THE JOURNAL OF THE MUSIC ACADEMY M A D R A S' : ; I
k QUARTERLY (> - t f DEVOTED TO THE ADVANCEMENT OF THE SCIENCE
AND ART OF MUSIC
Vol. XL 1969 Parts MV
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** I dwell not in Vaikuntha, nor in the hearts of Yogins, nor in the Sun; (but) where my Bhaktas sing, there be I, Narada ! ” iro.t*rfJ ted# gnibnfiMtobni* sit no noijnoilduq EDITED BY V. RAGHAVAN, M.A., PH.D. vk b io A * b 1970
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x
\ THE XLIInd MADRAS MUSIC CONFERENCE
OFFICIAL REPORT
The Opening Day
20th December 1968
The XLIInd Annual Conference of the Music Academy, Madras was held in the Academy’s premises, 115-E, Mowbray’s Road, Royapettah, Madras-14 from 20th December 1968 to 1st January 1969. It was a memorable s ;ssion as the Academy elected for the first time in its history a distinguished lady musician, Smt. M. S. Subbulakshmi, to preside over its Conference. There was a record gathering of musicians, musicologists, lovers of music and the public, as also visitors from foreign countries, all the gangways being thronged with rows of standing visitors. The Conference was opened by Her Highness Maharani Setu Parvati Bai of Travancore, one of the Royal patrons of the Academy and herself one of high attainments in music. f 4*A%p.«*% • t%m ft* p. hin^u On arrival Her Highness and party, which included His Highness the Maharaja of Travancore, were received by the Office bearers of the Academy and introduced to the President of the Conference and the members of the Experts’ Committee. There was then a group-photo of Her Highness and His Highness Maharaja of Travancore, the President of the Conference, members of the Executive Committee and the Experts’ Committee of the Academy. Her Highness the Maharani and party were then led to the auditorium of the Academy.
The proceedings began with the singing of prayer by Vidushi M. L. Vasantakumari.
Messages
Messages received for the success of the 42nd Conference were then read by Sri T. V. Rajagopalan, Secretary. 1 tH E JOURNAL OF THE MADRAS MUSIC ACADEMY (VOL. XL
Sri Rajaji sent his best wishes to the first lady President of the Academy’s Conference and congratulated the musical experts on their choice and courage.
Dr. S. Radhakrishnan sent his good wishes for the success of the Conference.
The Vice-President, Hon’ble Sri V. V. Giri, sent his best wishes for the success of the 42nd Conference.
Hon’ble Mrs. Indira Gandhi, Prime Minister of India, said in the course of her message :
“ The Conference of the Music Academy of Madras has grown into an important annual feature of our music world. It has helped to conserve standards, to encourage young talent and to promote taste and understanding of music. My best wishes for the success of this year’s Conference.”
Mr. U. Thant, Secretary-Goneral, United Nations, said in his message that tbe presidentship which had been conferred on Smt. Subbulakshmi was the most coveted office and he regarded it as a crowning tribute to her great contribution to South Indian music and hoped that the Conference over which she presided would be a most successful one.
The Rt. Hon’ble the Earl of Harewood, London said in the course of his message that he is particularly happy to hear the news that Srimati M. S. Subbulakshmi had been elected president of the Conference, as he counted himself as one of her most ardent British admirers. He hoped that she would come again to England and give a series of chamber concerts and hoped that the Conference under her Presidentship would be most successful.
His Excellency the Governor of Madras sent his best wishes for the success of the Conference.
Hon’ble Dr. C. N. Annadurai, Chief Minister of Madras wrote in the course of his message : “ The Music Academy has given Madras City the distinction of being classed as one of the few major seats of music in India. Rationality and comprehen siveness being the characteristic features of our music, it is at the P t S. I IV] THE XLIInd MADRAS MUSIC CONFERENCE 3
same time a melodious .testimony to the heights of fancy to which the spirit of man can soar in search of aesthetic pleasure, that is the pleasure pure and simple. The melody of our music has been equally matched by a band of versatile, gifted and prolific composers. All these factors combine to provide us with what we now know as our musical heritage. I am sure the 42nd Conference of the Music Academy will scale new heights. I am more particularly glad that the traditional patrons of our music have been given important functions in this Conference.**
The following Governors of States sent their congra tulations to Smt. M. S. Subbulakshmi and the Academy and wished the Conference all success :
Their Excellencies Sri V. Viswanathan, Kerala, Dr. P. V. Cherian, Bombay, Sri K. C. Reddy, Madhya Pradesh, Dr. B. Gopala Reddi, U.P., Sri Dharma Vira, West Bengal and the Governor* of Pondicherry, Haryana and Delhi Administration.
Messages had also been received from the following Ministers of Madras and the Ministers of the different States:
Sri Madhavan, Minister for Law, Madras; Dr. Satyavani- muthu, Minister of Harijan Welfare and Information; Sri Virendra Patil, Chief Minister, Mysore; Sri P. V. Narasimha Rao, Sri V. V. Raju, Sri V. Satyanarayana Rao of Andhra, Brahsunder Sharma, Health Minister, Rajasthan.
His Highness the Maharaja Jayachamarajendra Wadiyar Bahadur of Mysore sent the following message :
“ I am glad to know that the Music Academy, Madras is holding its 42nd Annual Conference from 20th December, 1968 to 1st January 1969 under the Presidentship of Sangita Vidushi Smt. M. S. Subbulakshmi. I am also glad to know that Her Highness Maharani Setu Parvati Bai of Travancore inaugurates the Conference and that Dr. Karan Singh presides over the Sada*. It is also heartening to note that there will be Music Competi tions and concerts and discussions by experts in Musicology. It is befitting that Smt. M. S. Subbulakshmi is honoured by the Music Academy. I am glad too that my friend Sri Raghavan is 4 THE JOURNAL OF THB MADRAS MUSIC ACADEMY [VOL. XL also being awarded a Certificate of Merit. I wish the function all success and the Academy a bright and useful future.**
Hon’ble Y. B. Chavan, Union Minister for Home affairs sent his good wishes.
Hon’ble K. K. Shah, Minister for Information and Broad casting, Sri Jaisukhlal Hathi, Union Labour Minister, Dr. S. Chan drasekhar, State Minister, Health and Family Planning ; Sri V. C. Shukla, Minister for Home Affairs, Sri M. S. Gurupada- swamy, Food and Agriculture and K. S. Ramaswami, Home Affairs sent their good wishes, wishing the Conference all success.
Dr. Karan Singh, Union Minister for Tourism and Civil Aviation who was to preside at the Sadas of this Conference said in his message : “ The Music Academy’s Annual Conference is a major ^event in the cultural life of India. The stimulating dis cussions on the different systems of vocal and instrumental music, and the recitals of distinguished artistes will undoubtedly contri bute to the enrichment of our cultural heritage and provide an opportunity to promising musicians to come to the limelight. I send my good wishes to the organisers of the Conference and the participants.”
The following Institutions sent their messages : The Central Sangita Nataka Akademi, New Delhi, The Rajasthan Sangita Nataka Akademi, Jodhpur, The Sahitya Akademi, New Delhi, National Centre for Performing Arts, Bombay, Gokhale Institute of Public Affairs, Bangalore, The Tyagaraja Sangita Vidwat Samajam, Madras, Narada Gana Sabha, Karur, Sri Kanakadurga Kala Samiti, Vijayawada, The Gramophone Company of India, ShanmukhanandaSabha, Bombay Perambur Arts Academy, Madras, Bharatiya Music Society, Bombay, Kalaranjani, Madras, and Svaminatha Sangita Kalasala, Kumbhakonam.
The Madras State Sangita Nataka Sangam sent its best wishes to the Academy which it refers to as the Mother Institu tion for Music and allied arts. The President, Tamil Isai Sangam, wished the Conference all success- P t s . i - iv ] t h b X L iind m a d r a s m u s ic c o n f e r e n c e 5
Dr. P V. Rajamannar said in a letter to Dr. Raghavan: “ ] send my best wishes for the success of the Conference, which has been one of the highlights in the cultural life of Madras. I once again pay my tribute to the continuous good work done by the Music Academy in the cause of Carnatic Music in particular under your able guidance. I am extremely gratified to find that the President chosen for the 42nd Conference is a distinguished lady vocalist, Smt. M. S. Subbulakshmi. It was indeed a very bold gesture on the part of the Academy to have chosen a lady to preside at the Annual Conference. I believe this is the first time it has happened. I also notice with pleasure that this Conference is associated with two great persons well-known for their cultural attainments, Her Highness Maharani Setu Parvati Bai of Travancore and Dr. Karan Singh. I wish the Conference all success.” Sri J. J. Bhabha, Trustee-in-Charge, National Centre for the Performing Arts, Bombay sent his best wishes to the Music Academy for the success of its important Conference. * Sri K. P. S. Menon, Vice-President, Central Sangeet Natak Akademi said in his message : “ The rich and various programme which you have arranged is just what one would expect from an Institution of the standing of the Madras Music Academy, which has no peer in our land Sri Jaidayal Dalmia, New Delhi; Sri K. M. Munshi, Bombay ; Swami Gambhirananda, General Secretary, Ramakrishna Math, Belur; Swami Prajnanananda, Ramakrishna Vedanta Math, Calcutta; Sri S. N. Mazumdar of the Sangeet Natak Akademi D elhi; and Sri Thakur Jaidev Singh, Varanasi, who wants the Academy to convene a special conference of the musicians and musicologists of the North and South to promote greater understanding between the two systems and uniformity of nomenclature. The Director of Cultural Affairs, U.P., The Principal of the Pachaiyappas College, Madras, Sri H. C. Kothari, Madras, Sri K. V. Subba Rao, Andhra Pradesh Sangeet Natak Academi, and Magician P. C. Sorcar sent messages wishing the confer ence all success and convey their felicitations to Smt, M. S. Sub bulakshmi. 6 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VoL. XL
Sangita Kalanidhi Rajamanikkam Pillai conveyed his good wishes. Vidwan Ramalinga Bhagavatar, Nagaswara Vidwan M. P. N. Sethuraman, Sri Embar Vijayaraghavachariar, and Sri Rangaramanuja Ayyangar, sent telegrams wishing success.
Mr. Vasant Desai, Music Director, Bombay and Pandit Balakrishna Biswa Kapileswari sent their greetings.
Dr. Willard Rhodes, President, Society for Asian Music, New York wrote: The Society for Asian Music, (New York) takes pleasure in congratulating the Music Academy, Madras on the occasion of its 42nd Conference and wishing it the great success which has distinguished its conferences in the past. We join with you in our devotion and dedication to the divine art of music. To the greetings of the Society, I add my personal warm greetings, remembering with nostalgia the wonderful musical experience I was privileged to enjoy at the Conference in 1965-66. • Dr. Mantle Hood of the Ethnomusicology Institute of the University of California, Los Angeles, sent a cable wishing the Conference all success.
The Pan-Orient Arts Foundation, U.S., said in the course of its message: “ There is now even more to be said in praise of the Madras Music Academy since electing M. S. Subbulakshmi to preside. She embodies all that is finest in the great Carnatic tradition.”
Mr. William Skelton, Chairman, Department of Music, Colgate University, Hamilton expressed in his message his admiration for the splendid work of the Music Academy.
Mr. Wallace Thompson, Executive Director, American Society for Eastern Arts, Berkeley, U. S. extended his best wishes for the success of the Conference.
Sri C. V. Narasimhan, Chief of Cabinet, United Nations, New York sent his best wishes. The National Institute for Comparative Music Studies Berlin wished for the success of the Conference which, it said, would certainly be, as always, a very important music event. P t s . i - iv j THE XLiind MADRAS MUSIC CONFERENCE 1
Welcome Address After the introductory remarks, welcoming the gathering, by Sri T. L. Venkatarama Iyer, President of the Academy, Dr. V. Raghavan, Secretary, presented the welcome address to Her Highness. He said: p Yof Highness, “We extend to you our welcome and express to you our warm and sincere regards and gratitude for kindly accepting our request that you should inaugurate our fortysecond Conference and the connected festival of music and dance this year.
We have had the pleasure and privilege of welcoming you and His Highness the Maharajah of Travancore whenever both of you had found time during your stays in the City to visit our Academy and listen to the concerts of our December Conference. But we may specially recall the occasion forty years ago when your Highness performed the identical function of inaugurating the the Aeademy’s annual Conference. The Academy was then in its infancy but thanks to your auspicious touch, it has grown into the great and many-sided institution and the stable and powerful organisation that it is to-day.
In requesting your Highness to open this year’s Conference which, for the first time in the annals of the Academy, is to be presided over by a distinguished lady musician, the Academy was obviously prompted by several considerations of appropriateness. The Academy as a body of Vidvans and Rasikas is guided by aucitya or poruttam which is the essence of conduct no less than of art. In your Highness we have not only a lady of eminence and high attainments, but also one who has a special and signi ficant connection with the art we are fostering in this Institution. In you there is a unique combination of expert knowledge of music and munificent and at the same time discerning patronage of the art. You are a Vainika Vidushi, trained by Vidvans of renowned sampradaya; and leading Carnatic Vidvans and Vidushis have had the pleasure and satisfaction of singing and playing before you with all their skill and care.
This is not to be wondered at in a scion of the royal house of the blessed Kulasekhara Alwar and the illustrious Padmanabha- 8 THB JOURNAL OF THB MADRAS MUSIC ACADEMY [VOL. XL
dasa Martanda Varma and the Raja-vaggeyakara, Sri Svati Tirunal. When we look back on the great fillip that the Travancore Samsthanam gave in the first half of this century to classical Carnatic music of the highest quality and standard, it would indeed strike one as a golden age of musical renaissance. The Music Academy has the proud pleasure not only of having played its active part during these great decades but also of receiving the help and patronage of the royal savants of Travancore and Mysore in their noble work.
The great Tyagaraja described Ramabhakti and its singing as the enjoyment of a kingdom, oka rajyamu; the more we enjoy and share this Samrajya, the more does it grow ; it never diminishes. It is with this sense of sacred faith that we in this Academy are performing year after year this great Nada-yajna.
May we now request your Highness to inaugurate this, our forty-second session, and be with us and participate in the blessings of Nada Brahman. We remain, Your Highness, Your friends of the MUSIC ACADEMY, Madras.”
He then requested Her Highness to declare open the 42nd Conference of the Academy.
Opening Address Her Highness Maharani Setu Parvati Bai then delivered her Opening Address in Tamil.
