THE JOURNAL OF IE MUSIC ACADEMY MADRAS
A QUARTERLY OTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC
XIII 1962 Parts I-£V
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5tt i TOTftr 1 ®r?r dwell not in Vaikuntha, nor in the hearts of Yogins, - the Sun; where my Bhaktas sing, there be I, ! ” EDITED BY V. RAGHAVAN, M.A., PH.D. 1 9 6 2 PUBLISHED BY HE MUSIC ACADEMY, MADRAS 115-E, M OW BRAY’S RO AD, M ADRAS-14. "iption—Inland Rs, 4. Foreign 8 sh. Post paid. i ADVERTISEMENT CHARGES I S COVER PAGES: if Back (outside) $ if Front (inside) i Back (D o.) if 0 if INSIDE PAGES: if 1st page (after cover) if if Ot^er pages (each) 1 £M E N i if k reference will be given to advertisers of if instruments and books and other artistic wares. if I Special position and special rate on application. Xif Xtx XK XK X&< i - XK... >&< >*< >*< . tG O^ & O +O +f >*< >•< >*« X NOTICE All correspondence should be addressed to Dr. V. R Editor, Journal of the Music Academy, Madras-14. Articles on subjects of music and dance are accep publication on the understanding that they are contribute) to the Journal of tlie Music Academy. All manuscripts should be legibly written or preferab written (double spaced—on one side of the paper only) and be signed by the writer (giving his address in full). The Editor of the Journal is not responsible for t1 expressed by individual contributors. All books, advertisement, moneys and cheque ♦ended for the Journal should be sent to D CONTENTS 'le X X X V th Madras Music Conference, 1961 : Official Report Alapa and Rasa-Bhava id wan C. S. Sankarasivam a y r .. . £ ngita and Sringara . ^ -.• *& ^ By Vidwan T. N.C. v enkatanarayanachar. ithi Bhagavatam : Gollakalapam ^ By Sri Satyanarayana, Vijayavada earch on Musical Instruments of India By Vidwan S. Krishnaswami, Vijayawada iccheda in Krtiis Bv Vidwan V. V. Sadagopan, B.A . t are the Jatis as described in Bharata’s N Vastra By Swami Prajnanananda, Calcutta .a and Music Dr. V. Raghavan tional Music v Dr. Henry Cowell, New York "amasha y *(*. H. Ranade, Poona ; | § *upa • 'Tr. B. Chaitanya Deva Iritis of Sri Muthuswami .Jikshitar ■\ • By Veena Vidwan A. Sundaram Iyer Padavarnas from Tiruvarur Temple by Vidwan Sri Chinnathambi Pillai of 4arur ii CONTENTS A Suladi in Mohana Edited by Sangita Bhushana S. Ramanathan Two Padas Edited by Vidwan Sri T. Viswanathan A Felicitation Song On the Academy composed by Prof. Ratan Jankar... 1 B o o k R e v ie w s j •hhr D" By V. " mJPm dicondan jra § r c - 1 , y Iyer 2 0 3 -2 SUPPI’ 6 1 J v Mi cs, A Symposium cations and Criticism . Raghavan —Production and Publication P. Sambumurti 6— ;ation Work ita Kalanidhi G. N. Balasubrahmanyam 10— . Vidya Shankar ..i f :ism 'handrasekharan 1. parthasarathi ... * 20- ticism by T. Viswanathan 4 22 k—Rare Musical Instruments of South I jr 1y Sangita P ’ sharia S. Ramanathan j y and Public 7 oH c M usic mari N . Sh ' v . -ft ; of Musicans—My Experience R. V. ” f the Discussions THE XXXVth MADRAS MUSIC CONFERENCE 1961 OFFICIAL REPORT O '* • t The Opening Day 22nd December, 1961 The XXXVth Annual Conference of the Music Academy, Madras, was held in the Academy’s own new auditorium, 115-E, Mowbray’s Road, Royapettah, Madras from ihe- 22n3 December, 1961, to 5th January, 1962. Sri V. T. Krishnamachari, formerly Deputy Chairman, Planning Commission, opened the Conference and the connected festival of music and dance. Nagasvara Vidwan Sri P. Veeruswami Pillai of Tiruvidamarudur presided over the Conference and the deliberations of the Experts’ Committee. The Conference was attended by musicians and'musicologists from different parts of the Country and from abroad. As in the previous years the All- Inc^a Radio held the Seminar of its Light Music Unit in Madras during the time of the Conference which enabled a number of musicians attached to the different Stations of the Radio to attend the Academy’s Conference. The Opening Function was attended by a large and distinguished audience including members of(the various consulates in Madras. Sri V. T. Krishnamachari was received by Sri T. T. Krishna machari and other Office-bearers of the Academy and Dr. V. Raghavan, Secretary of the Academy, introduced to him the rs of the Executive and the Experts’ Committee of the ly and the President-elect of the Conference, Vidwan ruswamy Pillai. After a group photo of the office-bearers Vidwans present on the occasion with the distinguished Sri V. T. Krishnamchari was led to dais. THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII The proceedings began with the students of the Academy’s Teachers’ College of Music singing the prayer. Messages Sri T. V. Rajagopalan, one of the Secretaries of the Academy read the messages that had been received for the success of the Academy’s 35th Conference. The following messages had been received. His Holiness Sri Sankaracharya of Kanchi Kamakoti Peetham invoked blessings on the members of the Acacjemy and the devotees participating in the;Conference. -His Excellency Sri Bishnuram Medhi, Governor of Madras said in his message : “ It is of special significance that this year’s music festival will be held in the Academy’s own new auditorium. The Music Academy has a long record of devoted service to the cause of music and contribution made by the Academy towards the revival of fine arts, music and dance has been really outstand ing. I hope and trust the long series of performances which have been programmed will be greatly appreciated by musicians and music lovers alike and will prove to be a source of popular attraction. I send my very best wishes for the success of the 35th Annual Conference and Music Festival.” His Excellency Sri V. V. Giri, Governor of Kerala : “ You and your esteemed friends have made great sacrifice in the building up of the Music Academy, Madras and I am glad that this year’s Conference is being held in the Academy’s own new auditorium. I take this opportunity to congratulate you all for the services rendered. I wish your function success. ” Her Excellency Smt. Padmaja Naidu, Governor o Bengal, wished success to the 35th Conference and Festival. His Highness the Maharaja of Jammu and Kashmir best wishes. pTS. I-IV] THE XXXVth MADRDS MUSIC CONFERENCE 3 The Hon’ble Dr. B. V. Keskar, Minister for Information and Broadcasting said in his message: “ I am glad to know that your annual conference is opening this time under the Chairman ship of Shri V. T. Krishnamachari. The Academy has rendered distinguished service to the cause of music about the details of which I need not expatiate upon. I send my best wishes for a successful Conference this year. ” The Hon’ble Sri M. Baktavatsalam, Home Minister, Madras wrote Started thirtyfive years ago, following the historic session in Madras of the Indian National Congress, the Academy has indeed grown into a mighty art organisation. We owe a great debt of gratitude to all those who have nursed this institution. It is a matter for pride and happiness that the ensuing festival should be held in its own auditorium. Illustrious patrons, teachers and masters of our fine Arts are participating in the Conference. I offer to the Conference my warmest felicitations and I wish the festival every success. ” Dr. Sir. A. L. Mudaliar, Vice-Chancellor of the Madras University, wrote: “ The Music Academy, Madras, has by its devoted services established itself as an organisation which has catered to the advancement of music of a very high order. Its conferences and convocations (sadas) have merited just recogni tion. It is indeed but fitting that on this occasion the services of my esteemed friend, Rao Bahadur Sri K. V. Krishnaswami Iyer, President of the Music Academy, should be properly re cognized for the monumental work that he has done in promoting these Conferences every year. ’He has now, through the efforts of well-wishers and friends, built a new auditorium which is the first of its kind in India to be constructed for such functions. I wish the Music Academy every success. May it continue for long and play its worthy role in the music world.” ' £ Dr. P. V. Rajamannar wrote : ” It is with great pleasure that I send this message to the thirty-fifth annual conference and Music Festival of the Madras Music Academy. As you say, I am well-acquainted with the activities of the Madras Music Academy and I have more than once-paid my tribute to the great and good 4 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII work which the Academy has done and is doing and I am sure, will continue to do for the preservation and progress of Carnatic Music. The Annual Festival is an epitome of the best musical and dance talents and the Conference is a course in musical education. I particularly commend the attempt of the Music Academy to present a global view of Music which will develop a catholic sense of appreciation of Music in general and the place of Carnatic music in the music of the world. I wish the Conference and Festival all success. I am particularly gratified to learn that the Conference and Festival will be held in the Academy’s own new auditorium, the first one of its kind in the City.” Sri N. Raghunatha Iyer, wrote: “ The completion and occu pation of its own premises by the Aeademy is a landmark in the history of that body, which symbolises thirty years of hard work and its devotion to the greatest of our aits on the part of its architects. I am sure that a new and even more glorious chapter in the history of the Academy begins to-day. With increasing facilities for study and research and for the integration of theory and practice, the Academy should grow into a full fledged music University. On this auspicious occasion I offer my congratulations to the respected president of the Academy, Mr. K*. V. Krishna- swami Iyer, and to his colleges like your goodself who have built up this worthy institution by their practical sagacity and steady faith. I wish the session all success.” Message had been received also from the Banaras Hindu University, and Central Sangeet Natak Academy, the College of Indian Music, Dance and Dramatics, Baroda, Prof. G. H. Ranade, of Poona and Mr. Brij Narain of Sursingar, Bombay. Sri J; C. Mathur, of the Ministry of Information and Broad casting, wrote: Like many friends and admirers of the Academy I send my good wishes for the success of the function and continued activities of the Madras Music Academy which is one of the pioneer institutions in the country in this field.” Sangita Kalanidhi Sri R. Srinivasa Iyer telegraphed the function every success. 5 P t s . i - iv ] t h e XXXVth MADRAS m u s ic c o n f e r e n c e 5 Sangita Kalanidhi Rajamanickkam Pillai wished the Confer ence success. Sangita Kalanidhi Marungapuri: Gopalakrishna Iyer sent his best wishes to the Academy and felicitations to the President elect Sri Veeruswamy Pillai. Sangita Kalanidhi Sri T. K. Jayarama Iyer, retiring President of the Conference, said: THe Annual Sessions of the Music Academy are always looked forward to by musicians and music lovers alike. Apart from the unique series of concerts, the deliberations of the musicologists stimulate interest and crystallise expert opinion in the several aspects of music. The ensuing session is of added significance in that it will be held in the Academy’s own new premises. May the new premises with Sri Rama’s grace bring renewed prosperity and success to our Academy and also help in bringing musicians closer.” Smt. Rukmani Devi and the Kalakshetra sent their best wishes. iv The Vani Vilas Sabha, Kumbakonam, the Indian Institute of Fine Fine Arts, Madras and the Rasika Ranjani Sabha, Mylapore sent their best wishes. Sri Rajaganesa Dikshitar of Chidambaram sent his best wishes and prayed to Lord Nataraja who was worshipped that day and was the embodiment of fine arts, to make the Academy’s function successful and its activities progress further. Mr. Arthur Isenberg of the Ford Foundation, Delhi sent his cordial greeings and good wishes to the Academy and said: “ May the Madras Music Academy continue to flourish and to do ever more fruitful work in its splendid new building for the benefit of all true lovers of good music.” The eminent American Composer and friend of the Madras Music Academy, Mr. H.enry Cowell: “ Please tell my friends and colleagues that to my wife and me the experience 6 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII of hearing 1955-57 Conference is the greatest one of our lives, and we feel profoundly privileged to have been permitted to attend. If we possibly could, we would come again this year. Since we cannot, we send warm greetings.” The International Music Council, Paris sent greetings and all good wishes for the success of the Thirty-fifth annual Music Conference of the Madras Music Academy. It congratulated the Academy particularly “on the international breadth of represen tation including musicians of orient and Occident cordially.” Mr. Ch. Gilpatric of the Rockefellor Foundation, New York : “It is heartening to know that this splendid effort to perform the best in South Indian music continues with the vigour and broad appeal that it had in the past.” The Director of the English Folk Dance and Song Society, London sent his Society’s greetings and good wishes. The Music Educators’ National Conference, Washington sent their messages for the success of our 35th Conference. The Institute of Comparative Music in the Tropical Museum of Amsterdam conveyed its best wishes., and informed that a Dutch student of Indian music proposed to come here for our next Conference and study Indian music. Miss Barabara Smith of the Music Department of the University of Hawaii, Honolulu said in her message: “ Your distinguished record of past accomplishments and your present position of eminence among institutions of artistic and scholarly interests attests the highest quality of intelligent and artistic devotion to music. It is a privilege to send greetings, best wishes and * aloha ’ to all the participants.” The Central Music Library in Israel sent the message on behalf of the musicians and music lovers of Isreal wishing the important Conference full success in all its undertakings. The message added: “In times like ours, when disharmony rules 4 PTS. I-IV] THE XXXVth MADRAS MUSIC CONFERENCE 7 among nations and cultures, it is art’s and artists’ special duty to seek possibilities of building a spiritual bridge over the abyss of violent difference of opinion, contributing in this way, to some degree, to the furtherance of brotherhood and peace.” Sri. T. T. Krishnamachari’s Speech Sri T. T. Krishnamachari, Vice - President of the Academy, then speaking in Tamil, said that it was a great pleasure and honour for the Academy to have for the opening of its Conference that year a person of the eminence of Sri Y. T. Krishnamachari and for presiding over the Conference a vidwan of the higest traditions in Nagaswaram music like Sri Veeruswami Pillai. Sri T. T. Krishnamachari made a reference to the new auditorium of the Academy and appealed to the public to make liberal contributions for the completion of the