Rāga as Scale

42nd Annual Conference of the Society for Music Theory November 7, 2019 Columbus OH USA

Sam Mukherji University of Michigan, Ann Arbor ([email protected])

2 Example 1. Two theorists of North

Vishnu Narayan Bhatkhande (1860–1936)

Omkarnath Thakur (1897–1967)

3

phrases (1 and 3 performed by Amjad Ali Khan, 2 and 4 performed by Buddhadev Das Gupta) Ali2 and by Khan, (1 and Amjad 4 performed 3 performed phrases

rāga

Example 2. Four Example 2. Four

4 Example 3. Bhatkhande’s list of ten tḥāṭs, from his Hindustānī Sangīta Paddhatī (1909-32)

Tḥāṭ Scale structure (centered on C) Western equivalent

Pūrvī C Db Eb F# G Ab Bb C

Mārvā C Db Eb F# G Ab Bb C

Kalyān Lydian C Db Eb F# G Ab Bb C

Bilāval Major, or Ionian C Db Eb F# G Ab Bb C

Khamāj Mixolydian C Db Eb F# G Ab Bb C

Kāfi Dorian C Db Eb F# G Ab Bb C

Āsāvari Natural minor, or Aeolian C Db Eb F# G Ab Bb C

Bhairavī Phrygian C Db Eb F# G Ab Bb C

Bhairav C Db Eb F# G Ab Bb C

Tōdī C Db Eb F# G Ab Bb C

Example 4. Thakur’s list of six pedagogical rāgas, from his Sangītānjalī (1938-62)

Name Rāga scale (centered on C) Forbidden scale degrees

Bhoop C D E F G A B C 4 and 7

Hamsadhvanī C D E F G A B C 4 and 6

Durgā C D E F G A B C 3 and 7

Sārang C D E F G A B C 3 and 6

Tilang C D E F G A B C 2 and 6

Bhinna-shadạj C D E F G A B C 2 and 5

5 Example 5. The 72-scale melakartā system

Chakra # Name Mela (Scale or Collection) centered on C 1 C Db Ebb F G Ab Bbb C 2 C Db Ebb F G Ab Bbb C 3 Ganamoorti C Db Ebb F G Ab Bbb C INDU 4 C Db Ebb F G An Bbb C 5 C Db Ebb F G An Bbb C 6 Tanaroopi C Db Ebb F G A# Bbb C 7 C Db Eb F G Ab Bbb C 8 C Db Eb F G Ab Bbb C 9 C Db Eb F G Ab Bbb C NETRA 10 C Db Eb F G An Bbb C 11 C Db Eb F G An Bbb C 12 Roopavati C Db Eb F G A# Bbb C 13 C Db En F G Ab Bbb C 14 C Db En F G Ab Bbb C 15 C Db En F G Ab Bbb C AGNI 16 C Db En F G An Bbb C 17 C Db En F G An Bbb C 18 Hatakambari C Db En F G A# Bbb C 19 Jhankaradhwani C Dn Eb F G Ab Bbb C 20 C Dn Eb F G Ab Bbb C 21 C Dn Eb F G Ab Bbb C VEDA 22 C Dn Eb F G An Bbb C 23 Gowrimanohari C Dn Eb F G An Bbb C 24 Varunapriya C Dn Eb F G A# Bbb C 25 Mararanjani C Dn En F G Ab Bbb C 26 C Dn En F G Ab Bbb C 27 C Dn En F G Ab Bbb C BANA 28 C Dn En F G An Bbb C 29 Dheerasankarabharanam C Dn En F G An Bbb C 30 C Dn En F G A# Bbb C 31 C D# En F G Ab Bbb C 32 C D# En F G Ab Bbb C 33 Gangeyabhooshani C D# En F G Ab Bbb C RUTU 34 Vagadheeswari C D# En F G An Bbb C 35 Soolini C D# En F G An Bbb C 36 C D# En F G A# Bbb C

6 Example 5. contd.

Chakra # Name Mela (Scale or Collection) centered on C 37 Salagam C Db Ebb F# G Ab Bbb C 38 Jalarnavam C Db Ebb F# G Ab Bbb C 39 C Db Ebb F# G Ab Bbb C RISHI 40 Navaneetam C Db Ebb F# G An Bbb C 41 C Db Ebb F# G An Bbb C 42 Raghupriya C Db Ebb F# G A# Bbb C 43 Gavambodhi C Db Eb F# G Ab Bbb C 44 C Db Eb F# G Ab Bbb C 45 Subhapantuvarali C Db Eb F# G Ab Bbb C VASU 46 Shadvidhamargini C Db Eb F# G An Bbb C 47 Suvarnangi C Db Eb F# G An Bbb C 48 C Db Eb F# G A# Bbb C 49 Dhavalambari C Db En F# G Ab Bbb C 50 Namanarayani C Db En F# G Ab Bbb C 51 Kamavardhini C Db En F# G Ab Bbb C 52 C Db En F# G An Bbb C 53 Gamanasrama C Db En F# G An Bbb C 54 Viswambari C Db En F# G A# Bbb C 55 Syamalangi C Dn Eb F# G Ab Bbb C 56 C Dn Eb F# G Ab Bbb C 57 C Dn Eb F# G Ab Bbb C DISHI 58 C Dn Eb F# G An Bbb C 59 C Dn Eb F# G An Bbb C 60 Neetimati C Dn Eb F# G A# Bbb C 61 C Dn En F# G Ab Bbb C 62 C Dn En F# G Ab Bbb C 63 C Dn En F# G Ab Bbb C RUDRA 64 C Dn En F# G An Bbb C 65 Mechakalyani C Dn En F# G An Bbb C 66 C Dn En F# G A# Bbb C 67 C D# En F# G Ab Bbb C 68 Jyotiswaroopini C D# En F# G Ab Bbb C 69 Dhatuvardhini C D# En F# G Ab Bbb C ADITYA 70 Nasikabhooshani C D# En F# G An Bbb C 71 C D# En F# G An Bbb C 72 C D# En F# G A# Bbb C