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Q<3=sir &or erOrsja.^ 6VJ0 «i^ finDriidb L|a&tp 6U T rr^6?n^ 5 ^Sairi^iBenuj stott g)iB<35 ^ja&fTL-iiluSlsttr <3&T6OTuj6OT6rD«(snj g l0 <3 5 0 ii) Glurftiu airiuaQ. 6in_fEfrL.ti^.goiib @ 6urf u rr il© !T6n5) 6U061 %rB(S^(r>piO (BL_LIU0 j(2 uT a) g l6061106^10 a&fr&0 u960 6$ £ 6U ^ <2a&fr6^i^*6rfl6b Lt60 n0«ip English version of the Opening Address ** Srimati Subbulakshmi, President and Office-bearers of the Music Academy and friends : I thank the Madras Music Academy for inviting me to open this Conference and Music Festival. I am grateful to you for your kind references to my family and myself. I have known the Music Academy, Madras from its very inception. This is the second time that you are inviting me to '"7 P ts. MV] THE XLiind madras music conference 11 this Festival. In 1930, I had the privilege of opening your Second Annual Conference. But where was 1930 and where is 1968? Where was the Academy of those days? Where is the Academy of today ? In the Academy of those days, there was no college, there was no journal, and no research publications. Musicians from the North or from the West did not come in such large numbers to participate in these proceedings. Today, your Conferences are known not only all over India but all over the world. These have come to be con sidered as a landmark in the musical events of the year. Today, in all India, there is no Academy like the Madras Music Academy and it occupies an unique place. I am happy to see the great progress that the Academy has made and I congratulate the authorities of this Institution who, through unremitting labour, have brought it to its present position. I know most of the Vidvans who have presided over your annual deliberations, who have sung or played during your festi vals and taken part in your research work. I take great pleasure in the honour and status you give to all these Vidvans. For the first time, you have chosen a woman as President but my grati fication is not due to that fact alone. Musical capacity, compe tence and service rendered to the Art—these qualities alone are to be considered. Art knows no difference between man and woman. You have chosen as President this year a lady who has attained great eminence in Carnatic music. Sangita Vidusbi Subbulakshmi, from the early years of her life, has delighted innumerable Rasikas in South India with the wealth of her voice. The Rasikas in North India also enjoy her music very much. During the last two or three years, she has acquired renown in the Western world also and has acquired an international status in the world of music. It is befitting that Srimati Subbulakshmi has been chosen as your President this year. I am sure that according to the usual practice, there will be, in the morning assemblies of your Expert Committee, many use ful discussions and performances. My observations are based on my interest in music and 1 request you to take my words in that spirit.* Today, everybody is aware of the way in which musi i 12 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [V O L . XL knowledge has spread. Music and dancing have become broad- based. Everybody works hard for attaining proficiency in those arts. But in this spread of musical interest, depth and strength of musical scholarship and knowledge and calibre are likely to suffer. Cinema, light music, jazz from the West — several influences like these should not be allowed to spoil the purity and bhava of Carnatic music. The form of the art should never change. This is a great responsibility that rests upon this Academy and the Vidwans and Vidushis who help its advance ment. I know you will accept this responsibility and through Conferences such as this, and through various other forms of service to music, this Academy should find its fulfilment. This is my prayer. With great pleasure, I declare open this 42nd Con ference of the Music Academy/’ Vote of Thanks Sri V. K. Ramaswami Mudaliar, Member, Board of Trustees, thanked Her Highness for her gracious presence at their 42nd Conference and her kindly declaring the Conference open. He said that on an occasion like that when for the first time a lady musician was presiding over the Academy’s Conference, it was most appropriate that Her Highness, one of the Royal patrons of the Academy and one who was herself proficient in the art, should inaugurate the Conference. Election of the President Then Sangita Kalanidhi Mudicondan Venkatarama Iyer, Principal, Teachers’ College of Music, Music Academy, Madras proposed Smt. M. S. Subbulakshmi as President of the 42nd Con ference of the Academy. The proposal was seconded by Sangita Kalanidhi Semmangudi R. Srinivasa Iyer and supported by • Smt. C. Saraswati Bai and Dr. V. K. Narayana Menon. They paid glowing tributes to the charm and excellence of Smt. M. S. 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I-IV] THE X Liind MADRAS MUSIC CONFERENCE 25 £{r6vj«0tjb C2u!r«5n_(!»0 ijb sto t^ so i5!rr$£l Q & iuiu (ipi£j.UJ/T 0 / . srsir&ar ^ 6usvsrrs^ Su (i/)UU^T6wir(5lt95(5r5 a5® (oU360nr OTffijr&ar ^ e b s^ jii) u ® |j2Jix) r<95»f!^® /, Q u 0 aiTtps^ ^rB^aj 0 U> UDyi)(5 0 ff ,-5 10 6 ^- &&a£lftouiu u nofiu (Su^Qev iBir 2 6 THE JOURNAL OF THB MADRAS MUSIC ACADEMY [V O L; XL * (2 &>nreifl& s3 % m r(nuj& Qsrramr®, ^,uj Qu0<£<90, 6U grsroT5T^R*T*T i srofr^rfofcrEftori tot snftemisw n Presidential Address—English Version “In placing on my shoulders the heavy responsibility of presiding over the Conference, I feel that the Music Academy has considered me as representing the community of students of music. I also feel that this great honour has been conferred on me to encourage me to continue my studies in music. Further, I am conscious of the fact that, in conferring this honour on me, the Academy has sought to honour the womanhood of this country through me. On behalf of myself and my fellow students of music in particular and the womanhood of this country in general, I convey to the Music Academy my heartfelt gratitude for the honour conferred on me. “When there are several musicians who are more deserving of this honour, I consider it is the will of God that 1 should take up this responsibility. I do so praying for His grace and invoking the blessings of all my elders. “The fact that this Conference is being inaugurated by Her Highness the Maharani of Travancore is a source of strength to me. Her Highness is known to be a great lover of Karnatic music. She has been mainly instrumental in the renaissance that has taken place in music in Travancore in recent years. She is herself an expert Vina player. Her knowledge of music is such that musicians consider it a privilege to sing in her presence. The fact that, in addition to selecting a woman to preside over the Conference, another distinguished lady has been selected to inaugurate the Conference, has given me special pleasure and encouragement. “It is hardly necessary forme to mention at length the incom parable service that is being rendered to our music by the Music Academy. Among all the institutions in this country devoted to P t S . I-IV] THE X L iind MADRAS MUSIC CONFERENCE 27 the progress of classical music, the Madras Music Academy is occupying the foremost place. By arranging musical concerts, by continuous research in the science of music and by publishing books and a journal dealing with our musical heritage, the Music Academy has been responsible for the manner in which Karnatic music has been growing from strength to strength. “ If to-day interest is being evinced in Karnatic music in the United States of America and some countries of Europe, the principal credit for this should go to our Music Academy. By inviting the musicians of Western countries to 'attend our Music Conference and learn the beauties of Karnatic music first hand, our Academy has been able to spread the taste of Karnatic music in those countries through those musicians. In this golden age when the fame of Karnatic Music has spread throughout the world due to the work done by the Academy, we should acknow ledge with gratitude the pioneering efforts of the late Dr. U. Rama Rau and the late Mr. K. V. Krishnaswami Iyer, the founders of the Music Academy. “ The construction of this majestic Auditorium is a milestone in the life of this Academy. The greatness of our music deserved a grand building to house it and it has taken shape. However, as this building has been constructed at considerable cost, the Music Academy cannot be said to be financially prosperous at present. By the grace of God, I trust that the finance of the Academy will show a marked improvement in the near future. When that happens I have no doubt that the Academy will be able to render its service to music in an ever increasing measure. The money and energy that are being spent at present in stabilising the Insti tution will then become available for achieving a more rapid and ' intensive progress in the field of music. “ In my view the most important task facing the Music Academy in furthering the cause of music consists in making it possible for budding young musicians to come to the front rank. In view of the possibility of a depletion in front-rank musicians in the near future, it is necessary that the Academy should devote its attention to this aspect from now onwards so that such a contingency may not arise. £8 THB JOURNAL OF THB MADRAS MUSIC ACADEMY [VOL, XL ** At a time like this when a woman is called upon to preside over this Conference, it is but natural that the memory of her mother should come before her mind’s eye. In my case, my mother was not merely my mother—she was also my music teacher. What little knowledge of music I possess to-day, I owe, in the first instance, to my mother, the late Vina Shanmukha- vadivu of Madurai. Before her, both as mother and music teacher, I prostrate and pray for her soul force to come to my aid. V Next I remember with gratitude the late Sangita Vidwan Srinivasa Iyengar of Madurai. It was he who commenced my music tuition in the trad tional manner by breaking a cocoanut and taught me music upto the stage of Varnam. After that, as I was unable to go to a music teacher for advanced tuition, I continued to learn from my mother. In later years, I had the good fortune to learn from several great musicians. Among them I must mention Sri Musiri Subramania Iyer and Sri Semmangudi Sreenivasa Iyer. I acknowledge with gratitude the knowledge they are giving me even to-day. Considering them as Gurus, I salute them. “ The blessings and good wishes of several great musicians have contributed to my progress in the musical world. Among them I recollect the late Vina Dhanammal to whose house in Egmore my mother took me when I was a young girl. After hearing me sing, Dhanammal said, “This girl has a bright future.” Those words still ring in my ears. “ Of all those to whom I am greatly indebted for my present status in life and music, my husband stands foremost. However much and however often I may state in public the extent to which I am indebted to him, I can never feel satisfied. Ignorning his own comforts and needs, he has laboured day and night to bring mename and fame. Having my advancement in music and in the public field as his sole aim, he has brought me to the present stage in both. Whatever fame I may enjoy to-day is entirely due to him. I, therefore, place at his feet the honours that have been showered on me till now and this greatest honour of presiding over this Conference. Although I felt diffident in undertaking this respon sibility, I feel delighted at the opportunity that it has given me to p T S . I-IV] THE XLiind MADRAS m u s ic c o n f e r e n c e 29 speak out my innermost thoughts in respect of my husband who has been father, mother, friend and preceptor to me and given me divine guidance. “ To all the great devotees of music who have lived before me I offer my salutations. The tradition in Karnatic music in this country is something unique and has no counterpart anywhere in the world. Saint Tyagaraja says that the Gods Isvara, Vishnu and Brahma are devotees of music. The other Gods and Goddesses in Hindu mythology like Kamala, Gauri, Vagisvari, Guha, Gajamukha etc. are held up as devotees of music. While Rishis like Narada, Tumburu and Agastya were also devoted to music, it was another Rishi, Bharata, that gave the scientific form to our Karnatic music. Looking at this genealogy in the development of our music, we realise that it was not meant to be solely a recreational pastime. Our music has been consi dered as the path to attain salvation and in this light, the Musical Trinity, Tyagaraja, Muthuswami Dikshitar and Syama Sastri occupy the innermost niche in the temple of music as visualised in our minds. ‘‘It is not easy to explain the fine art of music through mere scientific formulae, as music is a subjective art for individual realization. However, in order that the joy to be derived from music can be perennial, objective forms are necessary. It is our musical compositions that constitute these objective forms. The three great Composers who gave a beautiful shape to our music through their immortal compositions are the Musical Trinity, Tyagaraja, Muthuswami Dikshitar and Syama Sastri. These three great men were born in the same place and were contemporaries of one another. They should be remembered for ever. Along with them we should remember Maharaja Svati Tirunal and Sri Gopalakrishna Bharati who lived at the same time and have left us a heritage of fine musical compositions. I offer my saluta tions to the pioneer composer Purandaradasa and also to Kshet- rajna, Arunachalakavi, Muthu Thandavar, Sadasiva Brahmendra, Maha Vaidyanatha Iyer, Puchi Srinivasa Iyengar, Patnam Subra- mania Iyer, Muthia Bhagavatar and Mysore Vasudevachar who have left us many valuable compositions. Among composers who are still with us, I salute on this occasion Papanasam Sivan 30 the journal of THB madras music acadbmy (Vol XL. and His Highness the Maharaja Jayachamaraja Wodeyar of Mysore. Just as the message of Sri Ramakrishna Paramahamsa was carried throughout the world by Swami Vivekananda, it was Subbarama Dikshitar that has laid bare the treasures in the compositions of the Musical Trinity by publishing his book called “ Sangita Sampradaya Pradarsini **. I remember him with gratitude on this occasion. It is a matter for gratification that, with the assistance of the Central Sangeet Natak Academy, our Music Academy has taken up the work of publishing this classic “ Sangita Sampradaya Pradarsini ” in Tamil. lam also of the opinion that our Music Academy should have a suitable memorial to Subbarama Dikshitar. “ Along with the compositions mentioned above, when we consider the numerous other compositions like Tevaram, Tiru- vachakam, Divya Prabandham, Tiruppugazh, the compositions of Pattinattar, Tayumanaswami and Ramalingaswami and the Ashtapadi of Jayadeva, we become aware of a great truth. That truth is that the songs have been composed not merely to demonstrate the different Raga-bhavas to the listeners. The songs have the higher purpose of directing the minds of the listeners towards God and His manifestations. In other words, Bhakti is the key-note of these great compositions. I would make an appeal to the students of music that they should give prominence to Raga alapana and explore the full possibilities of each Raga. While singing songs, they should bring out the Bhakti which is intertwined with the Sahitya and pay special attention to Niraval improvisation. “ Bhakti is nothing but the devotion that we show to the Divinity that resides within us Once we regard the Divinity within us with devotional fervour, we are bound to develop the same affection towards everything outside. The reason is that the same Divine Truth runs through all things. When the devotee has attained this state, service to the world becomes his creed. Tyagaraja ha^ given a convincing illustration of this truth in his composition “ Sukhi evaro”. He lays down that the man who sings in praise of God is he who upholds truth, who is always at the service of humanity, to whom all Gods and Goddesses are the same and who sings with an impeccable voice. From this we understand that truth, service and impartiality should go hand in P t s . i -iv ] t h e X L iind m a d r a s m u s ic c o n f e r e n c e 31 hand with a sweet voice. Poet Bharati says that "if there is radiance in the heart, there will be radiance in the voice”. The same truth has been uttered by Tyagaraja in his composition " Kaddanuvariki” . A pure mind and a sweet voice cannot be separated from each other. ** I request students of music to devote their attention to the acquisition of purity in voice and Sruti. To achieve this it is essential that they should practise voice culture assiduoualy. One should not be content with possessing a sweet voice ; in the manner in which land is ploughed to yield a good crop, the voice should be cultivated in order to get the best out of it. The voice should be made to traverse the three octaves frequently, curbing the tendency to go into a falsetto. Knowledge of the exact position of svaras is most important. This cannot be learnt from notation or written texts. If learnt in that way it will remain only as theoretical knowledge and will not blossom into the art of music. The manner in which the svaras are woven into the various Ragas in our Karnatic music can be best studied by playing them on the Yina. The Vina which can be heard within the sanctum sanctorum of a temple and the Nagaswaram which can fill the vast open spaces in a majestic manner are the two great treasures of Karnatic music. It is only the Vina that can best demonstrate the nuances in Svara-sthanas and the part played by overtones and harmonics in Karnatic music. I, there fore, request students of music to make the Vina their teacher in this regard so that they are able to attain competence in this branch of music. Tyagaraja has called upon students of music to discard sleep and practise assiduously to the accompaniment of a good Tambura tuned properly. It is only in this way the Karnatic Vocal musicians will be able to emulate Hindustani Vocal musi cians who have achieved fame by their voice culture. “ For all this, Bhakti should go hand in hand with a virtuous mind. Those who wish to take to the Fine Art of music must be good people. It may not be easy to be a good person. There is, however, a great advantage in this. There is no time bar to become good. There is no question of becoming a doctor, an engineer or a lawyer after a certain age. But there is no age limit for anyone to become a good person. In the mind of a I 3 2 THB JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XL good person, Bhakti (i.e. devotion towards God) is an instinctive growth. God Himself makes His home in such a mind. “ If a priest in a temple worships God with true Bhakti, it is something to be admired. Even if he worships without Bhakti, the devotees who come to the temple worship the idol in the temple with Bhakti in their hearts. It is wellknown that it was because Sri Ramakrishna Paramahamsa who worshipped the Goddess in Dakshineswar as