auditorium. The auditorium, he said, was'not yet complete and they had decided to hold the Conference in it as an experiment so that they might be able to test the acoustics of the auditorium and examine the problems of the seating, lighting etc. Welcome Address Dr. V. Raghavan, one of the Secretaries of the Academy, then read an Address of Welcome to Sri V. T. Krishnamachari. H e sa id : D e a r S ir , * “We welcome you not only to the Music Academy and its Conference, but also to your home-city of Madras from which your varied and distinguished official duties had taken you away for over three decades. At the present moment, Public life in Madras badly needs the august presence, ripe wisdom and sage counsel of Vayo-vriddhas, Jnana-vriddhas and Sila-vriddhas like you. “The evolution of Baroda as a model progressive State was largely due to your Dewanshi" that State. Later you played a notable part in the progress of the political status of the Country 8 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII in the Round Table Conferences in London. In Free India you have again played a distinguished part as Member and Chairman of several Committees and Commissions, working in India as well as abroad, and the most important of these offices you have held recently and which have made contribution to the building up of New India were your Vice-Presidentship of the Constituent Assembly and the Deputy Chairmanship of the National Planning Commission. “We have been requesting you for the past few years for your active association with our Conference but you have been expressing your unwillingness on the ground that you are not a connoisseur of music. To those who have seen you in Delhi or recently at our own Academy in Madras, your interest in Carnatic music and dance will be obvious. A product of the Cauveri-delta, you have, of course, listened to some of the greatest masters of the earlier generation whose memory we cherish now. We feel we made a wise decision in pressing our invitation upon you and we are indeed grateful that you agreed to open our 35th Conference. “We are very glad that we have been able to enlist the sympa thy and help in our work here of one who has had long and rich experience as an Administrator and Statesman in various fields of national work. In Baroda you did signal service in the promo tion of arts and letters through various venues of cultural work like the Gaekwad's Oriental Series in which were published Bharata’s Natya Sastra with Abhinavagupta's Commentary, Narada’s Sangita Makaranda etc. “Many good causes in the Country in the field of social welfare and educational advancement have been benefited by your interest in them. The cause of Culture is something which is most important in national life, as it embodies national life in its most attractive phase ; by strengthening it, one of the strongest bonds of the unity of the Country is further strengthened and helped to play fully its consolidating role in national life. “We in this Academy have been labouring over these three decades and more with this high purpose in view. In the present Pts. i-iv ] t h e XXXVth MADRAS m u s ic c o n f e r e n c e 9 juncture in our work we may be said to be on the threshold of a new era of enlarged activity. Our new auditorium where we are holding our Conference this year will be the springboard of our great future expansion. In the realisation of our long-cherished desire for a model auditorium, we have received wide support from friends and the authorities at the Centre; but for the full completion and equipment of this Hall we need further and larger help. We have every hope that your sympathy and your gift for looking at plans and projects in a practical way will prove to be a great asset to us. “We consider it highly auspicious that you have gladly associated yourself with this our first Conference in our new - building. We now-jequest you, Sir, to inaugurate our 35th Conference and the connected Festival of music and dance.M Dr. V. Raghavan then presenter! on behalf of the Academy the Welcome Address enclosed in the silver frame. Opening Address Sri V. T. Krishnamachari then delivered his inaugural address. He said: ** I am deeply grateful to the Music Academy for the honour it has done me in asking me to inaugurate the 35th Annual Conference and Music Festival. I accepted the invitation with considerable hesitation as, unlike those who inaugurated these conferences in previous years, I cannot claim to possess any proficiency in music. But I have followed for many years the excellent work done by the Academy and welcomed the opportu nity to express publicly my appreciation of the great contribution the Academy is making to the cultural life of India. My sense of obligation is all the greater as this Conference is being held in the hall of the new building, to enable us to test its acoustic properties. The formal opening is to take place later. But it is a matter of satisfaction to all of us that the building has advanced to the present stage. It is our earnest hope that, with increasing public support, it will be completed soon. 2 10 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIIl ** From 1927, the year in which it was established, thanks to the efforts of selfess and dedicated workers, the Madras Music Academy has been rendering valuable service to the advancement of the science and art of music and dance. ** Among its many-sided activities, the annual Conference and Music Festival should be mentioned first. This has become a notable annual event to which all lovers of music look forward eagerly. In these festivals, they have the opportunity of listening to the musicians in the country— a most enriching experience. All the performances are in the best classical tradition and help to educate public taste and raise its level. The performances are not confined to Carnatic music. Experts in Hindustani music are also invited. Opportunities are also afforded to young musicians at all these conferences and rising talent is encouraged. To those who are interested in the science of music and dance—the technical aspects—there are discussions in which the best experts in the field participate. In recent years, that annual conferences have assumed an inter-national character. Musicians from other countries take part in them and read technical papers brining out the similarities between Indian music and the system in their coun tries. These contacts are proving useful to both sides. “ Possibly the most important of the Academy’s activities is the Teachers’ College of Music which was established in 1931 for training teachers who would give instruction to young men and women on sound classica llines and assist in maintaining high standards of purity. Eminent musicians are associated as Principal and Professors in this college ; and teachers trained in it are serving in many institutions and spreading knowledge of music. Every year about 35 trained teachers are leaving the College. I am glad that there are proposals for permanent build ings for the college and hostel. These are badly needed. “ The Academy is also publishing a Journal devoted to the advancement of the science and art of music. This is edited by Dr. Raghavan with great ability and has won wide appreciation in the rest of India and in other countries. The Academy ha* % t P t s . i- iv } t h e XXXVth MADRAS m u s ic c o n f e r e n c e 1] also published critical editions of standard works on music and dance. “ The annual reports of the Academy refer to the programmes of work for the future which can be carried out if facilities can be made available. Dr. Rajamannar, in his inaugural speech last year, mentioned two lines of work which are of fundamental importance. The first is ‘ preservation ’—making extensive tape recordings of renderings of compositions by our leading musicians so that their special techniques may be available for succeeding generations. I understand the All India Radio has been making tape recordings of such renderings in the last three years. But much has to be done in this field and the Music Academy should also participate in this. Nearly fifty years ago savants from England showed interest in recordings of music in India. They sent out a team to this country. I happened to work in Tanjore then and remember assisting in the project by inviting eminent musicians like Tirukkodikaval Krishna Iyer to have their music recorded. These records could not, however, be kept for more than 3 or 4 years. The techniques of recordings have been perfected recently and we should now make every effort to preserve the music in all parts of India as rendered by the best musicians. The second is research. I commend the project which the Academy has in mind for an Institute of Comparative Music and Dance. The Academy, with its extremely competent expert advisers, is capable of developing such an Institute and running it efficiently. I hope that as part of the present building pro gramme, public support will be forthcoming for providing the facilities needed for carrying out these two projects. “ Problems connected with India’s cultural unity are now being discussed widely. Music has always played a great part in bringing about this unity. In India music always had an intensely spiritual aspect. It is a way of approach to Reality. As has been said often, music in India had its origin in the Samaveda. The best music in all parts of India gives expression to the nation’s highest spiritual aspirations and is a valuable element in our cultural heritage. This has been brought out in the Chapter op 12 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII * nada yoga ’ in the introductory thesis by Dr. Raghavan to the “ Spiritual Heritage of Tyagaraja”. Later came the devotional songs in the different languages. These have common themes. They are based on the great epics and have shaped the minds and souls of the common people of India for many centuries. The cultural unity of India over the ages is due largely to these devotional songs which are a living force among the people. These unifying forces should be strengthened. It is necessary that the different regions should get to know the best music in other regions. The music academies and sabhas which are spreading rapidly in India are useful for spreading such knowledge. “ Until 15 or 20 years ago, speaking broadly, the best tradi tions in music were kept alive by the support of Rulers in Indian States. The examples of Mysore and Travancore are known to all of us here. The renowned musicians who are household names in South India enjoyed their patronage and devoted them selves to teaching talented students and thus presering the high traditions of music. The Carnatic School of Music owes much of its present position to these Rulers. Similarly, the Rulers of Baroda assisted in building up a body of well known musicians in western India. With the changes that have taken place in recent years, new ways had to be found for promoting the study and teaching of music and dance. The Music Academy took the pioneering lead in this. These is, no doubt, that the answer lies in the movement initiatiated by the Academy viz., the formation of Academies and Sabhas, with large memberships, for supporting music and drama. Such Academies and Sabhas have now grown up in most parts of India. This movement has infinite possibili ties for good. Also, thanks largely to the high standards set by our musicians, along with the spread of the movement, the purity of the classical tradition is also maintained. More and more again, the] barriers between Carnatic and northern Indian music are breaking down and there is increasing appreciation in northern India of Carnatic music and in south India of Hindustani music. All these are;powerful factors for promoting national unity. “ In this connection, I should like to pay a tribute to the enlightened support the Central Sangeet Natak Akademi is giving Pts. i-iv ] t h e XXXVth MADRAS m u s ic c o n f e r e n c e 13 to institutions like the Madras Music Academy which are engaged in cultural activities. The Akademi is playing a great part in bringing about close understanding between cultural organizations in the different regions and promoting common outlooks. Tribute should also be paid to the All India Radio for its efforts to promote knowledge and understanding of India’s musical system, and of their basic unity. “ I should like before concluding to make an appeal to Governments, public and enlightened men and women in this region for generous support to the building programme of the Academy. The Academy has incurred heavy obligations on this account. I have indicated briefly how important projects can be promoted if the buildings can be completed at an early date and the equipment and other facilities needed can be made available. “ I have now much pleasure in inaugurating the Conference and Music Festival.” Sri V. T. Krishnamachari then declared open the 35th Conference and the connected music and dance Festival. The New Building Sri K. k. Sundaram Aiyar, Treasurer of the Academy, then made a statement about the new auditorium of the Academy. He said that a further sum of Rs. 8 to 10 lakhs were needed to com plete the programme of work on the auditorium, including equip ment, and appealed to the members and music lovers and patrons to extend their support and enrol themselves as donors and patrons of the Academy. Vote of Thanks Sri V. K. Ramaswami Mudaliar, m .l . a ., one of the Trustees of the Academy, thanked Sri V.T. Krishnamachari for his having agreed to open the 35th Conference and music Festival. Election of the President Sangita Kalanidhi Vidwan Sri Mudicondan Venkatarama Iyer then proposed Vidwan Veeruswami Pillai as President of thp ,1 4 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII 35th Conference and the motion was seconded and supported by Vidwans Budalur Krishnamurti Sastrigal, Embar Vijayaraghava- chariar, Tiruvizhimizhalai Subramania Pillai, Narasimhalu Naidu and Messrs. K. Chandrasekharan and Kalyanam Iyengar of Tirupathi. The President, Vidwan Sri Veeruswami Pillai, then speaking in Tamil, acknowledged the honour done to him by the members of the Experts’ Committee and the Executive of the Academy in electing him as President of the 35th Conference. After thanking them, the President said that on his behalf Sri K. Sounda- rarajan, one of the Secretaries of the Academy, would read the Presidential Address. Presidential Address After tendering his respectful thanks to the President, the Academ y, Vidvans and Vidushis, the Executive Committee, the Experts’ Committee and the lovers of music assembled at the Conference, and after paying his respects to Sri V. T. Krishnama chari who had opened the Conference to be presided over by him, Vidwan Veeruswami Pillai said in the course of his address that # he had no doubt that the Academy would grow into further eminence in the years to come. Recalling the circumstances under which 34 years back the Academy was born from the music