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Mukherji-Handout-0056.Pdf 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 Indian classical music 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 Kanakangi C Db Ebb F G Ab Bbb C 2 Ratnangi C Db Ebb F G Ab Bbb C 3 Ganamoorti C Db Ebb F G Ab Bbb C INDU 4 Vanaspati C Db Ebb F G An Bbb C 5 Manavati C Db Ebb F G An Bbb C 6 Tanaroopi C Db Ebb F G A# Bbb C 7 Senavati C Db Eb F G Ab Bbb C 8 Hanumatodi C Db Eb F G Ab Bbb C 9 Dhenuka C Db Eb F G Ab Bbb C NETRA 10 Natakapriya C Db Eb F G An Bbb C 11 Kokilapriya C Db Eb F G An Bbb C 12 Roopavati C Db Eb F G A# Bbb C 13 Gayakapriya C Db En F G Ab Bbb C 14 Vakulabharanam C Db En F G Ab Bbb C 15 Mayamalavagowla C Db En F G Ab Bbb C AGNI 16 Chakravakam C Db En F G An Bbb C 17 Suryakantam 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 Natabhairavi C Dn Eb F G Ab Bbb C 21 Keeravani C Dn Eb F G Ab Bbb C VEDA 22 Kharaharapriya 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 Charukesi C Dn En F G Ab Bbb C 27 Sarasangi C Dn En F G Ab Bbb C BANA 28 Harikambhoji C Dn En F G An Bbb C 29 Dheerasankarabharanam C Dn En F G An Bbb C 30 Naganandini C Dn En F G A# Bbb C 31 Yagapriya C D# En F G Ab Bbb C 32 Ragavardhini 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 Chalanata 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 Jhalavarali C Db Ebb F# G Ab Bbb C RISHI 40 Navaneetam C Db Ebb F# G An Bbb C 41 Pavani 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 Bhavapriya 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 Divyamani 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 BRAHMA 52 Ramapriya 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 Shanmukhapriya C Dn Eb F# G Ab Bbb C 57 Simhendramadhyamam C Dn Eb F# G Ab Bbb C DISHI 58 Hemavati C Dn Eb F# G An Bbb C 59 Dharmavati C Dn Eb F# G An Bbb C 60 Neetimati C Dn Eb F# G A# Bbb C 61 Kantamani C Dn En F# G Ab Bbb C 62 Rishabhapriya C Dn En F# G Ab Bbb C 63 Latangi C Dn En F# G Ab Bbb C RUDRA 64 Vachaspati C Dn En F# G An Bbb C 65 Mechakalyani C Dn En F# G An Bbb C 66 Chitrambari C Dn En F# G A# Bbb C 67 Sucharitra 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 Kosalam C D# En F# G An Bbb C 72 Rasikapriya C D# En F# G A# Bbb C 7 Example 6. Bhatkhande’s description of the five rāgangas of the (Dorian) Kāfi tḥāṭ 8 Example 7. Generation of a phrase in rāga Bihāg, according to Bhatkhande 9 Example 8. Generation of surface phrases for rāgas belonging to the Bilāval, Khamāj and Kalyān tḥāṭs (based on Vishnu Narayan Bhatkhande’s description of surface phrase structure, and 3 as vādi, in these rāgas) 10 Selected bibliography: Bhatkhande, Vishnu N. (1909-32) Hindustānī Sangīta Paddhatī. Hathras: Sangeet Karyalaya. Cooper, Robin (1977) "Abstract Structure and the Indian Raga 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 'Kritis' and Their 'Sangatis'." Music Theory Spectrum 23/1, pp. 74-89. Morris, Robert D. (2006) "Architectonic Composition in South Indian Classical Music: The 'Navaragamalika Varnam'." In Analytical Studies in World Music. (Ed.) Michael S. Tenzer. Oxford: Oxford University Press, pp. 303-331. Morris, Robert D. (2011) "Tana Varnams: An Entry into Rāga Delineation in Carnatic Music." 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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