her priest identified himself with the Divine Mother, that numerous devotees flocked to that temple and made an impact for a spiritual existence in the minds of such devotees. When the priest is a true Bhakta, his devotion will be reflected in the minds of all the devotees who come to worship. When a musician sings with Bhakti, the response from the audience will be spontaneous and the minds of all of them will be centred on God. “ This is the great good fortune of votaries of music. It is their prerogative to direct towards God the minds of all sorts of persons who are caught in the vicissitudes of their daily existence in this world. Referring to this, His Holiness Jagadguru Sri Sankaracharya of Kamakoti Peetham observed : ‘‘The fine art of Music leads one along the path to salvation without the slightest difficulty. If one practises on the Vina with pure svaras and begins to taste the bliss of the same, such a person can attain salvation without practising Yoga or taking to tapas i. e. penance. Moreover, when an ascetic practises Yoga or a saint takes to tapas, the bliss and realization are individual. It is only in music that, not only the singer but all those that listen are transported to bliss.” " It is an unfortunate fact that, nowadays, the quality of music is going down. Knowledgeable persons consider that the reason for this is the fact that the ancient system of "Gurukulavasam” (i.e. the pupil residing with the teacher) is no longer in vogue. It may not be practicable to bring back the system of Gurukula vasam. That, however, will not detract from the greatness of that system. If people give up their habit of going to temples, will that mean that there is no longer need of worship ? "Even though students of music are not able to do Guru kulavasam several years from the time they start learning music, 1*TS. I-IVJ THB X L iind MADIAS MUSIC CONFERENCE 33 such of them as study in Colleges of Music and take degrees or diplomas should apprentice themselves under an experienced musician for two or three years thereafter, and attempt to learn the finer points of the art which he alone will be in a position to teach. As we are aware, after taking their M.A. or M.Sc, degrees, some students take up Research under the guidance of a Professor and qualify for a Doctorate. In the same way, students of music who have attained a particular standard in that subject in schools or colleges can greatly improve their knowledge of the art by a course of apprenticeship under a senior and experienced musician and thus help the continuation of a traditional school. “ The Central Sangeet Natak Academy of Delhi and similar institutions in the States are doing a great job in fostering the fine art of music. Among the services rendered by these Academies is the grant of scholarships to deserving students of music to enable them to pursue their studies to the highest level. Recently, an organisation called the National Centre for the Performing Arts has been brought into existence in Bombay by the Tatas for the systematic development of our Music, Dance and Drama. It is a matter for satisfaction to learn that this Organisation will assist junior musicians -to undergo special training under senior musicians. As this institution has as its Director, Dr. V. K. Narayana Menon (himself an expert musico logist and connoisseur of the Fine Arts), we may confidently expect that it will embark on activities calculated to preserve the pristine purity and quality of the three Fine Arts. “ An idea has occurred to me with regard to those who commence learning music. When the A.B.C. of Karnatic music, i.e. the “ Sarali ” and “ Janta ” sequences are taught to them, it would be an advantage to teach them, simultaneously, some of the minor compositions of the great Composers as these are saturated with the “ Raga-svarupa ”. Such compositions should be taught without, at the same time, going into the svara notation of the songs. By so doing, the special characteristic of each Raga will get imbedded in the mind of the student. “ There is a close connection between the voice and the ear. While the student of vocal music has to practise strenuously, he 5 34' THE JOURNAL OF THE MADRAS MUSIC ACADEMY [V oL . XL should listen to good music over and over again. He can learn a great deal in this way. As we know, a dumb person is generally deaf also. From this we infer that speech and hearing are inter-related. Junior musicians can learn a great deal by listening to the musical concerts of senior musicians over and over again. “ I wish to tell you what, in my view, the duration of a music concert should be. In these days when the audience generally consists of people who have numerous avocations to attend to, it is not feasible to imprison them in a music concert for more than 2 | hours. A duration of 2 | hours should be sufficient to satisfy the “ Manodharma ” (i.e. the creative faculty) of the musician. Except that the number of individual items in a concert may get somewhat reduced, all the conventional components of aKarnatic musie concert can continue to figure in a 1\ hour concert. Even now the duration of concerts arranged under the auspices of the Madras Music Academy is only 2|- hours. Can we say that they are incomplete in any respect ? “ It we look into it closely, we shall realise what a rigorous training is imposed on those who take to music as a profession. Is it not necessary that those who master this difficult art by taking so much trouble should be able to look forward to an assured future ? As already remarked by me, this Music Academy must take the lead in giving encouragement to junior musicians. At least twice a month, concerts by junior musicians should be arranged under the auspices of this Academy. The ticket rates should be one rupee and fifty paise so that a large audience can attend such concerts. “Other Music Sabhas also should encourage junior musicians in this manner. Music lovers should extend their patronage to such junior musicians. In order to achieve this object, small music Sabhas should come into existence in all parts of this City and in other towns in this State. “This Academy should also take interest in tbe welfare of the senior musicians. Old musicians (who are past their best) should not be allowed to live in penury. Sabhas and other musicians who are in affluent circumstances have a special responsibility in H P t s . M v j t h e X L iind m a d r a s m u s ic c o n f e r e n c e 35 this matter. Hindu Dharma lays down that parents should always be taken care of. Let us not forget that very old musicians have to be regarded in the same way as we regard our parents ! “While old age affects all professions equally, it is particularly severe in the case of musicians whose sole asset is their voice. We see how, in the legal and medical professions, the earning capacity increases with age and experience. However, in the case of Vocal musicians, after a certain age, they are not able to carry on and earn their livelihood. When they retire from their profession of music, are they eligible for any pension or gratuity or Provident Fund ? Therefore I feel that there is no justification to subject the incomes of musicians to the same rates of income tax as in the case of lawyers and doctors. I remember that this fact was pressed on the attention of Sri T. T. Krishnamachari (when he was Union Finance Minister) by my husband with a suggestion that a concession in income tax should be given to musicians throughout their career. It appeared that this sug gestion was considered reasonable by the then Union Finance Minister. A certain amount of financial assistance is even now being rendered to old musicians by the State. The Central Academy and some State Academies have been giving pensions to a few old musicians. This type of assistance has to be expanded considerably. I request the Central Government to consider favourably my suggestion to give substantial concessions to professional musicians in the income tax rates. “ It is the general belief that, if faith in God and in Hindu Dharma still continues to prevail in this country, the credit for this belongs to the womanhood of this land. Men themselves often give expression to this opinion. I also feel that this is a true statement. In my view, not only Bhakti and Dharma but the lustre with which our music in Tamil Nadu shines to-day is due to our women. Bhakti and music are inter-related. Each gives strength to the other. Is it possible to overestimate the tremendous contribution to Bhakti and music which has been made by Karaikal Ammai, Andal and Mira Bai ? They brought fame to Hindu Dharma. That fame will live for ever. “ Both in temples and festivals more than half the number of devotees are women. Every year when the Tyagaraja Celebra- 36 THE JOURNAL OF THB MADRAS MUSIC ACADEMY [VOL. XL tions take place in Tiruvaiyaru, more than half the number of devotees are women. Even in music colleges women students outnumber men students. In course of time, one should not be surprised if women outnumber men among concert musicians. “While I feel greatly elevated at the fact that our women are taking such keen interest in our music, I regret to note that our young men are losing interest in our Classical Music. When I •consider the fact that, a generation ago, college students used to attend music concerts in large numbers but to-day they are not attracted by classical music, I feel greatly distressed. Just as steps have to be taken to see that the ranks of senior musicians do not get depleted in the next generation, remedial measures have to be taken to see that there is no alarming fall in attendance at classical music concerts. “ 1 wish to make a special appeal to mothers to take up the sacred responsibility of keeping the lamp of music burning bright in their homes always and implant in their children a love for our music from their childhood. If mothers create in the next gene ration a taste for good classical, music, it will be the means to spread good music throughout the country ; consequently Bhakti will also spread and ultimately this will conduce to the people leading a good life. “Before concluding this address I wish to tender my heartfelt thanks to all lovers of music. It is not possible for me to repay in any manner the affection and patronage that they have lavished on me. I can only repeat over and over again how very grateful I am to them. “1 ask myself what is the force that has impelled me to speak at such length in this Assembly. If I have achieved anything worthwhile till now, it is entirely due to the benediction that I have received from two maha purushas. “ For over 30 years, along with my husband I have had the inestimable privilege of living in the shadow of the tree of know ledge that goes by the name of Rajaji. That Purushottama is the personification of virtue and is the embodiment of all that is good and great in this country. It is his blessing and the force P t s . i- iv] t h b X L iind m a d r a s m u s ic c o n f e r e n c e 37 of his great personality that have watched over our welfare at all times. On this occasion I tender to that great man my humble prostrations. “My tongue falters to speak of the other great blessing which has been protecting me day and night and has helped to achieve my present status in life. His Holiness Jagadguru Sri Sankara- charya of Kamakoti Peetham, verily the God that is treading to-day on this mundane earth, the visible Paramesvara and the Divine Mother in our very midst, has been showering his infinite compassion on me, small though I am. I have touched the fulfil ment of my life in his service. It is said that one can reach God through music. I am like the dust on tbe feet of those great persons. I am aware of the fact that the music of which I am capable may contain defects and deficiencies. Whatever that may be, I am sincerely grateful for the fact that, without undergoing the trials and tribulations of those great persons, I am enabled to have divine guidance in the person of His Holiness Jagadguru Sri Sankaracharya of Kamakoti Peetham. I prostrate before him several times keeping his lotus feet implanted in my heart. Finally I prostrate before the Goddess of Music (with the Vina leaning on her left shoulder) who, as the Great Teacher, is the Giver of boons. The inaugural function then concluded with a Nagasvaram recital by a Nagasvara Vidvan Namagiripettai Krishnan accom panied by Sri Valayappatti Subramaniam on Tavil. The Conference Souvenir Tne Academy brought out on the occasion of the 42nd Con ference a Souvenir which gave the full annotated programme of the whole session, its Conference and performances. It also carried portraits of musicians and other distinguished persons connected with the Academy and its Conference and several articles. A detailed account of the Academy and its work, an appreciation of the late Sangita Kalanidhi Sri Ariyakudi Rama nuja Iyengar by Sri C. Seshachalam, * Music and Voice * by Sri 3 8 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XL K. Cfaandrasekharan, two special articles on the distinguished lady musicians of the field of Carnatic music by Sangita Kala nidhi Mudicondan Venkatarama Iyer and Sri T. Sankaran and a profile on Smt. M. S. Subbulakshmi by Dr. Narayana Menon. Agenda of the Conference The following was the Agenda of the Experts’ Committee meetings of the 42nd Conference. 1. Talks & Demonstrations : (i) President: Smt. M. S. Subbulakshmi. (ii) Sangita Kalanidhi Mudicondan Sri C. Venkata rama Iyer - Tana and Niraval. (iii) Sangita Kalanidhi Sri T. K. Jayarama Iyer - Construction of forms of lesser known Ragas in Kritis, with demonstration on Violin. (iv) Sri N. Chennakesavaiah - Post-Purandaradasa Karnataka composers. 2. Illustrated Talks: (i) Dr. S. Ramakrishnan - Some rare compositions from Sangita Sampradaya Pradarsini. (ii) Prof. N. S. Ramakrishnan - Delhi University - Some Basic Aspects of the contribution of Venkatamakhin to the Raga System, of Indian Music. (iii) Dr. M» R. Gautam, Banaras Hindu University. (iv) Sri B. Subba Rao, Mysore - Chyuta Panchama. and Niroshthya Ragas. (v) Prof. P. Sambamurthi-Madurai Sthala Kirtanas. (vi) Mrs. Vidya Shankar - Gamakas. 3. Tala: Talk & Demonstration. (i) Sri K. C. Thiagarajan - Chaccaputa Venba. • (ii) Sri Dharmala Ramamurthi - Mridanga Tattva. pTS. i-ivj TEtE XLIind MADRAS MUSIC CONFERENCE 39 Experts’ Committee Meetings THE FIRST DAY 21st December 1968 The Experts* Committee meetings convened in connection with the 42nd Conference of the Music Academy, Madras began this morning at the premises of the Academy under the President ship of Smt. M. S. Subbulakshmi. The proceedings began with prayer by Vidvan B. Rajam Iyer, who sang ‘ Sri Muladhara Chakra Vinayaka * of Dikshitar. Smt. M. S. Subbulakshmi referred to the participation in the Conference of Vidvans of Carnatic, Hindustani and Western music and appealed to all the participants to co-operate and make the sessions successful and useful. Rare Compositions in the Sangita Sampradaya Pradarsini Dr. V. Raghavan then introduced Dr. T.S. Ramakrishnan and his subject, rare compositions from Sangita SampradayaPradarsini. Dr. Ramakrishnan belonged to a line of vainikas connected with Dikshitar parampara and his father S. Srinivasamurthy had assisted A. M. Chinnaswamy Mudaliar in his monumental work, Oriental Music in Staff Notation. Dr. Ramakrishnan was a specialist in the Sangita Sampradaya Pradarsini which was the foundation of all that they knew in Carnatic music today. Dr. Ramakrishnan said that the importance of the Gamakas should properly be appreciated as in the case of Dikshitar’s kritis. They were integral* to the sahitya and its structural character. The Gamakas were a necessity, but could not be overdone. Assisted by his two daughters (on Vina and Vocal) he then presented the following pieces, all of which, except the one in Malahari, were rare and never heard in concerts. He first pre sented a Tana varnam, Bhairavi Raga - Adi, composed jointly by Veena Kuppayyar and Walajapet Venkatarama Bhagavatar, the special feature of which was that both Dhatu and Matu were in Anuloma viloma krama. This was published in ‘ Oriental Music * by A. M. Chinnaswamy Mudaliar. He then presented the follow ing compositions of Dikshitar from the Sampradaya Pradarsini: 4 0 THE JOURNAL OF THB MADRAS MUSIC ACADBMY [VOL. XL Panchamatanga, Raga Malahari (15), Tala Rupaka; Saravati tatavasini, (Raganga) Raga : Saravati (25) (Mararanjani), Sadhu- janachitta, Raga Purnapanchama (15), Tala Triputa; Guruguha- swamini. Vibhakti K riti (7th) Saptama vibhakti, {Locative), {Raganga) Raga : Bhanumati (4) (Vanaspati), Tala: Khandajati Triputa ; Rama Ramakalit Raga : Ramakali (15), Tala: Rupaka ; Himachala Kumarim, {Raganga) Raga: Jhankarabhramari (19) {Jhanakaradhvani), Tala : Rupaka; Sri Mangalambikamt Raga i Ghanta (20), Tala: Jampa; Sri Venkatagireesam, Raga: Surati (28), Tala: Adi and Kalavati Kamalasana, {Raganga) Raga : Kala- vati (31) {Yagapriya)t Tala: Adi. In expressing his appreciation of the efforts of Dr. Rama krishnan and the Academy’s thanks to him for his expositions, Sangita Kalanidhi Sri T. L. Venkatarama Aiyar drew attention to the fact that the majority of pieces rendered that morning were in Vivadi Melas. which required great skill in handling them. THE SECOND DAY 22nd December 1968 At to-day’s meeting of the Experts’ Committee of the Music Academy, Madras, there was first the unveiling of the portrait of the late T. S Narayanaswami who was a . Vice-President and member of the Trust Board of the Music Academy, by Sri T. T. Krishnamachari. Tributes were paid to the late Sri Nara yanaswami for his drive and generosity towards public causes and the help he had rendered to the Academy. Cochin Jews and Their Music Dr. V. Raghavan then introduced Dr. Johanna Spector of the Jewish Theological Seminary of New York and a wellknown Ethno-musicologist who was participating in the Conference of the Academy for the third time. After conveying to the Music Academy the greetings of the Asian Music Society and the Society for Ethno-musicology, U. S-, Dr. Spector gave an interes ting account of the history of the Jews in Cochin who came there most probably in the 1st century A.D. She said that the Jews called the place Shingli, the significance of which name was not yet clear. There was a copper-plate grant given to them by the ancient Rajas of Malabar. The Jews came there in successive Pts. i-iV] t h b xnmd madras music conferbncb 41 waves upto the 5th century and then again in the 15th and 16th centuries, when they settled in Mattancheri. Their numbers had today dwindled. They continued to learn Hebrew and their activities were centered around the Synagogue. It is in their Synagogue that one must search for the oldest musical heritage of this Jewish community. Dr. Spector then referred to the different kinds of cantillation and prayer song practised in the Synagogue and the special characteristics of these as prevalent among the Yemenite Jews. The Cochin cantillation while showing an over-all similarity to the European Sefardic, descend ed from Spanish tradition, had some motifs from the