annexe of the All-India Congress in 1927 in Madras, he said that it was easy to start institutions, but difficult to foster them and develop them on the proper lines. He paid tributes to the Founder-President Dr. Rama Rao and to Sri K. V. Krishnaswami Aiyar who had over the years developed the institution fur-' ther and to the members of the Executive Committee who, like one family, had worked together and brought the Academy to its position of importance. It was only those who co-operated and participated in the Academy’s Confernces that could really know and realise what industry went into the conduct of the Conference and with what great caie vidwans were attended to and honoured and with what patience the Executive tried to move, without any difference, with all the artistes, with due dignity and affection. P t s . i - iv ] THE XXXVth MADRAS m u s ic c o n f e r e n c e 15 If one looked at the printed programme of the Confernce, the President continued, one would find that starting with the deliberations of the Experts’ Committee at 8 A.M. in the morning and going on through the concerts to 12 midnight, there was an uninterrupted flow of music. From all parts of India, and during the recent years from all parts of the world too, musicians and scholars came and participated in the Conferences of the Academy which itself showed the great progress achieved by the Instituton. They the vidwans were eternally bounden to this Institution for organising and conducting such a huge conference every year and honour them thereby. If the faith that the Institution belonged to them would take root in the minds of vidwans, their co-operation and full support would be a matter of course. The President continued “I have been connected with the Academy and its Conference for several years in an intimate way. I should express my gratitude to the musicians and the Academy for nominating me to the Presidentship of the Conference this year. The opportunity thus afforded to me this year, I think, is unique. For, this is the first Conference being conducted in the beautiful auditorium newly built by the Academy and the honour which is being done to me on this occasion is due to my luck. Usually I am referred to among the musicians and music loving public as a lucky person. It was also given to me to play auspicious Nagaswaram music on the day on which the religious ceremony of Grihapravesam of this building was performed by the Academy. > t. v V • * { *' “Man is an eternal student. What I am going to learn in the Conference as President from senior masters and the students alike will be very much more than what I had already learnt. As I stand here, I see before my mental eyes, the great figures of the stalwarts of our profession, Veenai Dhansammal, Konerirajapuram Vaidyanatha Iyer, Poochi Srinivasa Iyengar, Pushpavanam Iyer, Karaikudi Veena Brothers, Kanchipuram Naina Pillai, Tiger Varadachariar, Fiddle Govindasami Pillai, Gottuvadyam Sakharama Rayar, Koranadu Natesa Pillai, Semponarkoil 16 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII Ramaswami Pillai, Mannargudi Chinna Pakkiria Pillai, Madurai Ponnuswami Pillai, Chidambaram Vaidyanatha Pillai, Tirupam- puram Nataraja Sundaram Brothers, Tiruvaduturai Rajaratnam Pillai and others. I was fortunate to have had close acquaintence and the benefit of the association with all those stalwarts. Many of them stand in the relation of Guru to me. I was directly the pupil of the eminent Nagaswaram Vidwans, the Tirupamburam Brothers. I have had the good fortune to have played along with most of the Nagasvara Vidwans mentioned above. “I do not agree with those who go on harping that the standard of Carnatic music has gone down and the end is not far away from us. If one impartially examines the situation one would find that in several matters there has been progress registered over the conditions that existed in the past. There was unnecessry competition and jealous attempts to foil the accompanists and other unbecoming features in the past. Musicians also did their practices secretly to avoid others trying to know them. Such unhealthy features no longer exist. The reason is, institutions like the Academy have brought together the musicians and made them mix and show their knowledge and make public whatever was rare and important. The interming ling of vidwans from the North, the recording of music and several other circumstances and facilities available today have really served the cause of the art in every direction in ways not possible in the past. These have indeed contributed to the growth of the art. Unfortunately apart from speaking about it in a pious way, owing to the lack of facilities, we do not have today any record of how Maha Vaidyanatha Iyer sang or Tirukodikaval Krishna Iyer played, but today there are undreamt of facilities to preserve music. Hundreds of institutions have grown. Thousands of listeners listen to music today. Far greater co-operation exists among musicians today. “Nagaswaram occupies an importat place in our music. It has continuously served the growth of our art. It is an undisputed instrument. It is an instrument of auspicious ness. It is an instrument giving full scope to imagination, improvisation P t s . i- iv ] t h e XXXVth MADRAS m u s ic c o n f e r e n c e 17 and the display of the intricacies of rhythm. It is an instrument which does not stand in any need of amplifiers. It is an instru ment forming an integral part of our temple. It is an instrument which is the first adjunct of any auspicious occasion in our society. “ In our paramapara are preserved authentic and correct versions of the compositions of the musical trinity. I may recall hear the attempts of our teacher to bring out a volume of the kritis of Dikshitar. Madurai Ponnuswami Pillai was a research scholar amongst us. Dharmakartas of Maths like Dharmapuram Adheenam, who have been rour patrons, have preserved old manuscripts among which are also music works. “In the past, the art was fostered by the kings, landlbrds and rich men. Times have now changed. To some extent the role of the patron is being played by the State, at the Centre *as well as in Provinces. But to a greater degree, this Academy, the All India Radio, the Tamil Isai Sangham, the Kalakshetra, the Annamalai University, the T. T. Devasthanam, the Central Karnataka College of Music, Madras, the Svati Tirunal, Academy, Trivandrum, and the Central Sangeet Natak Akademi, Delhi, as also several Sabhas, fill the role and bear the burden of fostering and supporting music. I should on this occasion refer to the very important act on the part of the Sangeet Natak Akademi and the Governments in giving pensions to indigent and disabled artistes. “The support which the Madras Government is giving to the Nagasvaram is praiseworthy. The Hon’ble Minister for Religious Endowments and the Commissioner of Religious Endowments, as also his colleagues, have organised the school for Nagasvaram and Thavil at Palani and I have the privilege of being one of the supervisors of the School. A similar school is being run at T. T. D., Tirupathi. Another school has just been started under the auspices of the Central Karnataka College, Madras. However it is necessary to mention that the remuneration given to the Nagasvaram players in the temples is still low and 3 18 THE JOURNAL OF THE j»5ADRAS MUSIC ACADEMY [VOL. XXXIII this sad situation requires to be remedied by the further support of the Government. I would submit my earnest request in this behalf. “Sastras declare the art of music as divinity itself, as Nadopasana, as an easy path to salvation, as a magic instrument of exaltation, as a medicine for ills, as a magnet attracting all the planets, as a means of bringing rains, as rejuvenating the dead like Providence itself, and as a light which great souls have seen and described according to their experience in diverse ways. About the Sastras dealing with music and its Lakshya and Lakshana, and on the method to learn it, there are continuous discussions in Conferences. Whatever the eminence of music as an art, it should be accepted that it is also a means of livelihood, enabling its exponents to live a respectable life. This is a fact and there is no need to be shy in saying this. It should also be realised that we, the rank and file of muscians, cannot consider ourselves as avatara purushas like the great Tyaga Brahmana nor are we Sanyasins who have transcended the ego. We have therefore to consider the ways by which the younger generation amongst us could progress through the art of music, utilising it for their livelihood. The younger generation today are going to be the vidwans of the future. They should choose proper teachers and master the art well. The teachers also should put forth their effort and teach them well in a benevolent way. It is necessary that the students should undergo the required Sadhakam. They should preserve their health as well as their voice and in this respect we should take lessons from our brothers in the North who have many features worthy of adoption by us. The completion of one’s learning should be attended by the quality of modesty which is the characteristic of learning. Humility is the polish of learning and the adornment of the learned. “ It is not enough if one becomes a vidvan. To utilise the art as a means of one’s livihood, there are ways and methods : First of all a spirit of co-operation with fellow-vidwans. The more t e - Pts. i- iv ] t h e XXXVth MADRAS m u s ic c o n f e r e n c e 19 one realises that one belongs to a family of the children of the one Muse, the greater will there be prosperity, One need not doubt the fact that so long as there is knowledge in the world, real art will be respected. Politics, factions etc., which rule in the mundane world are uncivilised symptoms so far as this art is concerned. Music is different from other walks of life. Also there are limitations to the practitioners of this art which other professions legal, medical etc., do not have. Apart from the co-operation among musicians there is also a great deal which organisations like this Academy could do further, in improving the material facilities of artistes. The vidwans move about a great deal for doing their performances and it cannot be said that travel is convenient; a good deal remains to be done in this respect by the authorities concerned,,. If an actual calculation is done, it will be clear that half the life of the artist is spent on the trains and conveyances and in resting places ; and as health is the basis of both voice and performance, improved facilities in this respect would be a great blessing to the artistes. The matter may be explored whether it would be possible for special reservations in carriages for artistes could be provided for. At important centres hostels for their stay would also be a great help. This is a matter which would facilitate greatly the work of the Govern ment departments like the All India Radio and the great institu tions like the Academy who invite and entertain a large body of artistes from time to time. It would not be difficult to enforce discipline on the musicians ; if it is known that organisations and departments would give these facilities only to those musicians who show a spirit of co-operation and accommodation, the discipline will naturally grow among them. The art and its exponents belong to the public. “ Music is a highly respected aid of livelihood and one should use it in a proper way so that one would be able to live with respect and dignity. My prayer to the Lord is that true art should grow and that its exponents flourish and this Academy become more and more famous through its patronage of the art and the 20 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII artistes, this Conference should be a success and all those who have undergone proper gurukulavasa, both teachars and pupils, who participate in the Academy’s Conference make the Session a success. “ I once again tender my thanks for electing me President of this year’s Conference.” p S sO m tD gL-6B){r g>8sQ6iiir ^jeuir&(erTjS(&jibt dsx.i^.iif6rr6rr e£l^ev/r6srserr e£l &,isifl&6rr. GluiFlCSiumreseh , 6&&6U& eroenu fit ireurrS& J&lGsriraeir, ^(W jGiy,UJ 6 ® £p/T673)61/^5 ^ JD IB 6016U,<25@ LJJ^IOIT&ST eQ.. ip. 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Q&tiiuj (26u6$vr®ii> crm (8p. 6T6ora(9j ^6$ iSafor®LD 6p(i^(Lp6Lnp ereor rseirr jd&n'jj p Qt&ffteQ & gp er&n p&oeaiLD ^.6S3(r6siiu (Lpy. ^ ^ ja Qar6T(6n)t£l(8p6VT, 28 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII After the Presidential Address, the proceedings of the Opening day came to a close with the Nagaswaram recital by the President of the Conference. He was assisted by Vidwans Sri P. A. Shanmukham Pillai on the Nagaswaram and accompanied by Vidwans Sri T. S. Mahalingam Pillai and T. R, Govindarajan on the Thavil. v Conference Souvenir In connection with the 35th Couference, the Academy brought out a Souvenir giving an account of the activities of the Academy in all its departments and the detailed programme of the whole series of performances of music and dance. The Souvenir carried also articles on subjects of music * Sri Subbarama Dikshitar’ and ‘What is Art in music’ both by Vidwan Sri Mudicondan Venkatarama Iyer, and ‘ Vasudevachar, musician and composer’ by Vidwan Sri N. Chennakesviah. Accounts of recent publications of the Academy, the Sangitasampradayapra- darsini-Tamil script edition and the two-books on Abhinaya and the public functions held for their release were also given. The Souvenir which was profusely illustrated, contained besides the pictures of the leading composers and the Kalanidhis of the Academy, an illustrated supplement relating to the religious Grihapravesam ceremony of the new auditorium of. the Academy conducted on the 14th December, 1961. P t s . i - iv ] t h e xxxvth m a d r a s m u s ic c o n f e r e n c e 29 Agenda of the Conference The following was the Agenda of the Conference : 1. Talks & Demonstrations:— (i) President Vidwan Sri Veeruswami Pillai—Method and Technique of Nagaswaram Playing. (ii) Prof. R. Srinivasan—Aesthetics of Prosody and Rythm in music. (iii) Vidwan Sri Budaloor Krishnamurti Sastrigal—Rare Ragas Malavi, etc.—Gottuvadyam and Vocal. (iv) Vidwan Sri Madurai Subrahmania Iyer—Pancha- ratna kritis. ^ (v) Vidwans Sri Vidyala Narasimulu Naidu and Sri Chandrappa—Pallavi in Vachaspati Raga and one of the Marma Talas. (vi) Vidwan Devakottai Narayana Iyengar—Veena Playing. (vii) Vidwan Sri M. A. Kalyanakrishna Bhagavatar—Veena Playing. (viii) Vidushi T. Brinda—Javalis. (ix) Vidwan Tinniyam Venkatarama Iyer—Pallavi in Sarabhanandana Tala. (x) Vidwan Veeriah Chowdhury—Tana in Ghana Raga Panchaka and Kshetriya Padas. (xi) Vidwan Chennakesaviah—Four Old Rare Varnas. (xii) Settur K Sundaresa Bhattar—Songs from Valli Bharatam. 2. Discussions:— Teaching Methods in Music—to be initiated with demonstration by Sangita Kalanidhi Sri Mudicondaq C. Venkatarama Iyer. 30 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII 3. Recital of New Compositions:— (i) Vidwan T. N. C. Venkatanarayanacharlu—Sringara Rachanas. (ii) Vidwan Sri C. Rangiah. (iii) Sri Ogiralla Veeraraghava Sarnia. 