7

ṭ

ā

ḥ

t

Dorian) Kāfi

s of the ( s of the

rāganga

Example 6. Bhatkhande’s description of the five of the description Example 6. Bhatkhande’s

8 Example 7. Generation of a phrase in rāga Bihāg, according to Bhatkhande

9

s)

s

ṭ

ā

ḥ

rāga

t

, in these

vādi

as

3

s belonging to the Bilāval, Khamāj and Kalyān s belonging Khamāj and Bilāval, Kalyān to the

rāga

(based on Vishnu Narayan Bhatkhande’s description of surface phrase structure, and

Example 8. Generation of surface phrases for phrases of surface Example 8. Generation

10 Selected bibliography:

Bhatkhande, Vishnu N. (1909-32) Hindustānī Sangīta Paddhatī. Hathras: Sangeet Karyalaya.

Cooper, Robin (1977) "Abstract Structure and the Indian System." Ethnomusicology 21/1, pp. 1-32.

Clarke, David (2017) "North Indian Classical Music and Lerdahl and Jackendoff’s Generative Theory: A Mutual Regard." Music Theory Online 23/3.

Damodara (1962) Sangīt-Darpanā. (Gujarati Commentary by R. L. Thakkar, Hindi Trans. & Ed. Vishwambarnath Bhatt from Sangītdarpanā (c.1625)). Hathras: Sangeet Karyalaya.

Gjerdingen, Robert O. (2007) Music in the Galant Style. New York: Oxford University Press.

Jairazbhoy, Nazir A. (1972) "Factors Underlying Important Notes in North Indian Music." Ethnomusicology 16/1, pp. 63-81.

Jairazbhoy, Nazir A. (1995) The Rags of North Indian Music: Their Structure and Evolution. Bombay: Popular Prakashan.

Larson, Steve (2010) "Path and Purpose in a Raga." (Paper presented at the First International Conference on Analytical Approaches to World Music, Amherst).

Mukherji, Somangshu (2014) "Generative Musical Grammar: A Minimalist Approach." (PhD Dissertation, Princeton University)..

Mukherji, Somangshu (2019) "A GLAM Manifesto." In International Music and Sciences Symposium Proceedings, Istanbul, Turkey, April 17-19, 2019. (Ed.) Ozan Baysal. Istanbul: Istanbul Technical University Press, pp. 491-519.

Mukherji, Somangshu (2020) "From Bernstein to Bhatkhande: (Indian and Other) Music as the Universal Language." (forthcoming in Analytical Approaches to World Music, special issue on the Shastra Symposium).

Morris, Robert D. (2001) "Variation and Process in South Indian Music: Some '' and Their 'Sangatis'." Music Theory Spectrum 23/1, pp. 74-89.

Morris, Robert D. (2006) "Architectonic Composition in South Indian Classical Music: The ' '." In Analytical Studies in World Music. (Ed.) Michael S. Tenzer. Oxford: Oxford University Press, pp. 303-331.

Morris, Robert D. (2011) "Tana : An Entry into Rāga Delineation in ." Analytical Approaches to World Music 1/1.

Powers, Harold S. (1980) "India, Subcontinent Of." In The New Grove Dictionary of Music and Musicians, Vol. 9. (Ed.) Stanley Sadie. London: MacMillan, pp. 69-91.

11 Powers, Harold S. (1992) "Reinterpretations of Tradition in Hindustani Music: Omkarnath Thakur Contra Vishnu Narayan Bhatkhande." In The Traditional Indian Theory and Practice of Music and Dance. (Ed.) Jonathan B. Katz. Leiden: Brill, pp. 9-52.

Powers, Harold S. (2010) "Sargam Notation and Rāg-Rāgini Theory." In Hindustani Music: Thirteenth to Twentieth Centuries. (Ed.) Joep Bor, Francoise Delvoye, Jane Harvey & Emmie te Nijenhuis. New Delhi: Munshiram Manoharlal Publishers, pp. 579-673.

Ramamatya (1932) Swaramelakalānidhī. (Trans. & Ed. M. S. Ramasvami Aiyer from Swaramelakalānidhī (c.1550)). Annamalai: Annamalai University.

Schachter, Michael L. (2015) "Structural Levels in South Indian Music." Music Theory Online 21/4.

Schenker, Heinrich (1906-35) Neue musikalische Theorien und Phantasien. Stuttgart: J. G. Cotta / Vienna: Universal Edition.

Thakur, Omkarnath (1938-62) Sangītānjalī. Hathras: Sangeet Karyalaya.

Venkatamakhin (1934) Caturdandīprakāśikā. (Ed. S. Subrahmanya Sastri, T.V. Subba Rao & T.L. Venkatarama from Caturdandīprakāśikā (c.1640)). Madras: Madras Music Academy.

Widdess, Richard (2016) "Analysing Ālāp: Historical, Cognitive and Linguistic Approaches to Indian Music." (Keynote address to the Fourth International Conference on Analytical Approaches to World Music, New York).

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