Yemenite and Kurdish cantillations which were older. In the music of the Kerala Jews, there were some features which probably point to local influences. The Shingli tunes were of three types, simple ones which were folk-like, the complicated ones which are drawn out and were heavy and tunes of an intermediate character.. In one variety which was drawn out there was dwelling on single vowels which were repeated. Another feature of the Shingli tunes was that they could appear as “ Leitmotifs melody-types, maqam or raga, so that it could be used with variation, abbreviation, elaboration and embellishment. They showed a microtonal structure. There were some details about the intervals used, all of which had to be checked before the final scale used could be established and conclusions drawn. In phrasing and intonation, there was of course a local influence and these again required further elucidation. Smt M. S. Subbulakshmi, while thanking Dr. Spector, recalled her meeting the latter during her visit to U. S. for her concert before the U. N. Assembly. Gamakas Smt. Vidya Sankar then gave a lucid talk With demonstration on Vina, of the nature and importance of Gamakas. She said that the Academy had realised the importance of Gamakas by arranging for frequent talks and demonstrations on this subject of fundamental importance and referred to her own article in the Journal of the Music Academy, Madras on this subject. Gamaka 6 42 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL, XL was, according to their theory and practice, what imparted embellishment and richness to their music. She referred to the definition of Gamaka and its varieties in Sanskrit texts on music, especially the treatment of Gamakas in the monumental publica tion of Subbarama Dikshitar, the Sangita Sampradaya Pradarsini. Smt. Vidya then took up several ragas like Mayamalavagaula, Sankarabharana and Karaharapriya and illustrated the nature of the oscillation of certain svaras in these ragas. Side by side with the notes requiring oscillation, the steadiness of certain notes should also be clearly understood. She then illustrated how the same note might take on different colours by virtue of the Gamakas. There was also a limit to which a svara could be subjected to oscillation. Smt. Vidya explained and illustrated other Gamakas like Andolita, Sphurita, Pratyahala, Odukkaly Nokku, Tiripam, Vali and Ullasita (Jaru or slide) which was used very much in Hindus tani. She then made a brief reference to Gamakas characteristic of vocal music. She emphasised that it would not be proper to notate minutely in books all the Gamakas and Anusvaras which would make the learning of music quite complicated and difficult. Sangita Kalanidhi Semmangudi Srinivasa Iyer thanked Smt. Vidya on behalf of the Academy and drew special attention to her observation that it was an unhelpful idea to notate in the editions of songs all the subtle graces. The notation for our music was of secondary use, while the primary importance was to learn directly the music as sung by the Guru. He also referred in this respect to the shortcomings in the system of teaching musio today by a number of teachers to the very large number of students and appealed that the true and essential characteristics of music should be preserved. THE THIRD DAY 23rd December 1968 At the Experts Committee meeting convened in connection with the 42nd Conference of the Music Academy today, there was a special concert by Sangita Kalanidhi Sri Alathur Srinivasa Iyer accompanied by Sangita Kalanidhi Sri Palghat T. S. Mani Iyer on Mridangam and Kandadevi Alagiriswamy on the violin. On behalf of the Music Academy, Sangita Kalanidhi Mudicondan P t s . m v ] t h e X L iind m a d r a s m u s ic c o n f e r e n c e 43 C. Venkatarama Iyer felicitated Sri Srinivasa Iyer on the National Award for Vocal Carnatic Music bestowed on him. New Compositions Sirugamani Sri Sivaramakrishna Bhagavatar then presented a few of his new compositions. He said that he had so far compos ed kritis in more than 800 ragas and his plan was to exhaust all ragas available in all manuscripts and printed books. In the samples rendered by him were pieces in Bangala,, Karnataka Behag, Kiravani, Meghasyamala, and Kamoda\ the last in the 65th Mela. Sangita Kalanidhi Mudicondan Venkatarama Iyer complimented the Bhagavatar on his great effort and the simpli city and felicity of his sahitya. THE FOURTH DAY 24 th December 1968 When the Experts Committee of the Music Academy, Madras, convened in connection with its 42nd Conference met this morning with Smt. M. S. Subbulakshmi in the chair, a book on the great composer Sri Muthuswami Dikshitar by Sri T. L. Venkatarama Aiyar, brought out by the National Biography Series, was released by the Hon’ble Chief Justice M. Ananta- narayanan. Requesting the Chief Justice to release the book, Dr. B. V. Keskar, present Chairman of the N.B.T., referred to the ideals of improving the intellectual level and knowledge of the people with which the late Pandit Jawaharlal Nehru set up the National Book Trust. He explained that in addition to the two books on leading Carnatic composers already brought out, they had taken on hand books on Purandaradasa and Syama Sastri also. Tamil translations had also been planned for the books on the South Indian composers. Releasing the book, the Chief Justice Sri M. Anantanarayanan paid a tribute to the attainments of Sri T. L. Venkatarama Aiyar and his learning Dikshitar’s kritis. with the late Sri Ambi Dikshitar, descendant of Sri Muthuswami Dikshitar. He emphasised the fact mentioned in the book that the nuances and the graces of our music as exemplified by compositions like those of Dikshitar baffled writing them down in notation and they required patient and sincere learning wjtl) the masters by word of mouth. Mr. Anantanarayanan referred to 4 4 THB JOURNAL OF THB MADRAS MUSIC ACADEMY [V O L . XL his own personal discovery of the greatness and beauty of the Carnatic composers like Tyagaraja and Dikshitar and referred to certain rare pieces like Vadanyesvaram and the Kalyani Nava- varana kriti which served to open his eye to the structure and beauty of Dikshitar’s kritis. Not only did one realise in Dikshi tar’s compositions the whole form of the ragas but also the picture of the deity sung and mad6 special mention of the piece in Raga Syama on Lord Subrahmanya at Tiruttani. In token of the release, Sri Anantanarayanan gave copies of the book to the author, the President of the Conference, and others. Sri T.$L. Venkatarama Aiyar referred to the deep debt of gratitude that he owed to the late Sri Ambi Dikshitar, his Guru. Vina Recital There was then a Vina recital by Sri K. S. Narayanaswami and Smt. M, S. Subbulakshmi. The occasion was availed of by the Academy to express its felicitation to Sri K. S. Narayanaswami on the National Award for Carnatic Instrumental Music conferred on him recently. Sri T. L- Venkatarama Aiyar, Presi dent of the Academy, spoke in appreciation of Sri Narayana swami^ proficiency in the Vina, the purity of his style and his humility. At the end of the recital Sri M. Anantanarayanan thanked and congratulated Sri K. S. Narayanaswami and Smt. M. S. Subbulakshmi for their splendid recital. THE FIFTH DAY 25th December 1968 At the Experts’ Committee meeting of the Music Academy, held this morning with Smt. M. S. Subbulakshmi in the Chair, there was first verses from Saundaryalahari sung by Smt. Mangalam Sankaranarayanan. Kerala Composers Dr. Raghavan, requesting Dr. S. Venkitasubramonia Iyer of the Sanskrit Department of the Kerala University to present his paper, referred to his previous researches in the field of Kerala contribution to Carnatic music, published in the Journal of the Music Academy. Pts. i-iv] thb xLiind madras music conference 45 Thanking the Academy for the opportunity given to him, Dr, Venkitasubramonia Iyer referred to some pre-Svati Tirunal composers and several other lesser known composers of later times, particularly in the last century—Mukkola Marar, the Royal composers Kotungallur Kunjikuttan Tampuranand Mana- vikrama Ettan Tampuran, and Attoor Krishna Pisharoti. Of special interest were the lady composers whom the speaker mentioned, Rani Rukmini Bai, Rani Lakshmi Bai, Kuttikunju Tankachi and Kalyanikutti Ammachi. He referred also to certain Christian composers and composers for drama. Karnataka Composers After thanking Dr. Venkitasubramonia Iyer for his informa tion, particularly about the lady composers of Kerala, Dr. Raghavan requested Vidvan Sri N. Chennakesaviah of Mysore to give his talk and demonstration and referred to the contribution of the Vidvan to the academic and publication activities of the Music Academy in the past. Asthana Vidvan Sri N. Chennakesaviah gave an account of the composers Vijayadasaru (1682-1755), Gopaladasaru (1721- 1765), Jagannatha Dasaru (1727-1809), Anandadasaru, and Prasanna Venkatadasaru (1680-1752) and he then rendered the following compositions of the above composers: Linga ennan- taranga-Dhanyasi-Wijzyzdasa; Palisaiyya - Bilahari-Gopzlzdzsz; Sambho Suragangadharane - Mohanam - Jagannatha Dasa ; Pada- darusana - Arabhi, Anandadasa ; Anebanda - Saranga, Prasanna ' Venkatraya ; and Maruti Maramana - Natakurinchi - Vijayadasa. He was assisted by Sri S. Seshadri and accompanied by Sri Hariharan on the violin and Dindigul Ramamurthy on the Mridangam. Thanking Sri Chennakesavaiah Sri S. Parthasarathi, member of the Experts Committee, referred to the Vidvan's latest under taking of a series of volumes of definitive editions with notations of the Dasakuta compositions. Special Concert Vidvan Madurai Srirangam Iyengar accompanied by Vidvans Lalgudi G. Jayaraman on the violin and Palghat Mani Iyer on the Mridangam, then gave a special concert before a record 4 6 THB JOURNAL OF THB MADRAS MUSIC ACADEMY [VO L. XL gathering. The concert which was highly appreciated by the learned and lay alike consisted of the following item s: Begada - Varnam ; San at ana - Phalamanjari; Vadera - Pantuvarali ; Nee Bhajanagana - Nayaki ; Enduki - Mandari; Bhajana seyu - Nara- yani ; Nammina varini - Bhairavi; Ragam, Tanam and Pallavi - Saveri and a Tillana in Kedaram. . In complimenting Vidvan Srirangam Iyengar on his splendid performance and thanking him on behalf of the Academy, Sangita Kalanidhi T. K. Jayarama Iyer referred to the high tradition and style which he had inherited from Namakkal Narasimha Iyengar. THE SIXTH DAY 26th December 1968 At the meeting of the Experts’ Committee today convened in connection with the 42nd Conference of the Academy, presided over by Smt. M. S. Subbulakshmi, after the prayer—recital of Saundaryalahari slokas by Smt. Mangalam Sankaranarayanan, Dr. Raghavan requested Sri K. C. Thiagarajan, Producer, All India Radio, to give his talk and demonstration on ‘ Chaccaputa Venba Rare Talas Sri K. C. Thiagarajan said that the work of Chaccaputa Venba was written by Varaguna Rama Pandiya, dealt with 113 Talas (108 plus 5) and was about 350 years old. It was in the form of descriptive verses mentioning the essential characteristics of each Tala with its angas, short, long etc., so that it was possible to re construct each Tala described here. Sri Thiagarajan had set each verse describing a Tala in that Tala itself and also in a raga. H e selected 10 out of these Talas and sang and demonstrated them : Simhaleela (9th), Ranga Tala (14th), Hamsaleela (20th), Sarabha- leela (34th), Turangaleela (36th), Vijayananda (39th), Nissaruka (61st), Matanga (101st), Leela (107 th) and Lalitapriya (109th). He was accompanied by Sri Chittoor Gopalakrishnan on the violin, Sri M. N. Kandaswami on Mridangam and Sri K. M. Vaidya- nathan on the Ghatam. Thanking him on behalf of the Academy, Sangita Kalanidhi Mudicondan Venkatarama Iyer praised the efforts of Sri Tyagarajan and his neat presentation of the programme, 1>TS. i-iv ] THB XLIind MADRAS MUSIC CONFERENCE 47 Voice Production Dr. Raghavan introduced Sri A. C. Chaubey of the Indra Kala Sangeet University, Kairagarh and requested him to give his talk on * Voice Production.’ Sri Chaubey referred to the des cription in Sanskrit texts of voice and its manifestation but said that these left very much to be desired. There were various details involved in the production of the human voice and a know ledge of these was necessary. One might be endowed with a gifted voice but there was necessity to maintain it with excellence for a long time and this maintenance required knowledge of the vocal apparatus and the exercises and ways conducive to its preser vation. In the West the subject had been very extensively investi gated and they might be benefited by the modern findings on the technique of voice production. The modern need of teaching music in schools and colleges on a mass scale laid upon them greater responsibility in this respect than in the olden days of the Gurukulas. The primary requisite was the breath, whose support was necessary for a good voice. The mechanism of breath should therefore be well understood and breathing exercises, well under stood by Indians through their Pranayama, should be practised. The speaker then dealt with the muscular principles involved in pitch, resonance, volume and its control. Commenting on the paper, Dr. S. Ramaswami who was making a special study of the larynx and voice production spoke on the control of vocal chords through exercises. He warned musicians against using excessive stimulants of the voice and laid emphasis on rest as a necessary element. Sri Sandhyavandanam Srinivasa Rao speaking on the subject of Voice Culture observed that the different systems or styles of music required different kinds of voice training and that prevalent in the Hindustani style or Wesrern music would not suit Carnatic music. They had their own way of training, along with the learn ing of beginner’s exercises like Sarali, Jantai, Varnam etc. Dr. B- C. Deva of the Central Sangeet Natak Akademi agreed with Sri Srinivasa Rco and said that the South Indian Gamakas were difficult in open voices and the straight intonation of notes prevalent in the other systems. The kind of voice culture practised in one music would not be suitable for another. 48 THE JOURNAL OP THB MADRAS MUSIC ACADEMY [VOL. X t Chyuta Panchama Ragas & More Melas & Ragas Sri B. Subba Rao of Mysore then gave an illustrated talk on Chyuta Panchama and Niroshthya Ragas. According to him Chyuta Panchama-Ma was that Pratimadhyama which became Pancama in ragas where the two Madhyamas were used side by side. He illustrated from the popular Hindustani raga * Lalit Care was to be taken to tune the Tambura to Madhyama so that the Pancama might not be heard. While in Hindustani music they called the Ma in Lalit Suddha and Prati-Ma, according to him, in Carnatic music, the Prati-Ma should be pronounced as Pa. On this basis he proposed the formulation of further melas, multi plying the 72 by 72. He illustrated a number of ragas based on this scheme which he called Chyutapancama ragas. Sri Subba Rao’s theory provoked a keen controversy as many of the Vidvans and scholars questioned the identification of the Prati Ma with Chyuta Panchama and wanted to know the exact nature of the Chyuta Pa. Dr. B. C. Deva, Vidvan K. S. Narayanaswamy, Dr. T. S. Ramakrishnan, Sangita Kalanidhis Semmangudi Srini vasa Iyer and Mudicondan Venkatarama Iyer and Sangita Bhushanam S. Ramanathan participated in the discussion. It was held that Chyuta-Panchama could only be one sruti less and that it was automatically and imperceptibly involved in vocal or instrumental rendering and if it was very pronounced, it ceased to be musical. Dr. Ramakrishna Iyer pointed out that Venkata- makhin himself used the expression Chyutapanchama Madhyama. Dr. Raghavan observed that Prati-Madhyama as a Sanskrit word was difficult to derive or interpret and a more grammatical and correet name was required. Thanking Sri B. Subba Rao on behalf of the Academy, Sangita Kalanidhi T. L. Venkatarama Iyer referred to efforts of the author of the “Meladhikaralakshana”, a manuscript in Saraswati Mahal Library, Tanjore, which using the varieties of each svara built up a huge number of Melas, and observed that all this was not in the realm of practical music. Raga and Rasa Dr. Raghavan then requested Vidvan Sri D. Subbaramayya of Bangalore to give his talk on Raga and Rasa. Sri Subba ramayya emphasised the intimate relation between music and metaphysics and said that the fundamental Rasa of music was "T i^ t l S . I-IV] THE XLIInd MADRAS MUSIC CONFERENCE 4 $ the Rasa mentioned in the Upanishads, the experience of Brahmananda. He referred also to Abhinavagupta’s Tantrd- loka in support of his statement. The speaker posed the problem whether all the nine rasas set forth in works of Alankara could bo experienced in music. Referring to the different Sanskrit texts which spoke of different correlations of ragas and rasas, he pointed out how a raga like Mohana was mentioned as fit for Vira and Adbhuta rasas; he sang that Raga as exemplified by different compositions and asked if Vira and Adbhuta rasas were evoked by these pieces. The content of certain Ragas also differed in different texts, e.g. Hindola, and therefore there was difficulty in accepting the Raga-Rasa correlations set forth in the different texts. Mentioning Todit Mukhari, Punnagavarali, Nilambari etc., he said that while each of these could be used for diverse emotional effects, there were some emotional effects for which they could not definitely be used. He mentioned also the smite of different svaras which also contributed to subtle change of the emotional effect. - Thanking the speaker, Dr. Raghavan referred to the interest and importance of the subject of the talk and the papers already read in the previous Conferences of the Academy on the same, and said that it was possible to understand the one fundamental Rasa of Brahmananda and the realisation of the nine other rasas embodied in sahityas. There was no contradiction between these two. Views expressed on this question in the texts from Bharata downwards could be synthesised iri an over-all scheme, taking into consideration different aspects of music like pure alapana, compo sitions bearing specific themes and emotional elements, and then the three layas, and the emotional character of different svaras and srutis. n -* *'t * '!i THE SEVENTH DAY 27th December 1968 At the Experts’ Committee meeting of the Music Academy to-day convened in connection with the 42nd Annual Conference there was first the recital of Saundaryalahari slokas by Smt. Mangalam Sankaranarayanan. th e President of the Con ference, Smt. M. S. Subbulaksnmi, was in the chair. New Compositions • , Dr. Raghavan then introduced Sri G. Swaminatha Sastri o| Tirutturaipoondi, pupil of Veenai Varadaiah and Tiger Varada* 7 * 0 t h e JOURNAL OF THB MADRAS MUSIC ACADEMY [VOL. XL cbariar, who had composed a number of new kritis in Sanskrit, Tamil, Telugu and Kannada. Sri G. Swaminatha Sastri then rendered the following compositions. He was accompanied by Sri P. V. Narayanan on the violin and V. Ramachandran on Mridangam. Sada pal aya; Simhendramadhyama - Adi on Sri Tyaga Brahmam (Sanskrit); Kumbhesvaram, Saveri-Misrachapu : (Sanskrit); Palaya mam janani, Ritigaula - Misrachapu on Minakshi (Sanskrit) ; Smaramyaham - Sama - Adi on Pancha- mukha Linga (Sanskrit) ; Saranitacharane - Vasanta - Adi (on Tirutturaipoondi Bnhannayaki);Chandrasekharadesikamsmara re - Ragamalika - Misrachapu, composed on His Holiness Sri Chandra- sekharendra Saraswati, the present Sankaracharya of Kanchi Kamakoti Peetha on the occasion of the Diamond Jubilee of his accesion to the Peetha, describing the chief activities and organi sations initiated by him for the preservation and propagation of our culture and Dharma; Tamasimchagane, Haimavati - Adi on Madhurantakam Rama (Telugu); Paragu madathe, Kambhoji - Misrachapu on Parikkal Narasimhan (Kannada) ; Varuvai Puli- vahana, Kapi - Adi on Sabarimalai Ayyappan (Tamil) ; Kamakshi Devi aval (Kilikkanni), on Kanchi Kamakshi (Tamil). Sangita Kalanidhi Mudicondan Sri Venkatarama Iyer thanked the composer on behalf of the Academy. Indian Instruments Dr. Raghavan then mentioned the work which Vidvan Sri S. Krishnaswami. formerly of the All India Radio, had been doing for a number of years on music instruments of India and neighbouring countries and who had conducted an exhibition and given lectures on the subject in the Conferences of the Academy in the past. A reference had been made by the Ministry of Education to the Madras Music Academy whether they would recommend Sri Krishnaswami’s proposal for his project on Indian Instruments to be forwarded to the UNESCO for their patronage and aid. On behalf of the Experts’ Committee meeting of the 42nd Conference of the Music Academy, Madras, the proposal made by Dr. Raghavan on behalf of Sri Krishnaswami’s project was warmly supported by Prof. P. Sambamurthi and Dr. B. C. Deva, Special Officer for Music, Central Sangeet Natak Akademi, New Delhi. The Experts’ Committee then approved of the proposal. : Pts. i-rv] Y thb xuind madras music conjperbncb uhf 5 1 Sthala Kirtanas fnam Dr. Raghavan then requested Prof. Sambamurthi to present his programme of music compositions centering round the great temple at Madurai, and the deities there Meenakshi and Sunda- resvara from the times of the Devara hymns. The programme began with the recital of a Devaram of Jnanasambandhar in a a Pan akin to Bauli, sung by Sri Sundaresvara Desikar of the Kapaleesvarar Temple, Mylapore. Prof. Sambamurthi referred to the different composers and their age and attainments and introduced each of their songs relating to Madurai which were ren dered by a group of pupils of Smt. Kalpakam Swaminathan who played on the Veena. Starting with the Meenakshi Geetam and then the Kamas Svarajati Sambasivayanave, Prof. Sambamurthi presented Meenalochana in Dhanyasi from the Madurai pieces of Syama Sastri and then Dikshitar’s well-known piece Mamava Meenakshi ; Chinni Krishna’s Amba nine in raga-malika beginning with Anandabhairavi; Ninu minchinavaramma in Natakurinchi by Srinivasa who was a cook at the Meenakshi Temple and who received the blessings of the Goddess and three of whose compo sitions are included in the Sangita Sampradaya Pradarsini of Subbarama Dikshitar, the two others being in Kapi and Kalyani ragas ; then a rare anonymous piece in Sahana, Sri Madhura-pura- vasini with Chittasvara which Prof. Sambamurti had taken from Mangadi Ramanatha Bhagavatar; Devi Meenakshi by Tacchur Singaracharya ; Cheyyur Chengalvaraya Sastrigal’s Cheluvaga in Kambhoji from his Sundaresvara Vilasa and his Mangalam-Surati- Ma Meenakshi from the same work. ; r-me Q n *;4 Complimenting Prof. Sambamurti on the programme which gave a panorama of musical activity centering round Madurai -from 600 A.D. to 1900 A.D., Sri T. L. Venkatarama Iyer mentioned the late L. Muthiah Bhagavatar’s compositions on Meenakshi of which Meenalochani in Todi was well-known. Explaining how the programme came to be conceived Dr. Raghavan said that their music had grown round the temples and their deities from the times of Devaram and Divyaprabandham and by drawing attention to some of the great compositions of masters connected with the foremost shrines like Madurai, they hoped that the temple authorities and the Endowments Depart 52 THB JOURNAL Ot THE MADRAS MUSIC ACAD8MY [VOL, *1 ment might get interested in arranging for the recital of these 9ompositipns in the different Sannidhis in their temples, Places like Tiruvarur abounded in such compositions.# He also added to the Madura Compositions a composition on the model of the Gita Govinda called Gita-Sundara on the leelas of Meenakshi and Sundaresvara by Sadasiva Yogi and hoped that Prof. Samba- murti who took special interest in operatic compositions, would fake up this work, bus uavmm&m bn& liodi bm e»aoqcnQO 3d) ot O31013W rfc'iif/.'V a t h e EIGHTH DAY . . rvaj 28 th December 1968 At the meeting of the Experts’ Committee of the Music Academy today convened in connection with the 42nd Conference with Smt. M. S. Subbulakshmi in the chair, there was first the recital of Saundaryalahari slokas by Smt. Mangalam Sankara- narayanan. am,, Lesser Known Ragas \o Uikiabert arft n v Sangita Kalanidhi Sri T. K. Jayarama Iyer then gave a very instructive talk and demonstration on the * Construction of forms of lesser known Ragas from Kritis,’ with demonstration on the violin. He was accompanied by Vidvan Karaikudi Muthu Iyer. Sri Jayarama Iyer referred to the essential characteristics of a Raga- form and the difficult and elusive aspects particularly in less known or smaller Ragas whose features were clear only from the compositions of great composers. Oftentimes each of these ragas was illustrated by only one piece available to us. Some of these Ragas, he said, had captivated North Indian musicians and he had listened to a Khyal in Narayani in quite an authentic form by a North Indian musician, as also a Khyal composed by Bade Gulam Ali Khan in pure Carnatic Andolika. Sri Jayarama Iyer demon strated on the violin three such ragas Balahamsa, Gundakriya and kavicahdrika, rendering both the Ragas and the Tyagaraja kritis "Uf;1 *'**■’ Q,af)fn j -1, totidbitAdfngRWlU bm ntin*v»a Jo aamtj ( t i l l r ’khb thdi bm Thanking him on behalf of the Academy, Sangita Kalanidhi Semmangudi Srinivasa Iyer referred to the speaker’s knowledge of both Carnatic and Hindustani schools as well as Western music. Pts. I-IV] t THE X LIind MADRAS MUSIC CONFERENCE HT 53 Rofctadi Special Concert f*ih>o7 There was then a vocal concert by vidvan Sattoor Sri A. G. Subramaniam accompanied by Vidvans M. S. Gopala krishnan on the violin and Umayalpuram K. Sivaraman on the Mridangam. Sangita Kalanidhi Mudicondan C. Venkatarama Iyer thanked the artistes. s. 1 o* ,[Vj- : t h e NINTH DAY ohu nO A/itVo 29th December 1968 When the Experts’ Committee of the 42nd Conference of the Music Academy, Madras met this morning with Smt. M. S. Sub bulakshmi, the President, in the chair, there was first the recital of Saundaryalahari slokas by Smt. Mangalam Sankaranarayanan. o-rbn Mridangam -r's lo *:dt Dr. Raghavan then introduced Vidvan Dharmala Rama- murthi of Rajamundry, author of the book Mridanga Tattva. Sri Ramamurthi then gave a talk explaining the importance of Laya and the technique of playing Muktayi. He took different Talas and Jaatis and demonstrated different aksharas and tempos and methods of playing several patterns of Muktayis. The Telugu talk was explained in English and Tamil by Sri T. R. Subra maniam. Sangita Kalanidhi Palghat T. S. Mani Iyer thanked the Vidvan and referred to his having released his book Mridanga T a ttv a . ' rM n i 31f*kri WiUa*»3« & tohi/oiq .bjtntula eri I'hiy-.u ?r;isi Ragamalika on Vina There was then a special Vina recital by S. Balachander, in which he rendered his Ragamalika of 45 Ragas. Vidvan Sri K. S. Narayanaswami thanked him on behalf of the Academy. THE TENTH DA* buniiikuUi has ^BaoiJ -a* is (di£i} 30th December 1968 The Experts’ Committee meeting of the 42nd Conference of the Music Academy, Madras began to-day with the recital oif Saundaryalahari slokas by Smt. Mangalam Sankaranarayanan. Smt. M. S. Subbulakshmi, President of the Conference, was in the chair. • >u ; " ‘J,:; vi f 5 4 THB JOURNAL OF THB MADRAS MUSIC ACADEMY [VO L. XL Venkatamakhin’s Contribution Dr. Raghavan then introduced Sri N. S. Ramachandran, Professor of Carnatic Music, Delhi University, as the son of Nemam Nataraja Bhagavatar, pupil of Maha Vaidyanatha Sivan, his grandfather having been a direct pupil of Tyagaraja. Nemam Nataraja Bhagavatar was a familiar figure in the Experts’ Com mittee meetings in the early years of tha Academy. Before speaking on his subject, Sri Ramachandran conveyed the greetings of the Carnatic Music Department of the Delhi University to the president of the Conference and paid a tribute to the services to music of Dr. V. Raghavan and Sri T. L. Venkatarama Aiyar through the Academy and several other bodies. Speaking on the subject ‘ Some basic aspects of the Contri bution of Venkatamakhin to the Raga System of Indian Music,* with illustration on the Vina, Sri N. S. Ramachandran traced the history of the ragas from the time of Bharata and referred to the efforts at different times of bringing them under some scheme of classification. Bringing his account to the Nayak times at Tanjore, he mentioned Venkatamakhin as the Pole-star and Panini of our music. Venkatamakhin was not only the author of a scientific treatise on music, but also a composer of Gitas and Prabandhas. After referring to the Melas under which ragas had been classified by earlier writers like Vidyaranya, Ramamatya etc., the speaker said that using the 12 svarasthanas as the basis, Venkatamakhin devised the system of 72 Melakartas, which, as he claimed, provided a scientific frame in which the Ragas, current and past, as well as those to be brought into being, could all be brought. He then referred to some criticisms usually levelled against Venkatamakhin’s scheme and the suggestions made at different times for throwing out the Vivadi Melas. As against this, the speaker said that the way had been shown by Venkata- makhin himself as to how Vivadi Svaras could be handled artis tically, and illustrated the same with Kanakambari and Tarangini and Dikshitar’s kritis in them and Jujahuli (13th) and Chitta- ranjani (19th) and Tyagaraja’s pieces Paraku jesina and Nadatanum anisam. The speaker dealt with the attempts at classification of ragas in the Hindustani field and observed that the great musicologist of modern times, Pt. Bhatkhande, found Sri Venkatamakhin’s scheme to be the most satisfactory one and ■ pTS. I-iv] THE XLHnd MADRAS MUSIC CONFERENCE 55 bad adopted it along with certain Carnatic ragas which had recently been taken by tbe Hindustani musicians. It was signi ficant that the Mela-scheme of Venkatamakhin had also found favour with North Indian musicologists. Thanking him on behalf of the Experts’ Committee, Prof. P. Sambamurthi referred to Venkatamakhin and his scheme as a land-mark in the history of world music. Dr. V. Raghavan Shashtyabdapurti Endowment Lecture SriT. V. Rajagopalan, Secretary, Music Academy, mentioned that an endowment for a lecture had been made by friends in connection with Shashtyabdapurti of Dr. V. Raghavan, Secretary of the Music Academy, under which they had great pleasure, he said, in requesting Sangita Kalanidhi Sri T. L. Venkatarama Aiyar to deliver the inaugural lecture * On Some Aspects of Dikshitar’s Compositions*. Sri T L. Venkataramn Aiyar gave expression to his apprecia tion of the services of Dr. V. Raghavan to the cause of music research and to the Music Academy continuously for a period of four decades and the appropriateness of an annual lecture in his name in the Experts’ Committee meetings of the Conferences of the Academy. Referring to the subject of the lecture which he had the pleasure of inaugurating that year, he said that Dikshitar was a common shrine at which he and Dr. Raghavan worshipped. They had worked together in several ways for propagating and popularising Dikshitar and his music. In his lecture Sri Venkata rama Aiyar said he proposed to deal with five aspects of the music of Dikshitar, Ragasvarupa, Gamakas, Vivadi Melas, rare and old Ragas and the mingling of the Hindustani and Carnatic traditions. With regard to the form of Ragas which was most important in their music, the speaker said that there was a prevalent notion that Dikshitar’s songs were large or long but this was due to the fact that his compositions served to present the entire form of a Raga and its sancharas. If the words were dropped, and the music of Dikshitar’s kritis alone was intoned, it gave them an ample picture of the Raga. He also pointed out that in a parti cular Raga like Todi, the several pieces which Dikshitar had com posed would illustrate the different notes on which the Raga could take off. Assisted by Vidvan Sri B. Rajam Iyer and Sri Sandhyavandanam Srinivasa Rao, he illustrated by singing Sri 56 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XL Subrahmanya mam rakshatu for the Eduppu in Ga, Maha Gana- pat im vande for Ma, Dakshayani for Dha and Kamalambike for Ni. Referring then to the second point mentioned by him, Sri Venkatarama Aiyar sang the piece Sri Guruna on Subrahmanya in Tiruttani in the rare Raga Padi (15th Mela) to illustrate the use of Suddhasvaras, and the third Avarana kriti Sri Kamalambikaya to illustrate the use of Gamakas in Sankarabharanam. Regarding the Vivadi Melas Sri Venkatarama Aiyar endorsed the observations of Sri N. S. Ramachandran who spoke earlier in the morning and illustrated how the Vivadi svaras were negotiated by the composer in the Kanakambari kriti Kanakambari Karunyamrita (1st Mela), and in the Vamsavati kriti (54th Mela)- Bhaktavatsalam. With regard to the fourth point Sri Venkatarama Aiyar said that there were several rare ragas enshrined in the compositions of Dikshitar and appealed to musicians to bring them out by learning and singing them in concerts. As an example he sang Ghanta - Sri Kamalambike ava and Somasundaresvaram, a Madurai kriti in Suddha Vasanta (29th Mela). On the fifth and last point mentioned by him namely Dikshitar’s visit to the North and his knowledge of the North Indian Ragas, Sri Venkatarama Aiyar pre sented the rare composition in Subhapantuvarali (akin to Miyanki Todi) Pasupatisvaram and the better known Hamirkalyani piece Parimala Ranganatham. He concluded the lecture-demonstration with Dikshitar’s Madhyamavati kriti on Dharmasamvardhini, Thanking him on behalf of the Academy and the Experts’ Com mittee, Sangita Kalanidhi Mudicondan Venkatarama Iyer paid a tribute to the speaker and Dr. V. Raghavan for their services to the Academy and for their special interest and study in the field of Dikshitar and his compositions. Release of Sangita Sampradaya Pradarsini - Volume III Dr. V. Raghavan then mentioned the Tamil script edition being published by the Music Academy with the full aid of the Central Sangeet Natak Akademi and the two volumes already brought out. He referred to the special mention of Subbarama Dikshitar and his monumental work in the Presidential Address at the Conference and requested Smt. M. S. Subbulakshmi, the President of the Conference, to release Volume III of the Tamil script edition of the Sangita Sampradaya Pradarsini. Dr. Raghavan also announced that Sri T. Sadasivam and Smt* — ------ ■/'. -' ; ' ' ■ ' ■ 4 * l*TS. I-IV] THE XLiind MADRAS MUSIC CONBBRBNCB 57 M. S. Subbulakshmi had expressed their desire to donate a portrait of Sri Subbarama Dikshitar to be put up at the Academy. Smt. M. S. Subbulakshmi then released Volume III of the Tamil Script edition of the Sampradaya Pradarsini and said that she felt blessed that it was given to her to release the third volume of that great work. Copies of the picture of Subbarama Dikshitar were freely distributed to the audience on the occasion. THE ELEVENTH DAY 31st December 1968 At the Experts’ Committee of the Music Academy, Madras which met again this morning in connection with the 42nd Con ference under the presidentship of Smt- M. S. Subbulakshmi, Smt. Mangalam Sankaranarayanan sang Saundaryalahari slokas, after which Dr. Raghavan introduced Dr. M. R. Gautam, Reader in Hindustani Music in the Banaras Hindu University and reques ted him to give his lecture-demonstration on Gharanas of * Hindustani music. Hindustani Music Dr. Gautam explained the origin of the phenomenon of different Gharanas in Hindustani music. ‘Ghaianas’ was derived from the word * ghar ’ meaning house. He traced the social and political conditions of North India which led to the isolation and the cultivation in insular circumstances of music from teacher to pupil. When this kind of insular cultivation of music continued for three generations without the possibility of mutual contacts of different musicians, certain characteristics of style, intoration and even some technical particulars of tonality, Tala, vocal ragas etc., developed. This explained the existence of different Gharanas in the field of Hindustani music- There were also similar differ ences among the Gharanas in the rendering of compositions or in the specialisation of certain forms of compositions. Dr. Gautam then referred to the different Gharanas, their promi nent musicians and the characteristics of the music of each and demonstrated them. Qawwal-Bacche gharana of which Bade Mohd. Khan was the greatest exponent was characterised by the intricate pattern in the elaboration of the raga. In the Gwalior Gharana in which Khyal singing is most prevalent, the Sthayi is generally sung twice and the Antara once and the alap mostly in § B $8 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VoL. XL Akara followed by Tanas and Boltanas. Humphata-Gamak was a prominent characteristic of this Gharana, the other Gamakas used being Plavita, Ahata and Ullasita. The Agra Gharana has a close affinity to Dhrupad style, with a blending of the delicacy of Khyal, the best known exponent of their alap style being Faiyaz Khan; it was also noted for the authenticity of its compositions and rare ragas. The Jaipur or Atrauli Gharana maintained the gravity of the Dhrupad and emphasised more svara-combinations, out of the way ragas and a predominant use of Akara. In the Delhi or Patiala Gharana there was a peculiar sharp guttural quality of the tone, prominence of Khyal and Thumri, and compli cated patterns of Tanas. Bade Ghulam Ali Khan belonged to this. Abdul Karim Khan and Behere Abdul Wahid Khan brought into prominence the Kerana Gharana noted for its excellent production of notes, elaboration of the opening part of the song, systematic and slow Alap and slow renderings of Khyal and Kalpana svaras which showed the influence of Carnatic music. Sangita Kalanidhi Sri T. K. Jayarama Iyer thanked Dr. Gautam who hailed from Madras and attained proficiency in Hindustani music of which he was now an accepted performer and teacher. Muthiah Bhagavatar's Compositions Dr. Raghavan then mentioned that they had arranged as part of the Conference the release of Volume One of an edition of all songs of the late Sangita Kalanidhi Dr. L. Muthiah Bhagavatar who was connected closely with the Academy and its Teachers’ College. Sri