4. Papers with Demonstrations :— (i) Sri B. Subba Rao—Art and Joy of Composing. (ii) Vidwan Sri V. V. Sadagopan—Problems of Padaccheda in Compositions. (iii) Vidwan C. S. Sankarasivam—Raga Alapana and Rasa Bhava. (iv) Vidwan Mannargudi Sambasiva Bhagavatar—Musical Appropriateness in Tyagaraja Kritis. (v) Sri S. Krishnaswami, Vijayawada—Researches on Indian Musical instruments and their Migrations in the early period, with exhibition of photographs of Indian musical instruments. 5. P apers:— (i) Sri H. Yoganarasimham of Mysore—Voice and Voice Culture according to the Sastras. (ii) Sangita Bhushanam Sri S. Ramanathan—Raga Malava- gowla through the Ages. (iii) Swami Prajnanananda of Calcutta-Jatis in Bharata. 6. D an ce:— Veethi Bhagavatam (Gollakalapam)—Annabathula Venkataratnam and Party, Mummidivaram. 7. Musical Acculturation— Prof. J. Spector, N ew York. Any other subject to be taken up with the President’s approval. £TS. I-IV] THE XXXVth MADRAS MUSIC CONFERENCE 31 Experts’ Committee Meetings THE FIRST DAY 23 rd December, 1961 The meeting of the Experts* Committee of the Music Academy, Madras convened in connection with its 35th Conference, opened its sittings this morning at the Academy’s premises. Vidwan Sri Veeruswami Pillai at the outset appealed to the members of the Experts’ Committee and Vidwans to extend their cooperation in the conduct of the proceeding of the 35th Conference and announced that the proceedings would open with the auspicous recital of the Psalms of Andal. Tiruppavai Vidwan K. V. Narayanaswami then rendered select songs from Tiruppavai, accompanied by Sri Kandadevi Alagiriswami on the violin and Sri Umayalpuram Sivaraman on the Mridangam. He first rendered the two invocatory verses Nela tunga in Sanskrit and Annavayal in Tamil, both Bhoopala. The selections from Tiruppavai included Margazhi-t-tingcil-Natta ; Ongi ulagalanda - Arabhi ; Azhimazhai - Varali ; Mayanai-Sri ragam ; Pullum silambina - Sankarabharanam; Keechu Keechu-Bhairavi; Keezhvaanam vellendru- Dhanyasi ; Ambarame - K alyan i; Pullinvai - Athana. Complimenting Vidwan Sri Narayanaswami and Messrs. Alagiriswami and Sivaraman of the excellent recital, President Veeraswami Pillai observed that it was due to to His Holiness Sri Sankaracharya of Kanchi Kamakotipeetham that the Tiruppavai had become so popular in recent years and that the fine musical settings given to them by their seniormost performing Vidwan Sri Sangita Kalanidhi Ariyakudi Ramanuja Iyengar had made them more popular, in fact fit enough to be used for a whole concert of Tiruppavai. Dr. Raghavan then announced that the programme of papers, discussions and demonstrations, etc., would begin with the 32 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII talk on ‘Raga- Mayamalavagowla through the Ages’ by Sangita Bhushanam S. Ramanathan, and observed that it was but proper that the discussions on Carnatic music and its theory and practice should start with a discussion about Mayamalavagowla which was the bed-rock of the practice of Carnatic music. Mayamalavagowla Through the Ages - Sri S. Ramanathan said that, as pointed out by Dr. Raghavan, it was appropriate to begin the technical discussions of the Con ference with Malavagowla raga which was of basic significance and was familiar to every student of Carnatic music. Ramamatya referred to it as the foremost of ragas (Raganam Uttamottamah). Venkatamakin referred to it as the gowla mela. If one studied the Jaatis, the fore-runners of the ragas mentioned in Bharata, the combination of Suddha Rishabha and Antara gandhara and Suddha Dhaivata and Kakali Nishada was not found therein. But Takka raga had been mentioned by Matanga in his Brihaddesi as having Antara Gandhara and Kakali Nishada. Strangely enough, this raga was found in Muthuswami Dikshitar’s kriti on Sundaramurti Nayanar as well as in Tyagaraja’s Rakasasivadana, and in both, the raga conformed exactly to its description in Brihaddesi, even with reference to its Alpa-panchama. The Brihaddesi described the Gowla raga as derived from the Takka raga : “ Takkah Gowda- bhidha-raga-hetuh ”. The raga Mayamalavagowla had its parallel in the Pan Indalam of the Tevaram. Though it is not found in the 264 ragas mentioned in the Sangitaratnakara, Kallinatha its com mentator equated it with Taurushka, meaning a raga derived from Muslim influence, a fact which had its paralled in the Tamil lexicographical work Pingala nighantu which mentioned pan Indalam as coming from the North. Govinda Dikshitar, in his Sangita Sudha, criticised Rama matya for calling Malavagowla one of the best ragas, as he said it was not so well-known in his time. This could be explained by the fact that only a little earlier, Purandaradasa had introduced this raga for the purpose of the preliminary exercises for beginners like Svaravalis, Jandai, etc. Muthuswami Dikshitar’s first song Srinathadi was in Malavagowla and Dikshitar gave the arohana Pts. i-iv] the xxxvth madras music conference 33 and avarohana of this raga in three degrees of speed, as if approving of the system of beginning the preliminary exercises in the Malavagowla. Subbarama Dikshitar criticised some of the modern musicians and scholars of his time who wanted to change to Sankarabharana for the beginners, and asked whether this new notion was to satisfy the Europeans. Sri Ramanathan’s talk and discussion thereon continued on the 24th. THE SECOND DAY 24th December, 1961 When the Experts’ Committee meeting convened in connection with the 35th Conferenc of the Madras Music Academy re assembled on the second day under the Presidentship of Vidwan Sri Veeruswami Pillai, Sangita Bhushanam S. Ramanathan continued his talk on Raga Malavagowla and Vidwan Sri M. A. Kalyanakrishna Bhagavatar gave a talk and demonstration on Veena-playing. Malavagowla Tracing the antiquity of the Malavagowla, Sri Ramanathan referred to the group of five ragas referred to as ‘ ghanapanchaka ’ and showed their ancient affiliations and parallels in Tevaram- music. He drew attention to Tyagaraja’s Dudukukala in Gowla where in the first charana, the sanchara went down to Mandra Rishaba. Ramamatya’s description of Malavagowla as having chyuta madhyama gandhara and chyuta shadja nishada, the speaker said, held good even to this day. Explaining the universal vogue of the Malavagowla and its prevalence in folk music, the speaker referred to the tune called Anandakkalippu which Nagaswaram players used to play during temple festivals. The reference in the Ratnakara and the commentary thereon by Kallinatha to the Taurushka raga which corresponded to Malavagowla, the Speaker said, could also be verified by the occurrence of this mode in Muslim prayers. The raga occured also in the first namavali o f 5 34 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [V OL. XXXI the Tallapkakkam composers. The speaker quoted from the books of Popley and Fox-Strangways and observed that their theories that the Malavagowla developed from Mukhari or Kana- kangi was devoid of basis in tradition or facts. On all these grounds the speaker said there was ample justification for the antiquity of the raga and its being used for beginning exercises in Carnatic music. Thanking the speaker for his comprehensive talk on Mala vagowla, President Veeruswami Pillai referred to the occurrence of the raga also in the tune called Kavadi-pattu and agreed that the raga was ancient and was of univeral vogue. Vidwan Devakottai Narayana Iyengar expressed his agreement that the raga was most suited for practice of svaravali etc. Sri B. Subba Rao observed that from his knowledge of both Hindustani and Carnatic music, he could say that there was ample basis for the importance attached to the Malavagowla and its corresponding Hindustani scale, the Bhairav. The Bhairav was considered to be A di raga and was used for practice in the mornings. Dr. Raghavan referred to the opportunity they had recently in the city to listen to Bulga rian music played by the members of the Bulgarian Cultural Delegation and in all their songs, he said, it was Mayamalavagowla that was heard. Veena-Playing Then, at the request of the President, Vidwan M.A. Kalyana- krishna Bhagavatar spoke on practising the playing of Veena as he had learnt in his sampradaya. He was accompanied by Vidwan Karaikudi Muthu Iyer on the Mridangam. Vidwan Kalyanakrishna Bhagavatar said that there were some slight differences in the practice as he had in his sam pradaya; for example, there was much gamaka in the practising of the notes in the avarohana, for which a single finger was employed. While developing the raga he said there should not be too many m eettus, but there should be karvai. While playing the sahitya, the m eettu should accord with the aksharas and for the continuity of the sound, soft m eettus should be employed. After illustrating with the playing of the sarali, the vidwan developed the Bhairavi raga. Singing snatches Vl o Pts. i-iv ] t h e xxxvth MADRAS m u s ic c o n f e r e n c e ( 35'■( of the raga vocally now and then, he showed how it was difficult to bring out on the strings all that the voice could produce and yet he said it was necessary to produce all that on the strings and that concentrated Sadhakam was necessary for that. Playing in the mandra-sthayi, the Vidwan emphasised its importance and deplored its paucity today. He then demonstrated the playing of Tana according to his own sampradaya and then the kriti Upacha- ramu. The Bhagavatar’s recital concluded with a Javali. The President Sri Veerauswami Pillai and Vidwan Devakottah Narayana Iyengar complimented the Vidwan and thanked him for his excellent recital. Sri Embar Vijayaraghavachariar, who also spoke in appreciative terms of the Veena-playing that they had listen to, stressed the importance of Veena which he said was a divine instrument handled by Siva himself as Dakshinamurti. THE THIRD DAY 25th December 1961 At the third day’s meeting of the Experts’ Committee convened in connection with the 35th Conference, Vidwan Veeruswami Pillai presiding, Mannargudi Sambasiva Bhagavatar gave an exposition of Musical Appropriateness in Tyagaraja Kritis and Vidwan Davakottah Narayana Iyengar of Tanam Playing on the Veena. Tyagaraja Kritis Vidwan Sambasiva Bhagavatar said that among other beauties, Tyagaraja kritis had an unique appropriateness of the music echoing the idea conveyed and the feeling expressed. This he illus trated by singing portions from a very large number of kritis. He showed how for example whenever respect and obeisance were intended there were avaroha sancharas and whenever something that was high or grand was intended the Sanchara was in aroha. This way of setting phrases suitably to suggest the idea and devotional moods could be seen in almost all the kritis of 3 6 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII Tyagaraja. The Bhagavatar was accompanied by Sri T. N. Rama- murti on the violin and by Sri Coimbatore Srinivasan on the Mridangam. Expressing his appreciation of the talk and demonstration by Sri Sambasiva Bhagavatar, Embar Sri Vijayaraghavachariar gave some more examples of musical appropriateness in Tyagaraja kritis and observed that even the Sangatis set by Tyagaraja had their own bhavas and no alterations could be introduced in them. Sri S. Parthasarathy, complimenting the speaker, recalled that the late Sri Srinivasa Raghavan, who represented the Tillas- thanam Sampradaya of Tyagaraja’s pupils used to revel in that way of enjoying Tyagaraja kritis. Apart from the interest and vastness of the subject of musical appropriateness in Tyagaraja kritis, Sri Parthasarathy said that this idea could also be used to check on the correctness of the Patha and detect any changes that had recently been introduced. He illustrated this by the kritis Evarura and M itri bhagyeme. He said that Tyagaraja had used different ragas and brought out same effects and feelings by appropriate phrases in these different ragas. There were also kritis which could be analysed to show the artistic way in which Tyagaraja had used Suddda svaras to reveal the idea and feeling he had in mind and illustrated this with the kriti in Nabhomani-Nayeda vanchana and the piece in Gurjari. This kind of suggestiveness could also be seen in the Nadai, Eduppu and Tala employed by Tyagaraja in different pieces. Veena Playing Then Vidwan Devakottah Narayana Iyengar assisted by his daughter Kumari Vedavalli and accompanied by Vidwan Muthu Iyer on the Mridangam gave a demonstration on Veena. The Vidwan, a pupil of the late reputed Veena Vidwans, the Karaikudi Brothers, said that his teachers had said that there were 32 ghana ragas in which they had to practice tana and o f these he said he would play the first and the second Panchakas. Accordingly he gave a demonstration of Tana in the well-known P t s . i- iv ] t h e x x x v t h MADRAS m u s ic c o n f e r e n c e 37 Ghana-raga-panchaka, Nata, Gowla, Arabhi, Varali, and Sri and then in the second panchaka, Kedara, Narayanagowla, Reetigowla, Bowli and Sama. He emphasised the need for the playing in the Mandra Sthayi. He then played a short Pallavi Inta telisi innatira which was handled by the late Karaikudi Brothers and finished his demonstration with a Javali in Suruti, Vegane by Poochi Iyengar. Thanking the Vidwan on behalf of the Academy, Sangita Kalanidhi Mudicondan Venkatarama Iyer said that playing of the two Veenas by the father and daughter on this occasion remin ded him of the late Karaikudi Brothers whose style was preserved by Vidwan Narayana Iyengar. This type of music, Sri Venkatarama Iyer said, was music that ‘stayed in the ear.’ Complimenting Sri Muthu Iyer, he said that he was the only Mridangam Vidwan who had, since the days of Karaikudi Brothers, the longest service as a perfect veena-accompanist. * Expressing his appreciation of Sri Narayana Iyengar, Vidwan M. A. Kalyanakrishna Bhagavatar said that niraval and raga particularly were difficult on the veena, whereas playing on the svaras was not so difficult. He said that there were some tradi tions of Veena playing such as that of the Karaikudi Brothers, that of Veena Dhanam and that of his own sampradaya in Trivand rum. He appealed to the Academy that an effort should be made to .codify the principles and methods of Veena practice and playing. Thanking the Vidwans, Dr. Raghavan said that now that the Academy had its own building, they were thinking of enlarging their College work and proposed to start Veena classes also. THE FOURTH DAY 26th December, 1961 When the Experts’ Committee convened in connection with the 35th Conference of the Madras Music Academy met again on the 26th, with President Veeruswami Pillai in the Chair, there was a Pallavi demonstration by Vidwan Vidyala Narasim- 38 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII halu Naidu and his pupil Vidwan Sri S. Chandrappa, a talk with demonstration on Ragalapana and Rasa-Bhava by Vidwan Sri C. S. Sankarasivam of Madurai and a talk with demonstration on Sringara Rachanas by Vidwan Sri T. N. C. Venkatanarayanachar- yulu of Guntur. Pallavi Demonstration Vidwan Vidyala Narasimhalu Naidu, introducing the Pallavi to be demonstrated, said that the Tala aspect of our music was as great and intricate as the raga aspect, and it was the duty of the learned bodies like the Music Academy to make Vidwans and learners familiar with rare Talas and their manipulation. He said that the Pallavi taken up for the morning’s demonstration was in Sankeerna Chaturasrajati Ata-Triputa tala in 30 akshara-kalas, belonging to the Marma Tala group of Hanuman Mata ; that is, it was a Pallavi in a composite dvi-tala, Sankirna-Ata plus Chaturasra-Triputa ; the words were Karuna joodavamma Kanchi Kamakshi Mayamma. The Pallavi was performed by Vidwan Sri S. Chandrappa, pupil of Sri Narasimhalu Naidu, and accom panied by Vidwans Sri V. V. Subramaniam on the Violin and Sri Kunjumani on the Mridangam. Sri Chandrappa was complimented by the President and Sangita Kalanidhi Sri Mudicondan Venkatarama Iyer. The latter recalled the Pallavis demonstrated in the previous Conferences and observed that the Academy’s Experts’ Committee Sessions had created a new interest in and enthusiasm for Pallavi singing. Ragalapana Then Vidwan Sri C. S. Sankarasivam read a paper with demonstration on Raga Alapana. Introducing him, Dr. Raghavan said that he was a pupil of the late Harikesanallur Muthiah Bhagavater and a Samasthana Vidwan of Ramnad ; at present he was the Principal of the Sadguru Sangita Vidyalayam, Madurai. In the course of his paper Sri Sankarasivam explained the nature of Svaras and their vadi-samvadi-vivadi-anuvadi relations, the conception of raga and the relation that the rasas and bhavas * 2 2 - PTS. I-IV] THE XXXVth MADRAS MUSIC CONFERENCE 39 bore to them. He also explained the nature of ancient Jatis and the characteristics of Nyasa, Amsa etc that determined a raga. He then analysed the ragalapana into its parts of Aakshiptika, ragavardhani ctc^ and illustrated these by singing. He concluded his talk and demonstration by rendering two compositions of the late Muthia Bhagavatar, a k riti in Kambhoji, Ratnakanchuka, and a Tillana in Mohana. Thanking the Vidwan, the President of the Conference observed that the Academy had brought to light many a learned musician who had been in comparative oblivion and hoped that in future all vidwans would come forward and co-operate in the excellent work of the Academy’s Experts’ Committee meetings. Sringara Rachanas %% ■ ' '■■■*. Si. % §»*■& Vidwan Sri T. N. C. Venkatanarayanacharyulu of Guntur then read a Paper in Tamil on the importance of the sentiment of love as applied to devotion (Madhura Bhava) in musical composi tions. Tracing the history of music and music compositions, he showed almost the universal vogue of this rasa in compositions, particularly in those that figure in dance. He sang an example each o f Tana Varnast Rada Varnas, Radas, Javalis and Tillanas. Expressing his appliciation on behalf of the Academy, Vidwan Mudicondan Venkatarama Iyer said that Sri Venkatanarayana charyulu combined in himself the knowledge of theory, the art of compositions and ability to play on the Veena. Thanking him Dr. Raghavan referred to the different kinds of works and compositions standing to the credit of the Vidwan. Dr. Raghavan announced that in connection with the talk on Researches on Indian Music Instruments to be given during this Session by Sri S. Krishnaswamy of Vijayawada, an exhibition had been arranged in the Experts’ Committee hall, of pictures of a very large number of Indian music instruments, ancient and modern, including those found in sculptures and paintings. The exhibition would be kept till the 1st of January, 1962. 4 0 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII THE FIFTH DAY 27th December 1961. At the Experts’ Committee meeting of the’Music Academy convened in connection with its 35th Conference, held this morning, with the President Vidwan Veeruswami Pillai in the Chair, Sri B. Subba Rao of Nagpur gave a talk and demonstra tion on the Art and Joy of Composing and Smt. Venkataratnam and Party from Mummidivaram gave a demonstration of Veethi Bhagavatam (Gollakalapam). New Compositions Introducing Sri B. Subba Rao, Dr. Raghavan said that he was proficient both in Hindustani and Carnatic music and author of the compilation Raganidhi in which he had dealt with 760 ragas, giving a cross-study of the ragas of both the schools of music. In the present sesssion he was giving a demonstration of select examples of his own compositions. Sri Subba Rao said that there was a peculiar joy in the art of composing and instanced the case of the Baigas of the Madhya Pradesh ; men and women of the Baiga tribe stood on two sides and whenever a vistor came they would invite him to propose a subject and they would start singing improptu poetry on the.given subject. Sri Subba Rao said that he had his inspiration chiefly from the late Vasudevachryar, whom he revered as his family guru. Recalling Vasudevacharyar’s visit to Jullunder, Sri Subba Rao said that during his stay in Bhopal Vasudevacharya composed a Ragamalika on the Begum of Bhopal. Sri Subba Rao sang one of the songs of this Ragamalika. Giving an account of his own compositions, he said he had composed Geetas, Varnas and Kritis ; kritis in Hindustani language and Carnatic ragas; Varnas in Hindustani-ragas to fill up the gap of the absence of Varnas in Hindustani music, some of which have been recorded by the All-India Radio ; and, similarly kritis to make up for the absence in Hindustani music of kritis of the Carnatic type, with full Sahitya and devotional ideas. Two geetas of Sri Subba Rao in Udayarcivichandrika and Surati in Kannada language, a Varna of his in Darbari-Kanada for Hindustan1 Pts. i-iv ] t h e xxxvth MADRAS m u s ic c o n f e r e n c e 41 musicians and a Sanskrit Kriti by him on the great composer Sri Tyagaraja, were sung by his nephew Sri Ravindran. Dr. Ramaswami, another nephew of Sri Subba Rao, then sang one of the latter’s twelve compositions on Sai Baba in Carnatic ragas. Sri Subba Rao’s sister Smt. Lalita Bai Shamanna then sang a Kriti in Carnatic Kambhoji on Goddess Sarada of Sringeri. Thanking the Academy for giving him an opportunity to place before the Vidwans some of his own original compositions, Sri Subba Rao said that he had made a gift to the Academy of his compilation called the Raganidhi for publication. Dr. Raghavan thanked him on behalf of the Academy and the President of the Conference. Gollakalapam s Sri Y. Satyanarayana Rao, Vijayawada, then gave a talk on the Veethi Bhagavatam (Gollakalapam) and introduced Smt. Anna- batula Venkataratnam and Party who demonstrated select portions of the Gollakalapam. He explained how the art took this form and the significance of its names Veethi Bhagavatam and Golla- Kalapam. This art-form he said was related by its representatives to the Uparupaka called Srigadita described in works on Sanskrit dramaturgy. There was only one actress or dancer who was a versatile artist proficient in music, dance, literature and philo sophy, The sentiment depicted was love in separation and the heroine poured out her heart to her companion. There was a Sutradhara who acted as a clown and a companion. There was a lady musical accompanist and along with Mridangam, there was also Konnakkol. The theme of the dance Gollakalapam had many versions, but the earliest was composed by the famous saint- poetess Tarigonda Vengamamba of Tirupati. The Sahityatook the form o f a dialogue between a milkmaid and a Brahmin arid frequently soared into philosophical truths. During the course of the show, the lady artiste sometimes sings sometimes dances, sometimes interprets the songs in elaborate gestures, improvising certain parts of the Sahitya and sometimes discussing with the Sutradhara the truths of philosophy, Thus this from of dance became also a medium 6 4l THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII of popular education ; there were quotations from all religious and scriptural writings, the Gita, Upanishads, Puranas etc. The text of the composition comprised Darus for the appearance of a character (Pravesa) etc., and there were also verses in metres like Kandam and Seesa. A noteworthy point was that when a Daru had been sung on a sublime idea by the heroine, the Vidushaka would follow up singing a song of parody, substituting a ridiculous subject for the noble one in the main song. Among those who were responsible for setting the from of this Veethi Bhagavatam, was Bhagavatula Ramayya. While the Koochipudi was done by the males alone, the Veethi Bhagavatam had a female dancer as chief artist. In the last century there were quite a good number of gifted dancers of the Gollakalapam, but unfortunately now the art had dwindled considerably and Smt. Annabatula Venkata- ratnam and her old Brahmin guru were perhaps the only persons surviving in this tradition. The songs were cast in traditional Carnatic Ragas and Talas and the Jatis and the Adavus were the same as found in South Indian dance. Before the actual perfor mance began there were Rangapuja, Melaprapti etc., in the traditional style and these preliminary items were done behind a curtain held by two persons. Then, assisted by her daughter Satyavati and Sri Achyuta Ramayya as Sutradhara and clown, Smt. Venkata- ratnam performed select portions of Gollakalapam. First she showed from behind the curtain held by two persons, the preliminary music, dance aiid Ranga-puja. She first introduced the theme with the Daru on Golla and her greatness. The Daru was sung, danced and gesticulated in detail, in the style of the abhinaya o f Padas. When the heroine sang the Daru on the greatness o f the Golla, the Sutradhara-Vidushaka sang a parody on lime-shell. She then gave a daru on M ajjika or butter-milk and its greatness. This was followed by a daru on the question of who a real Brahmin was and she made fun of the Sutradhara. A beautiful Dasavatara-sabda was then rendered, followed by a sabda on Tripurasamhara. The demonstration came to a close with the Gajendramoksha (Mandooka) sabda and the Parasurama Sabda, both by Kasinatha of Merattur. P t s . i - iv ] t h e x x x v t h MADRAS m u s ic c o n f e r e n c e 43 Thanking Sri Satyanarayana and Smt. Venkataratnam and Party for the talk and demonstration of Veethi Bhagavatam, Dr. Raghavan drew attention to the importance of these different dance-forms in various parts of the Country, their inter-relation and the underlying unity of not only the forms in India proper but also of similar forms current in regions of Soutfi-East Asia. He recalled the talk which Prof. Hooykaas of London University gave some days back under the auspices of the Sanskrit Ranga on Indonesian Drama, where he mentioned the prevalence of the practice of the buffoon following up an actor or actress with a song of parody, such as they had just then witnessed in Gollakalapam. Dr. Raghavan mentioned the exact parallel to this in Koodiyattam which represented the Kerala tradition of the Sanskriti drama. The dance-forms of Andhra showed also their close relations with the Tanjore district as was seen in the Sabdas of the ^lelattur Kasinatha being handled by the Telugu traditions and referred in this connection to his paper of Melattur Kasinatha, a sabda- composer published in the Journal of the Madras Music Academy. All these diverse dance froms were, he said, like shattered pieces of the glorious edifice of Bharata’s Natya Sastra as it was, found in India and South-East Asia and it would indeed be the greatest achievement, if like French Archaeologists who restored the entire Ankor Vat, according to its original form and design, we were able to rebuild the entire art of dance and dance-drama as based on Bharata’s Natya Sastra. THE SIXTH DAY 18th December 1961 At the meeting of the Experts’ Committee of the 35th Confe rence of the Music Academy, Madras held this morning, Vidwan Veeruswami Pillai presiding, Vidwan Tinniyam Sri Venkatarama Iyer presented a Pallavi in the rare Sarabhanandana Tala and Sri Vidwan S. Krishnaswami of Vijayawada spoke on Indian Music Instruments and Researches in their history and Migrations in the early period, ft 44 THB JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII Pallavi Explaining the nature of the Pallavi prepared by him specially for the session, Vidwan Tinniyan Sri Venkatarama Iyer said that the Sarabhanandana Tala which he had taken up was not found in any of the lists of 108 or other groups of Talas mentioned in works. Tradition had it that Sri Syama Sastri once sang a Pallavi in this and they had known about this from Sri Natesa Sastri of Syama Sastri’s line. The Sarabhanandana consisted of 24 angas & 79 aksharas one guru o f 8 aksharas, one laghu o f 4 aksharas, one druta o f 2 aksharas, one laghu o f 4 aksharas, and another laghu o f 4 aksharas, a druta o f 2 aksharas and an anudruta o f 1 akshara, a Laghu virama o f 5 aksharas, 3 drutas o f 2 aksharas each and an anudruta o f 1 akshara, a laghu druta o f 6 aksharas, a laghudruta virama o f 7 aksharas, a laghu virama o f 5, a druta o f 2, an anudruta o f 1, a druta of 2 and an anudruta o f 1} druta o f 2, laghu virama o f 5, a druta o f 2, a druta-virama of 3, and laghudruta of 6. The words were Kamakotipeetha viharini etc., in the former part and Karuna- kari kanjadalalochani etc. in the latter part. The Pallavi was sung and played by pupils trained by Vidwan Tinniyan Venkatarama Iyer, Kumari C. Suguna (vocal), R. Venkaraman (violin) and Kumari A. Jayalakshmi (Mridangam). ■ , A The President Sri Veeruswami Pillai complimented Vidwan Sri Tinniyam Venkatarama Iyer and his pupils on the difficult Pallavi they had prepared and presented. Sangita Kalanidhi Mudikondan Sri C. Venkatarama Iyer said that he too had heard from the late Valadi Krishna Iyer about Sri Syama Sastri having sung a Pallavi in Sarabhanandana Tala. Expressing his appre ciation of the young lady artistes who performed the Pallavi, Vidwan Mudicondan Venkatarama Iyer made a fervent appeal to the young gentlemen in the field of music to come forward similarly and practise similar difficult Pallavis. Vidwan Vellore Gopalachariar doubted whether these calculations were intended for Gayakas and Sri V. B. ,Ramiah Pillai opined that these were part and parcel of learning and the mastery of the intricacies of music had its own place. PTS. I-1V] THE XXXVth MADRAS MUSIC CONFERENCE 45 Music Instruments Introducing the next speaker, Dr. Raghavan said that Vidwan Sri S. Krishnaswami was the brother of the well-known Gottu- vadyam Vidwan Narayana Iyengar and was himself proficient in both Carnatic and Hindustani and vocal and instrumental music ; he had long' been in the service of the All India Radio and over a number of years he had been collecting drawings and photographs of music instruments found in different parts of India, among the sophisticated as well as the tribal people, and of