropriate Srutis of Ga, Ni and Ma are to be learnt from Lakshya. MANDARI. It is to be classified under the 51st mela. Ar —sa ri ga ma pa ni sa. Av —Sa ni pa m aga ri sa.

~~2 BABT8 I-IV] RAGA LAKSHANA 13~~

~~KAN AD A. The previous decision was satisfactory and was re-affirmed.~~

DESAKSHI. It is a janya of the 35th Sulini mela. Ar —Sa ma ga pa dha sa A y-8a W dha pa ma ri aa. BRINDAVANA SARANGA It was better to distinguish two varieties and call the version with clear ga in Tyagaraja’s ‘ Kamalaptakula ’ as Karnataka Brindavana Saranga.

MANJI. 20th Mela. Ar—Sa ri ga ma pa'dha ni Sa. A y — Sa p j pa ma pa ga rj sa. Characteristic prayqgas: Sa ga ri ga; ma ni dha n i ; sa ni sa pa dha pa; No sanchar^ below Ni in Mandra; sanchara jp the Tara rare. SUDDHA DESI. 22nd mela. A r—Sa ri ma pa dha ni sa. Av —Sa. ni dha pa ma ga ri sa. Suddha Desi as such should take only Chatussrutti Dhaivata but those who sang ‘ Raghunandana’ with Suddha Dhaivatha and desired to maintain it distinctly might call that Raga Desi. KANNADA. It is a janya oi the 29th meia. Ar— Sa g a ma pa ma dha ai aa. Av. Sa ni sa dha pa ma ga ma ri sa* Sa ri ga ma and ga tna pa ga ri pa are adnussiblc- ^ DVIJAVANT1, , ** in aq t ^ *q m; ■ <> j. Ar—Sa ri ma ga ma pa dha sa Av— Sa ni dha pa ma ga ri sa ni dha fti flp- Sa ni dha ni sa occurs. JRi ga ma pa is $ special prayoga. In ri ga ma ga ri sadharana ga is taken. Pa dha ,ma |s also admissible. It is a Janya o f 28th mela. w m m . It is a janya of the 22nd mela. Ar—Sa ri ga ma pa ni dha ni sa Av— Sa ni dha pa ma ga ri sa Pa dha ni sa is largely used. Suddha Dhaivata also occurs. 14 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VoL. XYIII

~~CHITTARANJINI In Chitaranjini Ni is not Kaehiki; it belongs to Janakaradhvani and not Kharaharapriya mela.~~

TARANGINI Tarangini now sung appears to be like Cbencburutti in tbe 28th mela; it should be Janya of Charukesi and should have Suddha Dhaivata. 1 DILIPAKA Dilipaka is the real raga o f ‘ Rama niyeda’ ; its arohana and avarohana are available; there is no need to confuse it with Karaharapriya. PANTUVARALI. Ar —Sa ri ga ma pa dha ni sa Av —Sa ni dha pa ma ga ri sa I f sadharana ga is used it is the 45th mela and should be called Subha Pantuvarali. GAULIPANTU , TfTirf* ' The Gaulipantu is a Suddha Ma Raga and Prati Ma occurs in the form of Gamaka. 4 BHAIRAVAM . Bhairavam is of the 17th mela with Arohana as Sa ri ga ma pa dha ni sa and the Avarohana as Sa ni sa dha pa ma ga ri sa and Dha is a prominent note. “ Alpa ” Kaisiki Ni occurs whereas in Saurashtram, Kaisiki Ni is more prominent. KALGADA. Kalgada is a janya of the 13th mela with Arohana as Sa ri ga pa dha sa and Avarohana as Sa ni dha pa ga ri sa. NABHOMANI. The arohana and avarohana for Nabhomani raga are sa ri ga ri ma pa sa and sa ni da pa ma ga ri sa with visesha prayogas as pa da pa sa, pa da pa ni sa, sa ni dA ni sa, sa ni da ni pa etc.,

~~CHENCHU KAMBHOJI "1 * [ M'm . t . ' A r—Sa pa ma da ni sa Av —Sa ni pa ni ma ga ri sa 28th Mela ; devived from a folk-melody ; has vakra sancharas.~~