K. S. Venkataraman, Chairman, Madras State Sangita Nataka Sangam said that in the Sangam they fiad differ ent programmes for the promotion of mus;c which included the sponsored programmes of younger musicians, pension to indigent artistes and aid to publication work. The Sangam had so far granted Rs. 17,000/- as aid to publications and the present under taking of a complete edition of Muthiah Bhagavatar’s composi tions was fully aided by the Sangam. After referring to the qualities of head and heart of the late Muthiah Bhagavatar, he requested Sangita Kalanidhi Sri T. L. Venkatarama Aiyar to release the publication. In doing so Sri T. L. Venkatarama Aiyar gave a brief account of the work of Muthiah Bhagavatar as a com poser, his compositions including all varieties Varna, K riti, Daru, PTS. I*IV] THE X Lim d MADRAS MUSIC CONFERENCE 59 Tillana and also pieces in rare ragas. There was then a recital of select compositions of Muthiah Bhagavatar by Vidvan L. Vaidyalingam, adopted son of the late Bhagavatar and editor of the publication, Sri Narayana Iyer of A. I. R. who rendered some pieces on Gottuvadyam and Kumari Swarnalata. Altogether 14 compositions were presented including a Varna, a Daru, a and Tillana pieces in two rare ragas, Urmilca and Mayapradipa. Sri Embar Vijayaraghavachariar thanked the artistes for their presentation of the programme of Muthiah Bhagavatar’s kritis. Divya Prabandham The occasion was also availed of to release another publica tion edited by the Madras Sangita Nataka Sangam, viz the Divya Prabandham-Pan-Isai by Sri S. Ramanathan who had given in the volume selections from Divya Prabandham in nota tion. Dr. Raghavan requested the President of thd Conference, Smt. M. S. Subbulakshmi to release the volume. Sri Sivagnana Gramani, in complimenting Sri S. Ramanathan on his work referred to the rich background of South Indian culture which was built up by Sanskrit and Tamil and Bhakti and music. He observed that the 42nd Session of the Music Academy presided over by Smt. M. S. Subbulakshmi was particularly noteworthy as in her they had a musician who could demonstrate by her devotional fervour and absorption that in music they could transcend the realm of language and become tuned to pure melody. Me also observed that South Indians like Dr. Gautam who specialised in North Indian music showed the quiet practical way of integration. Thanking the Academy for having arranged these functions for the release of publications sponsored by the Sangita Nataka Sangam, Sri Embar Vijayaraghavachariar, member of the Sangam, gave a brief account of the history of Divya Prabandha music. THE TWELFTH DAY 1st January 1969 The last meeting of the Experts’ Committee of the 42nd Con ference of the Music Academy, Madras was held this morning at the premises of the Academy after the Members’ Day. ,, . .... ■ ' , : 60 THB JOURNAL OF THB MADRAS MUSIC ACADEMY [VOL XL Smt. M. S. Subbulakshmi, the President of the Conference was in the chair. Smt. Mangalam Sankara narayanan recited Saun- daryalahari slokas, after which Dr. Raghavan requested Sangita Bhushanam S. Ramanathan to give his talk on Music Teaching in tkeWetiA xdafEtmwB hr.tr.tsX miivbavtmoO ftS *miq Jtaca Music Teaching in the West Sri Ramanathan who had been to the United States and taught Carnatic music in more than one centre there had also availed of the opportunity to visit classes and schools where Western music was taught to youngsters and studied the methods adopted by them for imparting the correct musical sense. He referred also to the methods adopted in individual teaching as well as mass teaching and the aids and resources they used, visual aids, instru ments, recordings etc. He descril ed also how Japanese and i Indian music,were also studied in the American Universities and spoke at some length about the interest in Carnatic music and how it was studied there. Sri Sandhyavandanam Srinivasa Rao, Principal, Central College of Carnatic Music, Madras supported the speaker’s remarks about ihe need for educational records. They required these particularly in respect of rare ragas and controversial prayogas; students could derive considerable help by listening to such recordings. Sri Rao also drew attention to the fact that opportunities at home for little children imbibing musical instinct and interest from the domestic surroundings were slowly disappearing today and that the music education of children should not be neglected. He also touched upon guided listening and suggested that a hundred simple songs should be selected and taught on a national scale from Kashmir to Rames- waram. Dr. B. C. Deva said that two different kinds of musical learning should be planned, one to prepare professionals and another to create a musical awareness and these two different objectives required different approaches and programmes of teach ing. Dr. V. Raghavan referred to his own visits to several centres in Europe and America where music and dance were taught and said that different systems of music and dance required different types of teaching and a proper study should be made of what use ful methods used by others could be adapted by us. He also said that in the transitional stage in which the traditional system was — *Sv PTS. I-IV] THB X L iind MADRAS MUSIC CONFERENCE 61 passing over into the modern school and college system, there should be an intelligent adaptation of the very good methods which we had in the past to the requirements of the present conditions. Sangita Kalanidhi Semmangudi R. Srinivasa Iyer, referring to his own experience as a Vidvan and as Principal of a music college said that while in the past only a few with musical gift came to the art, now they had to impart music education to mass es. They should teach the youngsters whole songs instead of svaras. Simple songs such as ‘ Sakti sahita Ganapatim’ of Dikshitar, he said, succeeded in making the children learn Sankarabharanam better than by drilling the spelling of the svaras to them. Garbhapuri Kirtanas Dr. Raghavan thanked Sri S. Ramanathan for his talk and then referred to the efforts taken by the Academy to bring out the Kirtanas of the Garbhapuri (Karur) composers and the work done in this respect by Sri T. Visvanathan with the help of several Vidvans, Madurai Subramanya Iyer, Prof. P. Sambamurthi, Sri T. Sankaran and others. Dr. Raghavan then requested the President of the Conference to release the book containing the edition of 24 pieces with notation. Smt. M. S. Subbulakshmi then released the publication. Papers Dr. Raghavan then communicated two papers of Sri C. S. Desai of the Music University of Khairagarh who could not attend the Conference, but had sent his papers, one on 4 Music and Dance in Kalidasa’s Works ’ and another 4 On the Develop ment of Khyal Music.’ Dikshitar and Ettayapuram Dr. Raghavan then referred to some letters received about the necessity to erect a Mandapam at the site in Ettayapuram where Muthuswami Dikshitar passed away. Sri K. S Venkata raman, Chairman, Madras State Sangita Nataka Sangam sugg;st- ed that a simple hall in about Rs. 25,000/- should be raised at the site and this should be done by collecting small donations from as large a public as possible. Sri T. L. Venkatarama Aiyar 62 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XL spoke lending full support to the idea. The 42nd Conference of the Academy commended the proposal to raise a Dikshitar Mandapam at the site of his passing away at Ettayapuram. Condolence Sri T. L. Venkatarama Aiyar, the President of the Academy, then referred to the demise of Sangita Kalanidhis Madurai Man! Iyer, Marungapuri Gopalakrishna Iyer, Sri E. Krishna Iyer and Sri T- N. C. Venkatanarayanacharyulu, members of the Experts’ Committee of the Academy. The gathering stood in silence for some time in memory of the above mentioned departed musicians and members of the Experts’ Committee. Concluding Function The President of the Conference Smt. M. S. Subbulakshmi then referred to the work they had done during the Session and thanked all musicians and the public for their co-operation which was responsible for the success of the whole Session. The President of the Conference was then garlanded by Smt. Rajeswari Ranganathan on behalf of the Committee. Sri T. L. Venkatarama Aiyar paid a tribute to Smt. M.S. Subbulakshmi, the Session presided over by her having been a tremendous success. He also gave expression to his feelings of appreciation of the labours of the Office-bearers of the Academy and particularly the Secretaries who worked day and night during the 13 days’ festival. On behalf of the Vidvans from other parts of the country, Sri Aripirala Sathyanarayanamurthi from Andhra, Sri Titte Krishna Iyengar from Bangalore, and Dr. M. R. Gautam from Banaras referred to the Academy being an unique institution and the Conference as a witness to the Academy’s catholicity of outlook and genuine interest in understanding other schools and systems of music and the continuous musical atmosphere that pre vailed from early morning to midnight during these days. Dr. Raghavan thanked the musicians and musicologists from different parts of India and abroad for the contributions to the Ex perts’ Committee meetings and made special mention of Dr. Johanna Spector from New York who read a paper and gave an endowment to the Academy for a Violin prize. He expressed the PtS. I-IV] THB X L tm d MADRAS MUSIC C0NFBR1NCB thanks of the Academy to the Central Sangeet Natak Academi for their grants to encourage junior musicians and the Experts* Committee meetings and the publications of the Academy. He thanked the different departments of the Government of Madras, the Corporation, the All India Radio and the Press. Patrons, Donors and other members of the Academy had lent their solid support during the Conference. In the various competitions which were held during these sessions, several Vidvans and Vidu- shis had acted as judges and prizes had been endowed for the successful candidates. To all of them he tendered the thanks of the Academy. He thanked also the members of the different sub committees of the Conferences, Secretaries, the Convener of the Trust Board, Sri G. Narasimhan and the Friends Unit who lent their voluntary assistance. Dr. Raghavan then acknowledged the patronage and help of the royal house of Travancore and thanked Her Highness Maharani Setu Parvati Bai for having opened the 42nd Conference. He thanked also Sri T.T. Krishnamachari, Vice-President, to whose initiative the Academy owed their Auditorium, for unveiling the portrait of one of the late patrons of the Academy, Sri T. S. Narayanaswami. Dr. Raghavan made special mention about the artistes who did not take any honor- rarium and sang freely at the Conference. Sri T. Sadasivam and the staff of the Kalki had placed thir service at the disposal of the Academy for the success of the 42nd Conference and to them he expressed the special thanks of the Academy. The 42nd Conference then came to a close with a group photo of the Vidvans and Vidushis who participated in the Conference. The Sadas The Sadas of the 42nd Conference of the Academy was held at 4 p.m. It was presided over by Hon. Dr. Karan Singh, Union Minister for Tourism and Civil Aviation. There was an overflowing audience to witness the popular president Smt. M. S. Subbulakshmi being honoured by the Academy at the Sadas. The gathering included, in addition to the members of the Academy and the Experts’ Committee of the Academy, many distinguished visitors and music lovers and participants of the Academy’s Conference and concerts. 6 4 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XL The proceedings began with an invocation song sung by Kum. R. Vedavalli. The Sadas was convoked by the Secretary Sri S. Natarajan, after which messages received on the occasion were read by Sri R. Ranganathan, Secretary. His Excellency Sri Nityananda Kanungo, Governor of Bihar; Major General K. M. Kariappa; Hon’ble Mr. Bhagwat Jha Azad, Minister of State for Education in charge of Cultural Affairs said in the course of his message : “ The Music Academy has been in the forefront of the musical world of India for nearly four decades now. The Institution has grown in stature through the devotion of a band of enthusiastic and learned scholars and musicians; it is today rightly recognised as one of the first pioneer institutions in the field of music. Besides performance, it has encouraged academic discussion by inviting experts and scholars from different parts of the Country. The Music Academy’s Journal is a valuable contribution to the field of scholarship. I am particularly glad that the Music Academy has not known barriers of musical cultures and that it has succeeded in having a profitable interchange of ideas between South Indian musicians and North Indian musicians and scholars and musicians from the West. I wish the annual function all success.’’ Hon’ble Prof. Sher Singh, Minister of State for Education said: “The Madras Music Academy is, without doubt, one of the leading Academies of this country, dealing with the promotion of music. For over four decades this Academy has done yeoman service to the cause of this art. Not only have they encouraged the performance of music by leading as well as junior artistes but they have done monumental and pioneering work in musicology. This year’s Conference is particularly significant in having Smt. M. S Subbulakshmi as the President for the session, as she is the first woman to have been selected for this honour. I wish the function all success.’’ Sri A. K. Sen, Director General, All India Radio, Mr. Hari- krishna Mehtab, Vidvan Madurai Srirangam Iyengar, Vidvan Tiruchi Swaminatha Iyer, Vidvan Nedanuri Krishnamurthi and the Academy of Music, Bangalore have sent their messages wishing for the success of the function. Pts. i-iy 3 the XLiind madras music conference 65 Sangita Kalanidhi T. L. Venkatarama Iyer, President of the Academy, welcomed the Sadasyas who had gathered in large numbers on that occasion and Dr. Karan Singh, whom he des cribed as one most fitted to preside over the Sadas at which they were honouring their distinguished and popular musician who had presided over the Conference that year. Sangita Kalanidhi Sri T. K. Jayarama Iyer then read the citation presenting Smt. M. S. Subbulakshmi to the President of the Sadas for the conferment of the title of Sangita Kalanidhi. THE CITATION Srimati M S. Subbulakshmi “ Born in September 1916 to Veena Shanmugavadivu of Madurai ; learnt music in her childhood first from her own mother and began accompanying her mother in her Veena recitals from the tenth year and continued to give performances together with her mother for a number of years; had her debut in 1933 in the major performance series of the Music Academy at its Fourth Annual Conference ; from 1940 when she and Sri T. Sadasivam were married, entered on a new phase of her musical life when her golden voice was freely at the service of all noble causes; received the distinction of Padrna Bhushan in 1954, the Presidential Award for Carnatic Vocal Music in 1956 ; participated in the Edinburgh Festival in 1963, sang before the General Assembly of the U.N. in 1966 and had a coast to coast concert tour of the United States the same year; was awarded the Doctorate of Literature by the Ravindra Bharati University in the same year; endowed with a voice of unique sweetness and richness and an ability to harmonise strict standards and popular appeal and to do justice to the music of the South as well as the North; has been the most beloved idol of the public in the recent annals of Indian music.” The President of the Sadas then read the formula of the Biruda. Then Smt. T. Balasaraswati garlanded Smt. M. S. Subbulakshmi. The President of the Sadas then presented Smt. M. S. Subbulakshmi with the medal and diploma conferring 9 6 6 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VO L. XL the title of Sangita Kalanidhi on her. ‘Prasadam* from several temples was then given to Smt. M. S. Subbulakshmi. The additional award of Certificate of Merit was then presented to Dr. V. Raghavan. Sri K. Balasubramania Iyer, one of the Vice-Presidents of the Academy and President of the Dr. y . Raghavan Shashtyabdapurti Celebration Committee, then read the citation and presented him to the President of the Sadas. THE CITATION Dr. V- Raghavan ** Born on 22nd August 1908 as fourth son of S. Venkatarama Iyer at Tiruvarur, the birth-place of the Musical Trinity; grew in the background of the rich heritage of music and dance of Tiruvarur and the Tyagaraja temple; became interested from young years in the bhajana tradition to which in later years he made many contributions in his papers and publications; conducted extensive researches in Sanskrit literature, on music and dance and published numerous papers and also editions of texts; has been connected with the Music Academy for four decades as Secretary, Editor of the Journal and publications and Corres pondent of the Teachers* College of M usic; has been actively conneted from inception with the Central Sangeet Natak Akademi and the Madras State Sangita Nataka Sangam and had taken leading part in shaping the work of these National and State Bodies ; was conferred the title of Kavikokila by His Holiness Sri Sankaracharya of Kanchi Kamakoti Peetha for his Mahakavya on the Composer Muthuswami Dikshitar; his thesis, in the Spiritual Heritage of Tyagaraja an outstanding contribution on Tyagaraja ; in dance, author of a book on Bharatanatya and of an edition of Nrittaratnavali; was awarded the distinction of Padma Bhushan in 1962 ; was elected Fellow of the Central Sangeet Natak Akademi in 1964 ; has been the mainstay of the academic activities of the Music Academy.” Then the President of the Sadas read the formula of the conferment and presented the certificate of merit to Dr. Raghavan. Smt. M. S- Subbulakshmi and Dr. V. Raghavan were felici tated for the honour conferred on them by musicians and con Pts. i-rv] the XLimd madras music confirence 67 noisseurs, the Hon’ble Chief Justice Mr. M. Anantanarayanan* Sangita Kalanidhi Musiri Subratnania Iyer and Siddheswari Devi., Felicitating Smt. M. S. Subbulakshmi on the highest distinc tion in the field of Carnatic music conferred on her Sri M. Anan tanarayanan, Chief Justice, Madras High Court, referred to two outstanding features of her music, namely selectivity and balance. Sangita Kalanidhi Musiri Subrahmania Iyer, expressing his happi ness on the conferment of the title on her, referred to the inter national reputation she had attained. Smt. Siddhcsvari Devi, Hindustani Vocalist, conveyed her good wishes to the disting uished lady musician on the great distinction achieved by her. Felicitating Dr. Raghavan, the Chief Justice referred to his long association with him from the time when as District Judge of Tanjore he and Dr. Raghavan were connected with the work of the Saraswati Mahal Library. He said he had always been struck by the meticulous care and concern for exactitude, which had characterised Dr. Raghavan’s work, Sangita Kalanidhi Musiri Subrahmania Iyer referred to Dr. Raghavan’s equipment in music and Sanskrit and his untiring efforts in musical research and in the conduct of the Academy’s Conferences. In acknowledging the title of Sangita Kalanidhi conferred on her Smt. M. S. Subbulakshmi said : m/r«jari_jiA0 t_nrasL.if *jrsw «riSrBi <_9f«irr«(5err 1 e o t n u ^ ^ s u i t « ( 2err! «ffl0«iflw oSl g>0 ^ < * 0 Qurfluj Qunr njju en u , Quffl(oUJrrrr<#stf!