instruments depicted in sculpture and painting, in India as well as in the South- East Asian regions. A few hundreds of these charts depicting instruments had been brought by him and part of them was exhibited at the present Conference. Sri S. Krishmaswami first explained the exhibits which he had put up and than read his Paper on Research on Music Instruments India. He gave an account of the instruments as they were seen in the oldest literature and the evolution of the instruments as we had them now, Vina, Sitar, Sarod etc. He pointed out how several instruments had fallen out of vogue, of the stringed as well as percussion group. The mere description of these instruments in the books received valuable help in the matter of their recon struction by the actual depictions in sculpture and painting. There were allied questions of the social and cultural background of the instruments and what was more important, the technique of their manufacture and their handling in the concerts. The speaker then dealt at length with some of the typical instruments like the bow-shaped vina and the Tamil Yazh and showed their far-reaching migration outside the country in the ancient times. Speaking on the paper, Sri B. Subba Rao suggested that institutions like the Vadyalaya in Madras should take interest in the work of Sri Krishnaswami and try to reconstruct if possible some of these ancient instruments. Thanking the speaker on behalf of the Academy and the President of the Conference, Dr. Raghavan said that though there 4 6 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII were catalogues of music instruments preserved in museums in India, Sri Krishnaswami’s formed the largest collection of drawings and photographs of the great wealth of Indian musical instruments. The collection showed not only the wealth of the ancient instruments, but also the migrations of these instruments to countries outside India, e.g., the Ektar or Ravanastron which went to the West and came back as the violin and the Kacchapi preserved in Indonesia. He also referred to the significance of the name Mridanga and how the correct meaning of this name could be gathered from Burmese sources, as he had himself shown in an article of the Journal of the Music Academy. He appealed to the Central Sangeet Natak Akademi for liberal help for the publication in book form of the entire material collected by Sri Krishnaswami and assured that the Music Academy would give whatever assistance it could in bringing out this book. Dr. Raghavan also announced that in pursuance of the recommen dation of an Expert Committee, the Publications Division of the Information and Broadcasting Ministry was bringing out a smaller volume on Indian instruments compiled by Sri S. Krishnaswami. THE SEVENTH DAY 29th December 1961 At the meeting of the Experts’ Committee of the 35th Con ference of the Music Academy, Madras, held this morning, Vidwan Veeruswami Pillai presiding, there was a recital of some of the new compositions of Vidwan Sri Ogirala Veeraraghava Sarma, a talk and demonstration of Tana in Ghana-raga-panchaka and of Kshetriya Padas by Vidwan Veeriah Chowdhury of Guntur and a demonstration of the Method and Technique of Nagas waram Playing by the President of the Conference, Vidwan Sri Veeruswami Pillai. New Composition Introducing the Vidwan Sri Ogirala Veeraghava Sarma, Dr. Raghavan said that he was a Devi Upasaka and had composed a number of kritis on Devi which had been published in two volumes called the Deviganasudha. The following few select i*TS. i-ivj THE XXXVtll MADRAS MUSIC CONFERENCE 47 compositions of his were rendered by his two daughters, Kms. Lalita and Vimala, accompanied by Vidwans Sri Pudukottai R. Ramanathan on Violin and Dindugal Ramamurthy on the Mridangam : Meenakshi - varnam - Todi; Devigayatri - H useni; Devikanakadurgamba-Rudrapriya; Kamesvari-Kambhoji; Enchinina- mamu - Vakulabharanam; Padaravindamule - Pranavapriya (a new raga); Ravamma janani - Ritigoula; Padayugasaroruham - B ilah ari: The President complimented the musicians on the correct rendering of the K ritis as taught by.their father, the composer. Vidwan Sri Mudicondan Venkatarama Iyer said both the Sahitya and Raga of these pieces were commendable. He wished that these compositions gained more currency. :,V '4 it Hr/./' ‘ ff' 4-i ni*} *. -v Tana Then followed a demonstration of Tana-singing by Vidwan Veeriah Chowdhury. The Vidwan rendered Tana in the five Ghana-ragas. He demonstrated the old traditional method of singing first in Vilamba-kala and then in Madhyama-kala. He ended the recital with a Kshetriya Pada in Sahana. The President Sri Veeruswami Pillai thanking Vidwan Veeriah Chowdhury observed that Carnatic music would not die and the tradition would continue. Speaking of Padas, he said, Madras was the city of Padams and referred to Dhanammal’s family which was repository of rare Kshetriya Padas. Vidwan Sri Mudicondan Venkatarama Iyer also thanked the Vidwan for his educative demonstration and referred to his voice which had a full range of 2 \ octaves. Nagasvaram Technique The President Vidvan Sri Veeruswami Pillai began by saying that he considered himself fortunate in having been able to listen with a discerning ear to the old veterans in the Nagasvaram field. After playing the K riti of Tyagaraja, Intakannananda in Bila hari, he explained how Nagaswaram was taught to the beginners. 4 8 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII He said that at the initial stage mandra madhyama was taken as Shadja and Svaravalis were taught to the students in Malavagowla. At a later stage, the tonic note was shifted to Madhya Shadja. He also demonstrated the fingering or viraladi-exercises like ga ri ri sa sa etc. He advocated the practice of staying on one note for a whole breath and then increasing this speed gradually, two notes per breath, four notes per breath, eight notes per breath and so on. The beginners should be able to play as many as ten avartas o f arohana and avarohana in one breath. He demonstrated the difference between Tannakara, Tuttakara and akara in Nagas- vara. He showed how Jantai-svaras (double notes) should be played. He emphasised the need for holding the instrument at the right posture. He said that there should be no distortion in the facial features and that the fingers should be flexible. He showed how the little-finger of the left hand, if held stiff, would mar the flexibility of all the other fingers. He said that the index finger of the left hand should not be lifted up while playing Suddha-madhyama. The President paid a tribute to the late Nagasvara veterans Ponnuswami Pillai of Madurai, Chidambaram Vaidyanatha Pillai, and Ammachatram Kannuswami Pillai. He observed that closing the eyes while playing was not desirable. He deprecated beginning of the training with Mohana or Suddha- saveri. He played then a Tiruppugazh in Hamsanandi raga which was followed by Svara in all the 5 ja tis and followed it with a ragam alika. He ended his recital with Anandakkalippu which used to be played during Bhikshandar festival. He first played it in very slow tempo and then in fast tempo. He was assisted by his nephew Sri Shanmugam Pillai on the Nagasvaram and accompanied by Vidvan Sri Mahalingam Pillai on the Tavil. Sangita Kalanidhi Sri Mudicondan Venkatarama Iyer, thank ing the President for his instructive talk and demonstration, paid a tribute to his service to the art of Nagasvaram-playing. He commended the advice given by the President to the younger Nagasvaram Vidvans. He complimented also Vidvan Sri Shanmugam Pillai who assisted the President and Vidvan Sri Mahalingam Pillai who played on the Tavil. Pts. i-iv ] t h e x x x v t h MADRAS m u s ic c o n f e r e n c e 49 THE EIGHTH DAY 30th December 1961. At the, meeting of the Experts’ Committee of the Music Academy convened in connection with its 35th Conference, held this morning under the Presidentship of Vidwan Sri Veeruswami Pillai, Vidwan Sri N. Rajagopalan gave a talk on Light Classical Carnatic Music. Vidwan Sri Budaloor Krishnamurthy Sastrigal gave a talk and demonstration on the Gottuvadya and Sangita Kalanidhi Sri C. Mudicondan Venkatarama Iyer gave the first part of his talk and demonstration on Methods of Music Teaching. Light Classical Introducing Vidwan Rajagopalan, Dr. Raghavan said that in the 34th Conference they had a special day devoted to Light Classical Music in which the Carnatic and Hindustani Units of the All-India Radio dealing with this branch participated. This time too, the All-India Radio Producers of Light Classical Music were meeting in Madras during the Session of the Academy’s Conference. Vidwan Rajagopalan observed that already there were light classical compositions within the repertoire of classical Carnatic music e.g., all the post-Pallavi pieces like Javalis, devotional songs, national songs etc., belonged to this category. Even the compositions of well-known classical composers could be rendered in a simple style without complicated sangatis and other embellishments, and in a way in which several others could join in. He sang, in illustration, two pieces of Sadasiva Brahmendra and Muthu Tandavar in simple as well as complicated form. All classical pieces, allowing of such treatment, should be taken and with the background of instruments, they could be made very attractive and popular. What was required was selection and careful treatment. Budaloor Krishnamurti Sastrigal The highlight of the morning’s sitting was a performance of Vidwan Sri Budaloor Krishnamurti Sastrigal, vocal as well as on 7 50 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII the Gottuvadyam which held the audience in rapt attention for over an hour. In his recital on the Gottuvadyam and singing, he was accompanied by Vidwan Sri Varahur:Muthuswami Iyer on the Violin and Vidwan Sri Karaikudi Muthu Iyer on the Mridangam. Sri Krishnamurti Sastrigal observed that the Gottuvadyam, which had no mettus, was a very difficult instru ment and recalled the mastery of the few Vidwans who had specialised on it like the late Sakharama Rao and the inspiration he himself had for this instrument from the late Harikesanallur Muthiah Bhagavatar. As for his vocal music, he recalled the training and inspiration he had from the masters like Konerirajapuram Vaidyanatha Iyer and Mazhavarayanendal Subbarama Bhagavatar. The Vidwan played on the Gottuvadyam, the Varna Intachala and then the pieces Saraseeruha in N atta and Inta kannanandam emi in Bilahari. He then gave a masterly vocal exposition of the ragas Dhanyasi, Saveri and Malavi and ended with Madhyamavati. The President of the Conference paid a tribute to Vidwan Sri Krishnamurti Sastrigal and his mastery of the very difficult instrument Gottuvadyam and to his equally remarkable profici ency in vocal music. Vidwan Kalyanakrishna Bhagavatar joining in the tribute paid to Sri Krishnamurti Sastrigal, prayed that youngsters should take to the Gottuvadyam and continue his tradition. On behalf of Mr. Shahbaz of United Nations Technical Assistance Board, Delhi, who admired the Vidwan’s exposition on the Gottuvadyam, Dr. Raghavan presented a laced uttariya to the Vidwan. Music Teaching Sangita Kalanidhi Sri Mudicondan Venkatarama Iyer then took up the subject of Methods of Teaching Music. He emphasised that in the field of music, natural gifts and heritage played a great part and that however much one might undergo drilling at the hands of teachers, one should have inborn gifts to become a good musician. Svara-jnana and the ability to pass quickly from stage to stage or to develop one’s own knowledge by listening are necessary. One should be endowed with natural musical instinct.Today because P t s . i - iv ] t h e x x x v t h MADRAS m u s ic c o n f e r e n c e 51 of the school-system all kinds of students were taken up and taught but only a certain amount of general knowledge and average equip ment in music could be given to the mass of students, and some of them alone, who had a natural gift for the art, could bloom into musicians. In formers days they had heard of a-naturally gifted genius like Maha Vaidyanatha Iyer, Pushpavanam Iyer and the comparatively less known Nerur Gopalan who passed away at thirty but was respected by great masters like Tirukkodikaval Krishna Iyer. There were many and difficult stages before one could become a musician and there were also different depart ments of raga, laya, repertoire etc., in all of which the rising musician should have adequate equipment. Every bit of music could not be taught and much had to be learnt by listening and filled up by the student with the help of his imagination. Some of the masters of the last age had a limited reportoi^e ; but because of their great knowledge and capacity, they could deal with the ragas and the pieces so exhaustively that they sustained themselves very well even with their limited repertoire. The younger musicians of today could not be expected to follow the old Gurukula System but still they’should devote more attention to their equipment and training rather than to publicity and Press Reviews. Incidentally Sri Venkatarama Iyer said that reviews of performances should always be balanced in their appreciations. Another important point which teachers should note was that they should not spoil the natural gifts of promising students by appli cation of any wrong method of teaching. Each student required a different type of handling. The most difficult thing was to inculcate svara-jnana to the student and there were methods to achieve this in a short time. Music should not be taken to for lack of anything else as it sometimes happened. A good deal depended upon the selection of the proper students, whether it be in the Gurukula System or in the school system. The Vidwan continued his talk and demonstration on the 31st. THE NINTH DAY 31st December 1961. At the meeting of the Experts’ Committee held this morning in connection with the 35th Conference, with the President 5 2 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII Sri Veeruswami Pillai in the Chair, Vidwan Sri U. Ankiah of Hyderabad gave a demonstration of Pallavi in Vinayaka Tala, Sri Mujaddid Niazi gave a talk and demonstration on Light Classical Varieties in Hindustani Music, Sangita Kalanidhi Mudicondan Sri Venkatarama Iyer continued his talk and demonstration on Teaching Methods in Music and Vidwan Sri V. V. Sadagopan spoke on the Problem of Padaccheda in Kritis. Pallavi Vidwan Sri U. Ankiah’s Pallavi exposition was accompanied by Vidwans Sri Chittoor Gopalakrishnan on the Violin and Sri T. K. Murti on the Mridangam. The Vinayaka Tala, also called the Srinandana, in which he demonstrated the Pallavi comprised 4 Talas, Udghatta, Adi, Abhanga and Vayuvikrama and was in 72 aksharas and 10 angas, 3 gurus 2 laghus 1 Pluta, 1 guru, 2 laghus and 1 pluta. Thanking the Vidwans, the President complimented Sri Ankiah on his demonstration of the Pallavi and his rendering it without detriment to the raga-bhava. Light Classical in Hindustani Music Then Mr. Mujaddid Niazi of Lucknow gave a talk and demonstration of the Light Classical compositions available within the repertoire of classical Hindustani Music. He said that while Dhrupad, Dhamar and Khyal were the chief classical varieties, Thumri, Tappa and Dadra were the light classical varieties available in Hindustani Music. He mentioned the famous Thumri com posers, Sanad Piya, Manrang and Wajid Ali Shah the last King of Oudh. He then gave a pleasing rendering of the following pieces -.