«ir eurrrr^B 6jrjT)jr)l<£ Qa5rr«rar<2i_ ««r ^8or«U0U)(r« ttJiprwaSrar ^0ilL9ir«rOfr^u>rr*j6 «0^1u uwaflaj i_«ir Q«fr«rjQCJnjfiir. L_fr <^)0 «St^rrru<9n.rf tAsmrrriraofhurrtr «Sipir«n®jp QpfrL_nsjaSl « n s u ^ jjjii «rr @«f), ®9<5«up troemu sum &ji crerwdSpu usmflenuuu l^ uj (5su ^(S& ir® &iru> 065T(n3 Q ^ u jiu <2 «u«mr(3 ii> e r a r u g i « r« r « 0 glfrswT© «<5F(J {§Iib$5 e r trii^ ^ «S uj<9>ctr>£5 ^ ^)06i|«s«r6iDajrri5 ^ iuiuit 0£l<3 «u ffiSwr«j0 g l0 * 0 i i . asiBidBsir^j Qurfliu LctdT sn5)637 cSC J#^ <5 glrB<55 ^ e m ® in«Ti5(nli^«b ««OfijyQ<*ir«rari_ ,5|JW«U0«0U) CTfST Q(B@d=(TT(B^ IB6BT n§)«nUJ Q^(f!«Sl^^j «,y(2<5Fifl<3sar rfi<*Lp;5<$uj u > « t 6i9^6Urrt«r*6rr- «Sa>j6*p<9i6rr, glarii) «$ d5il(5 ^ieC2 ^ t 0 <»0 U), ^ s « ff)n 3J«0 ^ jgcfcoenu) ^rriija9iueufra»(snj«@ ii> s rs s rjy fBsarn#. ^Qu>{fl««S5ir (y> CJufrili^<*(«5 ® 0 r£a£)u^)««Trrr* ^ c o u j i b ^ Q u rfJ d u jr r nsssr n§) 70 THI JOURNAL OF THE MADIAS MUSIC ACADEMY [VOL. XL Q&iffJaS&s&G fl)«r. (Jurnlt^<35Cffl*b A te /tig ) Q*ir«wrj_«u(f js(®3 <®0 Lb thfbrrft Q <£tf\eS !T®nS^u Qu0U>*as^5«@ nSKS^s^Lorr* (EfiraJ Oac/r«bso(J«u«OTr(5ltii. uvsTGvPtrfmr® nsnlazt^w atbiurtaw at. a s s n js u u x r a C2a&fr6x^ff«60cS^jl_55T u) «t>rr*(oio <®irersrorijb. «r«Br&ar G us^jii) (5u>jpjii> ssatas^ii) trsn9«u Q t i 0 LD error J5&o«nu)iq ^rsasu urorrofiprroijr® fBfrtl*(6 3 LC «rrorSror {gtiu&dliu ^jp @,(§yip(SiE ^aiJii jbuciriB siiuiir^! “ Hon’ble Dr. Karan Singh, President of the Academy, Vidvans, Vidushis and Rasikas! First of all I render my thanks to Almighty for having brought to a happy conclusion, without any impediment, the 42nd Conference of the Academy. Out of obedience to elders 1 had accepted a responsibility beyond my capacity. The members of the Academy and other friends and especially Dr. Raghavan had stood by me and helped me greatly to discharge my duties as President of the Conference. I express to all my sincere gratitude. This great Music Institu tion has the high distinction of being a representative of all those Pts. i-iv] the x u i n d m a d r a s m u s ic confirence T1 whom wc hold in high respect in our music field. I therefore accept with humility the title cf Sangita Kalanidhi conferred upon me as a blessing of all these eminent persons in our music field. “Dr. Karan Singh is one endowed with a subtle ear and is a discerning connoisseur. Indeed he is one proficient in the art and also of high attainments in the fields of education and culture. He is also imbued with the spirit o f devotion. That such a person should preside over this Sadas is a thing over which my heart is filled with a sense of gratification and elation. “That the Maharani of Travancore opened this Conference and the Maharaja of Kashmir presided over its Sadas is not only a matter of honour for me but is a thing which is auspicious to the whole Academy. I had referred in my Presidential Address to the financial situation of the Academy and had also indicated my confidence that, in the course of the following twelve months, whatever difficulty there was in this respect, would be removed. I am glad to say that a good part of this difficulty has already been reduced during these twelve days of the Conference in which a Maharani and a Maharaja have participated. What difficulty is there which would not disappear if the benevolent glances of the Deities whom we adore and who have manifested themselves in all their mercy as the guardians of our arts: Sri Nataraja of Chidambaram, Minakshi of Madura, Kamakshi of Kanchi, Pazhani Andavar and Sri Venkatesvara are vouched for us? I am quite sure that the Lord will help us in this most respected Institution, the Music Academy. “Now, after its responsibilities in respect of the funds are over, . the Music Academy should discharge with renewed vigour its Academic work in the field of music ; it should bring to light existing talent and it should take care of the future of the Carnatic music. “It should be the duty of the Music Academy to foster only such music as is not below the standard. I have an idea that senior musicians like Sangita Kalanidhi Mudicondan Venkatarama Iyer, Musiri Subramania Iyer and Semmangudi Srinivasa Iyer should sit in a Committee on behalf of the Music Academy and THB JOURNAL OF TH« MADRAS MUSIC ACADEMY [VOL. XL screen all the rising artistes in respect of the standard and purity of the art and those who have passed this test should be given opportunities in this Academy which should conduct for their benefit two performances every month. This is my humble submission. "I pray that the Music Academy should shape into a temple of music. Even as we would endeavour to preserve the sanctity of a temple, so should we try to preserve the purity and standard of our art, then only could the Music Academy shine forth as a sanctum sanctorum of music. “Just as there is no question of profit and loss with reference to a temple, even so should it be with reference to the Music Academy. This Academy should offer itself to the service of the art without consideration of any profits. The office bearers of the Academy may be compared to the high priests of a temple working for the creation of a sacred future for the art. Such is my humble request. This indeed would be a true monument to the late Sri K. V. Krisnaswami Iyer who wanted to develop the Academy as an institution of high character and discipline. “Out of the generosity of their hearts, several elders here have mentioned me in praiseworthy terms. To ali of them I pay my respectful salutations. “ I convey my heart-felt gratitude to all those who took part in the Conference this year, Vidvans, Vidushis and dancers. “Again to all those who submitted papers, gave demonstra tions and those who took otherwise leading parts in the different functions of the morning sessions, 1 convey my thanks. It would be difficult to thank adequately the foreigners who came from America and other countries, stayed on for twelve days and attended both during days and nights with deep interest the proceedings of this Conference. I thank also the Judges who sat with me in all the competitions. I should also thank all the youngsters who took part in the competitions because these are the persons who create a confidence in us about the future of our art. “I should also express my gratitude to the world of Rasikas; It is their enthusiasm which has been responsible for the conduct )P Pts. i-iv] thi xLiind madras music conmrincb ^ 73 and completion of this Conference which went on like some great festival for twelve days. I thank them for infusing more ' : iir lo naiX sdt siori btM son *‘I mentioned a few names of elders in my Presidential address. Their blessings I invoke again. On this day when the distinguished title has been conferred on me, I see the figures of the immortal Kalki (R. Krishnamurthy) and Rasikamani T. K. C* blessing me from their places in the heavens and I bow my head in respect to them. I also salute the spirit of tbe late Sri Kasturi Srinivasan, proprietor of the Hindu, who was to me and ray husband like a father, ever ready to help us. i ? “I bow at the feet of the Acharya of Kanchi whose blessing is the real motive force of whatever I could do in the last twelve days. ^ ^ . yj *'Guru-murte ivam namami Kamakshi.*¥V m Acknowledging the honour done to him, and thanking the Academy, the President of the Sadas, the Chief Justice and Sangita Kalanidhi Musiri Subrahmania Ayar, Dr. Raghavan recalled his long association with the Academy for nearly four decades. Recapitulating the history of the Institution during this long period, he said that among the present colleagues in the Com mittee of the Academy there were only three who had continued to hold office since that time, the present President of the Academy, Sri K. Balasubramania Iyer and Sri K.Chandrasekharan. His was the only record of unbroken and active service over this long period, and it was also one of unique loyalty in that he had never been involved as Office-bearer in any other Sabha or Institution of similar activity in the City. Some colleagues had asked him when they had received a proposal for the award of the Certificate of Merit to him, whether he would accept it. He had replied that whatever the gesture which the Academy, a parent-like body so far as he was concerned, showed by way of its appreciation of his work in the Academy he would accept because it was not the form or nature of the recognition but the Institution and the expression of esteem that mattered. He was reminded of the famous poet Sriharsha, before whom Dr. Raghavan said, he and his scholarship were like a drop in the.ocean, and the great sense 19 7 4 THE.. JOURNAL OF THB MADRAS MUSIC ACADBMY [VOL. XL of gratification with which that learned poet and scholar had referred at the end of his poem Naishadhiyacarita to his having received from the King of Kanauj, his patron at that time, just a couple of ‘ tambulas’ and a seat of honour! He had participated in all departments of the work of the Academy, although his main work had beemonthe academic side, in the conduct of the annual conferences, and tbe college, in the publications and the editing and the bringing out of the Academy’s Journal. He had striven continuously to broadbase the work of the Academy, bringing in the co-operation and participation of musicians and musicologists, from North India and the countries outside India representing other systems of music of whom there had been over several years some noteworthy persons partici pating regularly in the conferences of the Academy every year. He had also built up the aid received by the Aeadamy over the years from the Central Sageet Natak Akademi which had been supporting all its activities. He desired, in this connection, to mention the great support that the first President of the Central Akademi had given him, namely Dr. P. V. Rajamannar. He was particularly grateful to the Music Academy for having afforded him all these opportunities for not only doing whatever research he had been able to do in the field of music but also for serving the Institution in the various departments of its work. He men tioned especially the name of the late Sri K.V. Krishnaswami Iyer who was responsible for bringing him into the Academy and his fhouldering the responsibility first of the Journal of the Music Academy, which had, after the issue of Vol. IV., become moribund and then of the College, Conference and publications. After he had taken over the Journal, he had published all the arrear- volumes and had been continuously bringing it out and with his contacts abroad in the world of Indological studies, brought it to the attention of foreign Universities, Libraries and musicologists. He had continued the series of publications of the Music Academy which number now nearly 25 and include monumental works like the Tamil script edition of the Sangita Sampradaya Pradarsini and the Thesaurus of Ragas called Raga- nidhi. He was grateful to the confiidence which the late Sri Kasturi Srinivasan and Sri T. T. Krishnamachari reposed in him and the inspiration and encouragement that they gave for all that fie was able to achieve in the Musip Academy. It was his ambition Pts. r*iv] thb xuind madras music confbrence m t H that the Music Academy should, in addition to this magnificent Auditorium which they now had, have an Academic Block to house the Teachers’ College of Music and the Library and provide facilities for the monthly concerts and meetings and accommodation for visiting musicians and musicologists from abroad who are now becoming more and more interested in Carnatic music. He expressed his deep appreciation of the co operation of his colleagues in the Academy, and his special pleasure that this distinction was given to him in the year of his Shashtyabdapurti and it was bestowed on him by Dr. Karan Singh with whom he had been associated through the All-India Oriental Conference and the Central Sanskrit Board for many years. Distribution of Prizes The President of the Sadas then gave away the prizes and merit certificates to those who had come out successful in different competions in vocal and instrumental music held during the 42nd Conference. Sri T. V. Rajagopalan, Secretary, presented the successful candidates to the President of the Sadas who gave away the prizes. COMPETITIONS Vocal Music - Ladies Sri T. R. Venkatarama Sastri Prize I Prize - S. Seetha awarded by Sri T. V. Rajagopalan Veena Dhanam Memorial Prize endowed by I „ - G. Meenakshi Sri M. Sudarsanam Iyengar II „ - Gita Ramanathan Modern Compositions L. Muthiah Bhagavatar Memorial Prize I „ - S* Seetha awarded by Sri T. L. Venkatarama Aiyar II „ - Indira Kailasam Svati Tirunal Murthi Memorial Prize endowed by I „ - S. Geetha Compositions R. K. Murthi Memorial Committee II ., - A. Lakshmi III ,, - Gomathi Purandaradas Endowed by V. S. S. K. Tobacconist, I „ - A. Lakshmi Padams Jaffna (1850-1950) II „ - K. S. Chitra Special prize - Chandra Krishnamurthy Tamil Songs The * Amarar Kalki ’ Tambura Prize I Prize - K. S. Chitra endowed by Sii T. Sadasivam II „ - Ananda Bala- subramaniam „ „ - V. Rukmini Divyaprabandham & Sri Vijayaraghavulu Naidu Memorial Tiruppavai Prize 1 „ - Chandra Krishna- Devaram awarded by Vijayaraghavulu Naidu Memorial Reli murthi gious and Charitable Trust, Edamanal, Sirkazhi < Pallavi Singing Dr. Sankaranarayana Iyer Memorial Prize K. S. Chitra g endowed by Dr. S. S. Krishnan S. Seetha a Sanskrit Compositions S Sftetha ar COMPETITIONS DONORS WINNERS Afternoon Series-Best K. R. Sundaram Iyer Shashtyabdapoorti Prize Sri T. R. Subrahmaniam, Vocal Musician endowed by the Shashtyabdapoorti Delhi University Commemoration Committee Best Junior Vocal Musician T. V. Subba Rao Prize awarded by the Executive Kumari R. Vedavalli Committee of the Music Academy aB Best Junior Violinist Semmangudi Narayanaswami Iyer Memorial Prize for Smt. R. Kamala K > the best Junior Violin Vidvan awarded by O Sri V. Panchapagesan uz Best Junior Mridangam This prize has been endowed by Dr. Henry Cowell Sri K. Srivatsan Vidvan out of the royalties of his Symphony called the Madras Symphony dedicated to the Music Academy O Best Sub-Senior Violinist I V. R. Sambasiva Iyer Memorial Prize for the best Dindigul Sri S. P. Sethu Sub-Senior Violinist awarded by Sri S. Natarajan raman „ ,r Violinist II Dr. Johanna Spector’s endowment for Violin Prize Sri Purnachandra Rao in memory of her brother, Violinist Naum Lichtenberg M/s Philips India Ltd. kindly donated a Transistor Radio to be given for general proficiency in the competitions. The winner of this prize was Kumari S. Seetha who secured 4 prizes, 3 first prizes and one second. H THB JOURNAL OF THB MADRAS MUSIC ACADEMY [VOL. Yt Successful students of the Teachers’ College of Music of the Music Academy were then presented to the President by the Principal, Sangita Kalanidhi Mudicondan Venkatarama Iyer. The President awarded them the diplomas. President’s Address Rising admist cheers, Dr. Karan Singh first conveyed his good wishes to Smt. M. S. Subbulakshmi and invoked on her the blessings of Devi by reciting a Sanskrit prayer. In his address he emphasised the role of music as an effective factor in promoting national integration as it cut across the barriers of language, religion, caste and region. It also helped one’s own emotional integration and it therefore behoved everyone to take full advantage of the beneficial influence of this art. He said, “No nation which neglects its cultural heritage, particularly music, can ever hope to be great. For thousands of years, music has been considered as the index of civilization. Wherever human beings have reached the high stage of attainment, it has been found that the music and the arts have flourished there ; India had a magnificent heritage which with its antiquity and rich variety has probably not been equalled by the music traditions of any single country of the world. As a result of economic development which is considered necessary to the country, there is of course the danger of arts being neglected. Previously music had received the patronage of the Princes and it was no longer available owing to the present democratic set-up and it is for the Government, Insitutions like the Music Academy and the public at large to take over the role of fostering this art. Referring to the unique achievements of Smt. M. S. Subbu lakshmi, Dr. Karan Singh said that he first saw her in the Film ‘Mira’ while he was 17 years old. From that day to the present M. S. Subbulakshmi always appeared to him in the form of Mira and that film had left a deep impression not only on him but also on lakhs of people in the North and her name had become synonymous with. Mita. Referring to Dr, Raghavan, Dr. Karan Singh recalled his association with him, a doyen of Sanskrit learning in the P t s . i - iv ] t h e X L iind m a d r a s m u s ic c o n f e r e n c e country, and as Secretary of Jawaharlal Nehru Memorial Fund, he was particularly glad that the Fund could make the award of a Fellowship to him in the very first year of its inception. Referring to the language of music Dr. Karan Singh said that music had no barriers or boundaries. Artistes did not belong to any particular state or city and hence the important role of music as a national integrator. Living in a fast changing world under the impact of technological advancements they had to live in the midst of tensions. Music had a place in this situation for it had a soothing effect on the mind and helped finally to integrate man and the Supreme, which was, after all, the ultimate aim of all human endeavours. In India, he continued, music had never been looked upon merely as a form of entertainment. It had its deeper meaning. They in politics tended sometimes to take polemics a little too seriously and neglected their inner development; not only those who have retired but also those in the midst of struggle had to understand the beneficial influence of music. Vote of Thanks Sri K. Chandrasekharan, Member of the Executive Com mittee of the Academy, proposed a vote of thanks to the President of the Sadas and expressed his own felicitations to the recipients of the Academy’s honour that evening. adJlQ rnm ui Madam President, Ladies and Gentlemen : Permit me to convey the heartiest congratulations and best wishes for success from the Asian Music Society, New York, the Society for Ethnomusicology, and my own music department at the Jewish Theological Seminary of America. May I emphasize that I feel it a privilege to be part of this distinguished gathering of famous scholars and musicians. Jews settled at an early date in Cranganore, Kerala, which is generally identified with Cyngilin or Muzhiris of the Greeks. The Jews called it Shingli. At how early a date it is difficult to establish, but most historians feel that the Jews came to Malabar after the destruction of the second Temple in Jerusalem, about 70 C.E. Although there were trade relations between ancient Israel and the Malabar Coast as early as 1000 B.C.E., the time of King Solomon, there is no concrete evidence of a Jewish settlement here. Some historians link the Tamil word for “ peacock ** Tukai with the Hebrew Tuki in the Bible. The earliest documentary record of the colony is found in the inscriptions on a set of copper plates which are to this day in the possession of the Jews of Cochin. It was the custom of the ancient Rajas of the Malabar coast to grant lands and privileges to their favourites. These bequests were etched in copper and given to the recipients as a kind of patent of nobility and perpetual evidence of their rights. The Jewish plates were given in the year 379 C.E. by Sri Parkaran Iravi Vanmar to Joseph Rabban who received the principality of Anjuvannam and all its revenue. In addition, certain noble rights were given to Joseph Rabban and all his descendants. They included the right to ride an elephant, to be carried in a litter, to have a state umbrella, to be preceded by drums and trumpets, to call out so that lower castes might withdraw from the streets at his approach. It is also specified that the recipient shall not have to pay taxes and shall PTS. I-lv] TUNES OP COCHIN JEWS 81 enjoy all the benefits of the Raja’s administration. The opening line states that the charter was given when the Raja was in residence in Moyirikodu, the modern Cranganore,1 Although it is generally believed that the copper plates are dated 379 A.D. they have been attributed by different historians to the 4th, 5th, 6th, 8th or even the 11th century !