—Thumris in Bhairav by Sanad Piya and Wajid Ali Shah in Tin Tal and Chachar Talas; then a thumri in Jangla by the late Inayat Hussain Khan and then two Thumris in Khamaj, one by Sanad Piya in Tin Tal and another traditional one in Chachar Tal an then Dadra (traditional) and finally a Ghazal in traditional styl based on the ragas Iman and Behag in Dadra tala. P ts . i - iv ] t h e x x x v t h MADRAS m u s ic c o n f e r e n c e 53 The President thanked Mr. Mujaddid Niazi on behalf of the Academ y. Teaching Methods The highlight of the morning’s sitting was the talk and demonstration of Sangita Kalanidhi Mudicondan Venkatarama Iyer on Teaching Methods in Music which was carried over from the preceding day’s proceedings. The Vidwan was assisted by his pupils Kumaris Vedavalli, Singamma and Tripurasundari. Sangita Kalanidhi Sri Mudicondan Venkatarama Iyer began by saying that what he was going to say and demonstrate was intended for those who were to become Vidwans or Vidushis. He was firmly of the view that the beginning exercises in Malavagowla which had come down from the times of Purandaradasa were sound and could be justified from the technical point of view also. The notes Sa-ri, Ga-ma, Pa-dha and Ni-sa were contiguous and their intervals were the same; the scale had also both the flat and sharp varieties of the notes and every note in the purvanga had its corresponding Samvadi in the uttaranga, the two being symmetrical. Sri Venkatarama Iyer was of the view that the Sarali should be taught as Suddha-svaram first and Gamakas should be in troduced at a later stage and that the late Umayalpuram Swami- natha Iyer used to teach like that. It was through Suddha-svaras that the proper svarasthanas could be grasped by the beginners. From Svaravali to Geetam, practice should be in Trikalam. He demons trated the Sarali in Trikala in Adi-Tala with an avarta and explained the difference between Viloma and Pratiloma in both o f which Alankara should be practised. In Janta svaras, the second notes should be sung with a stress. Sri Venkatarama Iyer then emphasised the need for akara sadhakam on correct lines and also indicated the wrong intonation which might harm the quality of the voice. After demonstration of some special exercises, he showed the way in which Janta Varisai should be practised. Sri Venkatarama Iyer was of the view that at least 25 to 30 Tana varnas should be learnt by the students. He then explained how the masters created svara-jnana in an easy way by singing snatches 5 4 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII of various ragas to the students, helping them to identify the svaras. Regarding Raga-jnana and its alapa he said, that while alapana-paddhati could be told, actual elaboration of the raga could come to the young singer only by constant listening to well- known Musicians. Ragalapana, Niraval and jvara-singing and how these should be taught and rendered were then explained by the Vidwan. Sri Venkatarama Iyer’s exposition of Niraval and svaram, which was splendid, received a tremendous ovation. The talk and demonstration concluded with the brief indication of how Tana and Pallavi should be sung. In Tana, in between, the Vidwan said, the raga-chaya should be introduced. Thanking Sri Mudicondan Venkatarama Iyer for his highly valuable talk and demonstration on Teaching Methods, which were most appropriate at the present moment, the President paid tribute to his great learning and prayed that many young puplis might take advantage of his teaching. Tyagaraja Kritis Vidwan Sri V. V. Sadagopan then took up the problem of padaccheda in kritis. Sri Sadagopan said that the subject of his talk was well-known but it was important from the practical point of view as musicians had to be guided by some principles in res pect of the Sahityas which they were singing. He said that Padaccheda was not a frequent problem in the K ritis of Dikshitar or Syama Sastri, but was a problem in the bulk of the K ritis o f Tyagaraja. The actual places where full words ended did not always coincide with the pauses which occurred by reason of the music or the rhythm, and hence the question arose whether the musician should be guided by the music or by the words. Sri Sadagopan sang from a mumber of pieces of Tyagaraja and showed how in all those, there was unavoidable splitting of the words owing to the musical setting. He also illustrated the tendency on the part of some who, in their anxiety to avoid splitting of the words, had altered the musical frame. He emphasised that in the case of the mature pieces of Tyagaraja, where the music was the important S o Pts. i-iv] the xxxvth madras music conference 55 thing, these padacchedas did not matter at all, and such splittings, the elongation of syllables and other alterations caused by the music were quite natural to the art of music and were to be found in the Saman-singing also. Thanking him on behalf of the President, Dr. Raghavan said that as observed by the speaker, the addition of music always altered the nature of the Sahitya and the example of the Sama Veda from which the art of music was derived could be cited to show how the words of the text underwent modifications in singing and how a number of Stobhas, musical sounds, came in to eke out the melody. TENTH DAY 1st January 1962. Members\Day. The Music Academy, Madras celebrated this morning the Members’ Day which included reception to the President of the Conference, Vidwan Sri Veeruswami Pillai. On the President’s arrival, he was garlanded by Sri G. Narasimhan, Vice-President of the Academy. After light refreshments, there was a demons tration of Veena-playing by the Japanese lady Miss Yoko Maruyama of the Tokyo University of Arts, who had been in Madras, learning Carnatic music for the past two years at the Central Karnataka College. She played the Bhairavi Varna and raga Simhendramadhyama and Dikshitar’s piece Pamarajanapalini. This was followed by a demonstration by Sri Sankunni Nair of Malabar on the Harmonium, showing how he could accompany even Vina-playing and bring out the raga-bhava and the gamakas. Vidwan Sri M.A. Kalyanakrishna Bhagavatar accompanied by Vidwan Sri Karaikudi Muthu Iyer on the Mridangam played the Bhairavi varna and the Dikshitar Kriti Vatapiganapatim in Hamsadhvani and a little of raga Anandabhairavi, all o f which Sri Sankunni Nair accompanied on the Harmonium. The President of the Conference commended the Sadhakam of both the Japanese lady and Sankunni Nair. 56 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII At the Experts’ Commitee sittings this morning Vidwan Sri Sundaresa Bhattar of Settur Samsthanam gave a recital of select songs from Valli Bharatam and Dr. Johanna Spector of New York gave a talk on Acculturation in Music. Valli Bharatam The Valli Bharatam was a composition by Kadigai Namac- chivaya Pulavar on the love-theme of Subrahmanya and Valli associated with the shrine at Kazhugumalai. Vidwan Subbarama Dikshitar had set the tunes to some of the songs of this play and the composition was itself published towards the end of the last century. Only a few of the songs of this play had been handed down and Sri Sundaresa Bhattar who knew these gave a recital of 4 songs in Purvikalyani, Mukhari, Asaveri and Kedaragowla. H e was assisted by Kumari Padmalochani. Acculturation in Music Introducing Dr. Spector, Dr. V. Raghavan said that she was an eminent authority on Ethnomusicology and Hebrew Music in particular. She was representing the Society for Ethno- Musicology, New York at the Conference of the Music Academy. She belonged to the Jewish Theological Seminary of America, New York, which was the old Rabbinical Seminary in the United States, where she was building up an Institute for Research in Jewish Music. She was now on her way to Tokyo University of Arts where she was to give lectures. Her name would be familiar, Dr. Raghavan said, to readers of the Journal of the Music Academy in which some of her papers had been published. She had taken up for her talk the question of Acculturation in Music, how different systems of music such as that of Middle East and Oriental Music were undergoing change on the impact of the more fashionable and influential Western Music. After giving the Academy the greetings of the Society for Ethnomusicology and her own Seminary of Jewish Musicology, Dr. Spector said there were two kinds of mingling of cultures, one between those possessing compatible elements and another, P t s . i- iv ] t h e x x x v t h m a d r a s m u s ic c o n f e r e n c e 57 incompatible elements. In the case of the incompatible, there was virtually no bridge and acculturation ; there was a question of total suppression of the weaker one by the stronger. As an example of two musical cultures having compatible elements, Dr. Spector cited the Negroes of the Belgian Congo and the Western, the former having rudimentary harmony and polyphony and almost diatonic scales. As an example of an incompatible music culture, she mentioned the music of the Flathead Indians of North America which was pentatonic, monophonic etc. She then gave a description of the different schools of Jewish music. Comparing the traits of Western music on the one hand and Middle Eastern musical systems on the other, she said that the former was diatonic-tempered, the latter was microtonal-untempered. The former used primarily the major and the minor modes, while the latter used a great variety of Maqamat, which was somewhat comparable to the Indian raga, though the raga was a far more elaborate and systematised thing. The former permits the trans position, the latter did not. The former had simple rhythms and metres and the latter complex ones. The former was characterised by choirs and orchestras, the latter had only small ensembles and was characterised by solo performance. The former was, in its vocal practice, open, while the latter was throaty, guttural and nasal. These characteristics showed that there were few common features between these two musical systems, but owing to histori cal and political influences, both by force as well as in a voluntary manner, the western system and mode of performance were slowly effecting changes in the musie of the Middle East and the Orient. She illustrated this by playing a few records of music from Uzbekistan and Azerbaijan and showed the changes going on by reason of the musicians being trained in Moscow on the European method of singing. She observed that the microtonal Middle East and Oriental systems would not admit of the harmonisation and any adaptation towards the latter could be done only by the destruction of the former’s characteristics like the microtones. While therefore scientifically these two systems were not compatible and were not amenable to synthesis, the new experimentation in electronic music gave some possibilities by recreating the atmos phere and microtones by electronic means. There was also the 5 8 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXlII possibility of some genius aided by the most advanced techniques today, creating some means of reconciling the two incompatible systems. The lecturer then answered a number of questions from the audience. She said that the American Society for Ethnomusi- cology believed in the value of all musical cultures and in their maintenance and there was no question of Middle East and Oriental music cultures being less advanced or aesthetically less perfect than the European. Where there was a strong musical tradition as in India, the extent of the acculturation was little ; where the tradition was rather thin as in Japan, Europeanisation occurred. In answer to another question, the lecturer explained the notation symbols which Hebrew music had in the past and which they were adopting today for Hebrew music, as well as in Turkey. On the question of ancient music instruments of the Middle East, she mentioned that a number of them were mentioned in the Bible and that some of them like Santur, Kinnar and Tambur had their parallels in India. Sri B. Subba Rao and Dr. Raghavan thanked the lecturer for her talk. THE ELEVENTH DAY 2nd January 1962. At this morning’s Experts’ Committee meeting convened in connection with the 35th Conference, held under the President ship of Vidwan Sri Veeruswami Pillai, Vidvan Sri C. Rangiah of Mysore presented some of his new compositions and Prof. R. Srinivasan spoke on the Aesthetics of Prosody and Rhythm in music. t New Compositions Vidvan Sri C. Rangiah was introduced by Sri B. Subba Rao and Dr. V. Raghavan. Sri Rangiah was one of the oldest pupils of Mysore Vasudevacharya and at present he was the Principal of Sri Venkatesa Karnatak Music College in Mysore and his compositions were in Sanskrit and some of them in rare ragas P t s. i-iv] the x xxvth MADRAS music conference 59 created by him. He was assisted in the presentation of his com positions by his son Lakshminarayanan and was accompanied by Vidvans Tirukodikaval Krishnamurti on the Violin and Sri Ravin dran on the Mridangam. The recital comprised a Varna in Ranjani, pieces in Kalyani, Devamanohari, Sahana and Shanmukha- priya and two pieces in two new ragas, Syam ali, Janya of Chakravaka (Sa ga pa dha ni sa - Sa ni dha pa ga ri sa) and Suku mar i, Janya o f Natabhairavi (Sa ga ma pa ni dha ni sa-Sa ni pa ma ga ma ri sa). The President complimented the Vidvan for his new composi tions and appealed that new composers should try to produce pieces in little known ragas and make them familiar. Rhythm in Music Prof. R. Srinivasan then delivered an illustrated tallc on the beauty of Prosody and Rhythm in music. Laya which represented time-space movement was both comprehensive and fundamental to music. In fact, as vibration, it was the very basis of life and creation. This was recognised by the Sangita Sastra. It is out of this principle of Laya that various Talas had been worked out. The element of Laya had close connection with the emotional moods also, as their variation produced a change in the sentiment. In compositions alliteration, rhyme and other sound effects appearing in different parts of the composition, such as Edugai and Monai, added a peculiar charm to the composition. Even rhythmic prose had its own musical appeal and verses in different metres lent themselves to different Tala gat i s The Professor sang in illustration songs from Geeta Govinda, Tamil and Sanskrit verses and Kavadi Chindu. He observed that rhythmic richness and variations could be best appreciated in pieces o f Tiruppugazh, some of which he sang. Supporting the Speaker, Vidvan Vellore Sri Gopalachari stressed the importance of Laya which he said was present even while developing the raga. Thanking the Speaker the President observed that the presence o f Laya during the playing of raga was best seen in Nagasvaram. 