* Since the plates are written in ancient Tamil, experts in this language may be able to throw additional light on the dating. I have a facsimile of the plates here, and I would appreciate it if you would look at the text. Jews arrived in successive waves at different times. The most important migrations took place from Persia in the 5th cen tury during the persecutions under Firuz (457-484 A.D.) The persecution was touched off in Ispahan and lasted for 10 years (474-484 A.D.). It extended to Babylon and many prominent Jews suffered martyrdom because of forced conversion. Many who were able to flee sought refuge in Arabia and India. The second most important migration to India took place after 1492, the expulsion of Jews from Spain, who refused to be converted to Christianity. When the Portuguese first established themselves in Cochin (1505 A.D.) there were no Jews there. A small colony of white Jews however existed about a mile and a half away on the coast designated by the Portuguese “ Senhora Soude.” The Jews’ colony called “ Cannan-Nagore ” or “ Cannan Town ” is said to have been founded by the white Jews about the year 1471 A.D.* $hellim Samuel writes in his chapter on Cochin Jews, “Apparently the dwindling trade at sea ” (through the silting up of its port) ‘ made the Jews venture to divert their trade interests to Cochin ‘which was a safe port, which they were probably the first to recognize, especially as they were constantly harassed and molest ed at Cranganore by the Moors backed up by theZamorin, whose main interests were centered in Calicut. The onslaught of the 1 . Mandelbaum, D., “ The Jewish W ay of Life in Cochin ” , in Jewish Social Studies, p. 425. .... • ' , . i i V,:.,; 'J i'ii I f 2. After superficial examination, Dr. Raghavan suggested the 7th century. * H 3. Padmanabha Menon—History of Kerala, vol. 1, p. 517, U 82 THE JOURNAL OF THB MADRAS MUSIC ACADEMY [VOL. XL Moors on the Jews of Cranganore in 1524 A.D. when the country side was laid waste, led to Cranganore being finally abandoned by the remnant of the Jews who had continued to eke out a pre carious existence. They ultimately sought refuge in Coehin. The Raja generously allotted them a site for a new town near his own palace, ca. 1565 A.D. The new settlement assumed final shape two years later in 1567 A.D. and is known as Mattancheri ot Jews’ Town at the present day.” (Quoted from Shellim Samuel, Beni Israel of Maharashtra State, Iyer & Iyer, Bombay, 1963, pp. 24-25). India proved at all times a safe haven from persecution and Jews have enjoyed complete freedom throughout their settlement except for the time when the Portuguese ruled this part of the world. About a decade ago there were still 1400 Jews in Cochin, that is, in Cochin, Ernakulam, Parur, Chennamangalam. Today there are less than three hundred Jews left in Kerala, all the others having emigrated to Israel. Among those are less than one hundred white Jews, almost all of whom living in Cochin. Like their Hindu neighbours they had been divided into castes which did not intermarry or eat with each other. There were three Jewish castes which had been designated in the literature as white, black and brown Jews. Others call them Myuhasim, Malabar iand Mshuhrarim, (namely: “ of lineage,” ‘’Malabar” and “ freed slaves”). The white Jews who are at the head of the caste hierarchy range in skin colour from a pale white to a medium brown ; in general their pigmentation is about the same as that of South Italians. The skin colour of the others is that of the natives of Cochin, ranging from a light brown to a deep brownish black.4 The black Jews were the most numerous and had seven synagogues. The white Jews had one synagogue called “Paradesi” (foreign) which is celebrating this year its 400th anniversary. In the last years the Jews tried to abolish the caste system under the 4. Anthropometric measurements and blood sampling show that the black Jews do not differ in any way from their Hindu neighbours. For further information on the physical make-up and bloodgrouping of the Jews, see Macfarlane, E.W., “ Preliminary Notes . . . on Bloodgrouping” in Current Science, (1936, Vol. 4 : pp. 65 J-54, quoted in Mandelbaum, op. c it,, p. 446.) -'I 'Siuj'u:? ,r. PTS. l-rv 3 TUNES OF COCHIN JBWS 83 Influence of the Jews abroad. Especially the ** Ingathering of the Exiles ” in Israel set an example : African and Arabian Jews are often black but have the same rights and privileges and the same education and schooling as the European Jews. There was never any segregation according to skin colour and Jews could intermarry freely, worship in the same synagogue and eat together; The life in Cochin was always conducted according to the strict precepts of an orthodox codex, the Shulkhan Arukh. While the mother tongue was Malayalam, boys and girls alike learned Hebrew. The men whose single garment was a waist-cloth, in evitably had a small skullcap of gaily coloured fabric on their heads. Rice and curry was their staple food, but meat-currics were never mixed with milk-curries. The synagogue entered into every social activity and moulded the personality of every indivi dual. It was and is the scene of all communal gatherings and all joyous occasions. Much surplus wealth was always lavished on the synagogue, especially on the gold and silver ornaments of the Bible (Sefer Tora) and the silks and satins of the draperies. The synagogue funds supported the poor, and the revenue from its lands provided decent burial or helped send the young through? college. Within the synagogue families vied for personal prestige; status was attained or lost in terms of synagogue prerogatives. The old men came to lounge and gossip, the children to play. One still does penitence and cries on the day of atonement, and dances on the day of Simhat Tora (Rejoicing of the law). Men and women live in the synagogue, around the synagogue, and through the synagogue, and participate keenly in its affairs. The synagogue knits people together, develops personalities, is the way of life of Cochin Jews, whether black or white. All life centres around the synagogue. Within its narrow limits, the Cochin colony has led a complete and coordinated existence for many centuries. It is only in the past twenty years that the Cochin Jews have started to look outward, and cohesion of the group has loosened up. Most of the Jews have left Cochin for Israel to fulfil an ancient dream of religious fervour, of identifica tion with the land of their forefathers, and not because of perse cution. Some of the remaining are so fully integrated into the Indian fabric of life that it is doubtful if they could be happy anywhere else outside India. 84 the journal of thb madras music acadbmy [Vol. xl Tradition has it that Jews came to the Malabar Coast from Yemen and Babylonia and Cochin Jews are interested to find proof for that belief, If it would be possible to find traits in common with the Yemenite or Babylonian music, customs and ceremonies, dress, food etc. and assemble sufficient evidence of relationships other than religious practices, which can be always learned from books and other Jewish communities, then belief would become evidence. In this brief report I propose to use music as a heuristic tool to help illuminate the historical and cultural past of the Jews of Cochin. In looking for the oldest musical heritage in any Jewish community the researcher goes to the synagogue. It is here that he hopes to find old melodies handed down from generation to generation, which may contain ancient elements reaching back to Temple times before the destruction of ancient Israel by the Romans (about 70 C.E.). Jews all over the world are proud of their ancient rites and traditions, and they have always tried to keep the music of the synagogue free of outside influences. That they have not always succeeded is another matter. Music of the synagogue is divided into (1) cantillation of the Bible and (2) prayer song. Of the two, cantillation is by far the more important traditionally—and the less changeable. Just as the Bible takes precedence over prayer, so does cantillation of the Bible over Prayer song. Prayer melodies containing elements of the Biblical cantillation are considered older than the ones where cantillation motifs are absent; While the musical signs, called Ta’ame Hammiqra, are fixed and identical in all Jewish communities regardless of geography, their melodic interpretation which has always been transmitted orally varies from place to place, and it is possible to detect by melodic structure alone where in the world this particular cantillation is practised. Eastern European cantillation is different from Western European cantillation. Yemenite is distinct from Babylonian or North African. The Spanish-Portuguese cantillation however has much in common with Sefardic cantillation of Europe or the Middle East, the Jews having all come from Spain after 1492. The Baby- I ts. i-iv] TUNES OF COCHIN JEWS ,85 Ionian traditions which include Iraq, Syria and Iran show also remarkable likeness among themselves and it seems certain that Baghdad had been the centre of diffusion, influencing far away communities by sending scholars and functionaries to teach. The Cochin cantillation shows several facets: the overall impression is European Sefardic, descendent from Spanish tradition. There are however several curious motifs from the Yemenite cantilla tion. It is the more remarkable since Yemenite cantillation does not resemble any other cantillation in the world. Not even the direction (high and low) of the motifs is the same. It seems that there was no direct transmission of cantillation from Israel of antiquity to Yemen and a confusion of the terms “ high’* and *4 low ’’ arose in consequence. What was considered in the North of Arabia “ high ” was considered, in Yemen, “ low ” and vice versa. It is therefore significant that Cochin cantillation should have neumes, namely, Rabia and a Zakef closely resembling the Sof Pasuq of the Yemenites. There are also resemblances with Kurdish cantillation, which bear the oldest elements of all Baby lonian cantillation. Since the centre of diffusion in the recent centuries as mentioned above has been traced to Baghdad, the Kurdish element must be an older heritage pre-dating Baghdad. In other words, Cochin cantillation is based on European Sefardic cantillation, brought in the 15th century from Spain, with elements of Yemenite and Kurdish cantillations, both considered older than the Sefardic. It is not quite clear whether the latter have been retained by the Jewish settlers as part of their original cultural heritage, namely brought from Yemen and Babylonia, when they first came, or have been introduced through later contacts with these countries. As to influences of Kerala music on cantillation, specialists have to be consulted. At the moment it is only the softness of the vocal line and the relaxed style of singing which points to Kerala. As to prayer song the most interesting are the so-called “Shingli tunes”. Shingli tunes take their name from the original place of settlement in India, Cranganore, which was called Muzhiris by the Greeks and Shingli by the Jews. It seems that Jews lived without interruption in Shingli from the first to the 15th centuries, and that these tunes may have been attributed to 86 THB JOURNAL OF THB MADRAS MUSIC ACADEMY [VOL. XL this period. It is interesting however that they are often con* sidered of secondary importance in Liturgy, being relegated e.g.* to the 2nd day of the New Year, Rosh Hashana or the 2nd Seder night rather than the first day of Rosh Hashana and the first Seder night. Is it possible that other tunes are considered of greater importance because the community believes that they are older and possibly from the original homeland, namely ancient Israel ? There are four types of Shingli tunes: (1) simple, folklike in character, (2) complicated, (3) drawn-out, heavy with melisma, and (4) tunes of an intermediate position between 1 and 2. Simple folklike tunes are, for instance, (iImri na” also used for Hakafot, some Simhat Tora tunes and Mi Sfarad Holakhti, while complicated arc for instance Areshet Sfatenu. ■ Some tunes like Imri na resemble in structure and rhythm Yemenite tunes and if sung by a Yemenite singer in throaty vocal manner and “ nervous” (jerky) rhythmic style of his country, could easily pass for Yemen te songs. For all we know, Imri na might be a Yemenite song, which through the smoothness and elegance of the Indian vocal style has changed its character (Example 1). Areshet Sfatenu is an example of the complicated, melismatic Shingli tune. It is drawn out and dwells lovingly on single vowels which are repeated. Here again the Sof Pasuq (the final clause of a phrase) of the Yemenites appears in its entirety as a principal motif, repeated in various forms eight times. The drawn out melismatic style is also reminiscent of Yemenite practice, especially during High Holidays, and the Yemenite Birkat (the Priestly Blessing) is also a counterpart of the Cochin Areshet Sfatenu. (Example 2). - The Shingli tunes then show in both styles, the folklike and the melismatic, similarities with Yemenite tunes. Is it ancient heritage or the influence of Yemenite individuals who came and settled here like Eliyahu Adni5 or Salih and taught the Cochinis the tunes of their country ? It is possible for individuals 5. His father came from Aden. (Information received from Samuel Hallegua, C ochin). W'-S' P t s. i-iv] tonbs of cochin jbws 87 with beautiful voices or learning, or both, to influence a commu nity through the medium of the synagogue. (This is, for example, how Iranian Jews were influenced by the Baghdadi musical style which supplanted, in most communities, the original Persian). In Cochin long motifs may be sung not only on one syllable which is drawn out but even on one vowel as o-o-o-, which is protracted. This manner of singing on one vowel and repeating it, is not done in Yemen and it may have its origin somewhere else (perhaps Kerala ?) or it may be a local develop ment. In any case, the style is typical of Shingli tunes. Another feature of Shingli tune* is that they can appear as “Leitmotifs’*, melody-types, as used in a maqam or raga. A Shingli tune would then be used either in variation or shortened, lengthened, embel lished, or only used in part. This technique is characteristic for Other Jews as well, including European Jews who used “steiger*** and so-called “ Missinai tunes ” of the llth~13th centuries in Central Europe. It is an oriental (Middle Eastern) practice which still survives among the Ashkenazim, the European Jews, who do not trace their provenance from Spain. Shingli tunes may have change of mode without modulation: e.g. Areshet Sfatenu changes Ecclesiastic Dorian to Ionian, or from the Arabic Bayat to Rast. The musical intervals measured with Monochord, Dodecachordon and electronic Stroboconn show microtonal structure. A prominent interval seems to be a ihree-quaiter tone of 150 cents, an Arabic interval. There are small, just and large minor thirds (290, 315, 318 cents), perfect and large major thirds (405 and 441), perfect fourths and acute fifths (723 and 740). All this has to be checked until the final scale can be established and conclusions drawn. Religious music of the Cochin Jews is Sefardic with trace* of Yemenite and Babylonian (Kurdish) styles. Further investigation may reveal additional influences of Kerala in addition to phrasing and intonation. It would be interesting to compare the interval structure of Kerala with the interval structure of Cochin Jews. Intervals and modality are usually influenced by the environment. For example : Arabian Jews use microtones and meqamat, while European Jews prefer the tempered scale and major and minor mode*. Jews in India have no doubt been influenced by Ragas, but the synagogue music has so far not shown any evidence of 88 THB JOURNAL OF THB MADRAS MUSIC ACADEMY [V O L. XL this. Some of the folkmusic of Cochini Jews, however, does show influence, and we have been able to trace and name some of the Ragas. But this is a subject which is in its preliminary stages of research only, and I am not as yet prepared to make statements. May I say in conclusion, that in the typology of music the investigator proceeds very much like the archaeologist: he looks for motif or pattern, these unique diagnostic means of identifying the art of a distinct period and culture. Where the archaeologist would look at the form, colour and texture of a pottery fragment, the ethnomusicologist would look for musical system, melodic and rhythmic patterns, performance practices, forms or musical instruments. The ethnomusicologist looks, like his colleague the art historian, for inner correspondences, the history of formation and change, and deals like the anthropologist with the style as a manifestation of the culture as a whole, the visible sign of unity, projecting the inner form of collective thinking and feeling. What is important here is not the style of an individual, or of a single art, but forms and qualities shared by all of music of a culture during a significant span of time, in a definite culture area. The culture area is Kerala in India, the span of time about 1900 years of continuous settlement in complete freedom and equality (except for the period under the Portuguese) a unique happening in the history of Jews. 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