6 0 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII THE TWELFTH DAY 3rd January 1962. At the final sittings of the Experts’ Committee of the Music Academy held this morning, in connection with the 35th Confer ence of the Academy, with President Vidwan Sri Veeruswami Pillai in the Chair, Vidwan Sri Madurai Subramania Iyer gave a demonstration on the Violin of the Pancharatna Kritis and Vidwan Sri Chennakesaviah of Mysore rendered four old Rare Varnas and then there was the Concluding Function of the Experts’ Committee Session. Pancharatna Kritis Vidwan Sri Madurai Subramania Iyer said that they owed a great debt to Tyagaraja and the more we pondered over his creations the more were we able to discover it. Pancharatna Kritis, to which some special importance was attached, formed an example of this. The beauties of raga and laya in the first of the Pancharatnas, in Nata, were then pointed out by the Vidwan by rendering it on the Violin and vocally too. The President expressed his thanks to the Vidwan. Rare Varnas Vidwan Sri Chennakesaviah of Mysore, pupil of Mysore Vasudevacharya, then presented four old rare Varnas which he had learnt from his Guru and also from his father. These were M adavati in Pantuvarali - A ta by the famous Adiyappaiah, Paderedi in Erukulakambhoji-Ata, Evarani in Sahana-Ata, both by Sri Patnam Subramania Iyer and Toyajakshi in Varali-Adi by an unknown composer. Sri Chennakesaviah was accompanied by Vidwans Sri Tirukodikaval Krishnamurti on the Violin and Sri Guruvayur Dorai on the Mridangam. The President of the Conference thanked Vidwan Sri Chennakesaviah not ohly for bringing to light these four varnas but also for rendering them in the correct traditional style in which Varnas should be sung. P ts. i - iv ] t h e x x x v t h MADRAS m u s ic c o n f e r e n c e 61 Concluding Function The President then referred to the work they had done during the present Conference, both in the Experts’ Committee and in the concerts. He expressed his thanks to the Vidwans, both juniors and seniors and appealed to them for further co-operation, pointing out how the entire musical world was indebted to the Academy and its Executive for the great respect and concern they showed in their relations with the Vidwans and in the conduct of the Con ference. Then, reflecting on the very many scholarly subjects that came up before the Experts’ Committee, the President said that he wanted to be younger again to learn more. Speaking on behalf of the Carnatic Vidwans, Sangita Kalanidhi Mudicondan Sri C. Venkatarama Iyer said that they were indebted to the proceedings of the Experts’ Committee for bringing forth precious material such as the four hitherto unknown varnas whjch were demonstrated that morning and which Sri Venkatarama Iyer referred to as four gems. The Experts’ Committee’s work had made tremendous contribution to the advancement of musical knowledge in modern times, said Sri Venkatarama Iyer. Speaking on behalf of the Vidwans from Telugu Country, Vidwan Sri Veeriah Chowdhury observed that despite his old age he had never failed to. attend the Academy’s Conference and the fact that Vidwans from all parts of South India as well as from the North and outside countries participated in it, showed the status occupied by the Academy as a representative body. Vidwan Sri B. K. Padmanabha Rao speaking on behalf of the Vidwans from Karnataka said that the Experts’ Committee proceedings offered unique opportunities for youngsters, in that the experience of the oldest veterans was made available to them. Vidwan Tirukodikaval Sri Krishnamurti announced that as a step towards the building up in the Academy of a Museum of books, instruments etc., he was making a gift of the violin used by his grandfather, the great Vidwan Sri Tirukodikaval Krishna Iyer. Dr. Raghavan communicated two papers by scholars who gould not be present, ope on the Jatis mentioned by Bharata by 6 2 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII Swami Prajnanananda of Calcutta and another by Sri H. Yoga- narasimham of Mysore on Voice and Voice Culture according to the Sastras. Dr. Raghavan announced also the 'publication of the Academ y’s Journal for 1961 (Vol. 32). Then on behalf of the Executive of the Academy, Dr. Ragha van, winding up the proceedings, thanked the President of the Conference Vidwan Sri Veeruswami Pillai, for accepting the Presidentship of the Conference and conducting the proceedings ; to Sri V. T. Krishnamachari for opening the Conference ; to Sri T. T. Krishnamachari, Vice-President of the Academy for the interest taken by him in the Building; to Sri S. S. Vasan, Vice- President, for the decoration of the stage for the Conference ; to the Treasurer and other Members of the Executive Committee ; to the Members of the Experts’ Committee and Vidwans and Vidushis who took part both in the Conference and Concerts ; to Dr. J. Spector of New York and Mr. M. Niazi of Lucknow for their talks and demonstrations ; to the Vidwans and Vidushis who adjudged the competitions; to the Donors of the prizes including Dr. Henry Cowell and Mr. Paul Scherbert of United States ; to the Press, particularly the Hindu, to the Central Sangeet Natak Akadami for supporting the junior concerts and Hindustani pro grammes, to the All India Radio, to the Police, Corporation, Transport and Electricity authorities and Boy Scouts. Sri Pandit S. N. Ratanjanker, the distinguished Hindustani musician and composer, who had attended many Conferences of the Academy, had sent for the 35th Conference a new composition o f his in Abhogi raga and Rupaka tala (Carnatic) in praise and commemoration of the Academy and its services to the cause of Carnatic music. This was sung by Sri B. Subba Rao who also expressed his appreciation of,the proceedings of the Academy’s Experts’ Committee meetings. The President of the Conference was garlanded by Sri T. V. Rajagopalan, one of the Secretaries of the Academy, and the function came to a close with a group photo of the President with the participants of the Conference and the Executive of the Academy, P t s . i- iv ] t h e x x x v t h MADRAS m u s ic c o n f e r e n c e 63 The Sadas The Sadas of the XXXVth Conference of the Music Academy, Madras was held on the 4th January, 1962. Sangita Kalanidhi Sri Musiri Subrahmanya Aiyar presided oVer the Sadas. After invocation by Vidwan Sri K. V. Narayanaswami, Sri K. Soundararajan, Secretary read the announcenment convoking the Sadas and the following additional messages received by the Academy in connection with the 35th Conference were read by Sri T. V. Rajagopalan, Secretary of the Academy. The Governors of Bombay, Uttar Pradesh and Panjab had sent messages wishing the Academy every success. The Hon’ble Speaker of the Lok Sabha had sent his good wishes for the success of the Academy and its Conference. His Highness the Maharajah df Cochin had sent a message wishing the function all success. Dr. C. P. Ramaswami Iyer said that he was glad that Sri Veeruswami Pillai was being honoured by such an authoritative body as the Music Academy. Messages had been received from the United States Educa tional Foundation in India, in New Delhi and from Mr. Thomas Scherman, conductor of the Little Orchestra Society, New York who played the Madras Symphony of Dr. Henry Cowell. The following Ministers in Delhi had sent messages: Dr. P. Subbaroyan, Sri D. P. Karmarkar and the Deputy Ministers of Planning and External Affairs. The Secretary of the Ministry of Scientific Research and Cultural Affairs had sent his best wishes. Prof. B.R. Deodhar, Principal, Faculty of Music & Fine Arts, Banaras Hindu University wrote that he was glad that the Academy had constructed its own auditorium and sent his best wishes for the success of the Conference. 6 4 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIll The Hindu Dharma Prachara Sangam, Madras had sent its message. Nagasvara Vidwan Sri Injikkudi Pichakannu Pillai had sent his message and felicitations to the President of the Con ference Sri Veeruswami Pillai. Sri K. Balasubramanya Ayar, Trustee of the Academy, then welcomed the sadasyas and the SW&s-President. Sri S. Venkateswaram, I.C.S. (Retd.), Vice-President of the Academy, then presented the President of the Conference Vidwan Sri Veeruswami Pillai and read the following citation : Vidwan Sri Veeruswami Pillai The Citation Born at Perambur Village, Tanjore District, as second son of the well-known Nagasvara Vidwan Sundaram Pillai and Abhayammal.Learnt Nagasvaram under his own father. Attracted the attention of the Tiruvavadu- turai Adheenam very early in his career. Had played together with some of the great masters of Nagasvaram like Semponnar- koil Ramaswami Pillai, Tiru- vidaimarudur Sivakozhundu Pillai and T. N. Rajaratnam Pillai. Had further training under Vidwan Konerirajapuram Vaidyanatha Iyer, Violin Vidwan Govindaswamy Pillai and Vidwan Nagasvaram Natarajasundaram Pillai. Became the Adheena Vidwan of Dharmapuram and Asthana Vidwan of T. T. Devas- thanams, Tirupati. Had been honoured in the States of Cochin and Travancore and by several public bodies and heads of P t s . i - iv ) t h e x x x v t h m a d r a s m u s ic c o n f e r e n c e 6 5 several Maths and Devasthanams in the South. Has trained many Nagasvaram players like his own nephews Sri Raja and Sri Shanmukham and Sri Ambalapuzhai Sankaranarayanan Brothers. Has had a long, unbroken and distinguished career and very wide popularity as a Nagasvara Vidwan. The President of the Sadas then read the Birudu Patra con ferring the title of Sangita Kalanidhi on Vidwan Sri Veeruswami Pillai and decorated him with the insignia of the title, the gold medal. At the same Sadas the Academy presented recognitions to three other senior Vidwans, Sri Varahur Muthuswami Iyer, violinist, Sri Chilakalapudi Venkateswara Sarma and Vidwan Mani Iyer (Ghatam). The citations of these Vidwans w Varahoor Sri Muthuswamy Iyer The Citation Born in September, 1902 at Kandamangalam Village, Tanjore District to Swami Bhagavatar and Smt. Janaki Ammal. Learnt his first lesson* in violin under his own father and later under Sangita Kalanidhi Sri Karur Chinnaswami Iyer. Has accompanied leading vocalists and instrumental ists. Was appointed as Assistant Profersor for Violin in the Central College of Karnataka music, Madras in 1950, in which capacity he is still serving. 6 6 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXUI Chilakalapudi Venkateswara Sarma The Citation Born in 1895 at Srikakulam. Qualified himself in Sanskrit and Telugu as “ Ubhayabhasha Praveena ” of the Andhra University, and served as Telugu Pandit for about 30 years. In music became a pupil of Parupalli Ramakrishnayya Pantulu. Has been giving concerts for about 40 years and taking part in the programmes of AIR, particularly in the Sanskrit and devotional music features ; has been a Member of the Central Music Audition Board, AIR, and Music Exa miner for the Andhra Univer sity and the Andhra Pradesh Government. Has translated standard Sanskrit treatises of music into Telugu and has been compiling a volume of Dikshitar Kritis. Is at present Head of Gurukulam at Vijayawada started by the Andhra Pradesh Sangeet Natak Akademi. Ghatam Vidwan Mani Iyer The Citation Born at Madurai on 21^t June 1895 to Sri Sankaranarayana Aiyer alias Sri Sangappa Swami- gal & Srimati Lakshmi Ammal; underwent Gurukulavasam and training in Ghata Vadyam under the late Sri Mamundia Pillai, the pioneer of Kanjira playing, for many years at Sethur; had further training under late Palani Sri M uthiah Pillai, well-known Mridangam Vidwan. Started his musical career in 1920. Has accom panied famous Vidwans of that time such as Sri Karaikudi Brothers, Sri Mazhavaraya- nendal Subbarama Bhagavatar and Sri Muthiah Bhagavatar. . „ _ , — ... Was patronised by the Zamin- dars of Sethur and Bodinayakanur. PTS. l-IV] THE x x x v t h MADRAS MUSIC CONFERENCE 67 The President of the Sadas then presented the Souvenirs to the three Vidwans. On behalf of the Sadasyas, the recipients of the honours at the Sadas were felicitated by Sangita Kalanidhi Mudicondan Venkatarama Iyer, Sri Somasundara Tambiran of Dharmapuram Adheenam, Sri B. Subba Rao, Sangita Kalanidhi Dwaram Venkataswami Naidu, Sri Sivaji Ganesan, Sri Karaikurichi Arunachalam and Vidushi Smt. Saraswati Bai. Then the four recipients of the honours at the Sadas spoke acknowledging the distinctions bestowed on them. Sangita Kalanidhi Sri Veeruswami Pillai said that the efforts taken by the Music Academy for fostering music and encouraging artists deserved the grateful appreciation of all musicians. He was particularly glad that in the conference part, the discussions of the Experts’ Committee were on a high level. It was a delight for him to have sat through the fortnight, at the Experts* committee. The President of the conference appealed to all to contribute liberally to the Academy’s funds. The President of the Sadas then distributed the medals and prizes to the winners in the various competitions held during the Conference. Messrs. T.V. Rajagopalan and P. S. Ramachandran introduced the prize winners. (See list below). Dr. V. Raghavan, Secretary, then requested the President to give away special awards instituted for encouraging young artists in vocal music, violin and Mridangam. He said that the vocal award had been instituted by the Music Academy in the name of Sangita Kalanidhi T.V. Subba Rao, the violin award in the name of Sri Semmangudi Narayanaswami Aiyar by Sri V. Panchapa- gesan and the Mridangam award by Dr. Henry Cowell, the American composer, from out of the royalties of his Madras Symphony. Sangita Kalanidhi Mudicondan Venkatarama Iyer, Principal of the Teacher^* College of Music, then introduced the successful students of the College and requested the President of the Sadas to award the certificates to them. : ; i 68 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXII The President of the Sadas Sangifa Kalanidhi Musiri Sri Subrahmanya Aiyar then delivered his Presidential Address. He said in the course of his address : Vidwans and Rasikas, Every year at the Sadas which forms the concluding function of the Annual Conferences of the Academy, the title and insignia of Sangita Kalanidhi are awarded to the President of the Con ference. Last year the honour of presiding over this Sadas comprising Vidwans and Rasikas, was conferred on a former Sangi ta Kalanidhi, viz. Vidwan Sri Ariyakudi Ramanuja Aiyangar, one of our seniormost vocalists and Kalanidhis. This year the Academy has asked me to preside and I am grateful to them for this honour done to me. I am particularly gratified that I am presiding at the Sadas in the first Conference that is being conducted in the new building of the Academy. I gladly and gratefully accept the duty you have assigned to me, viz., the admission of Vidwan Sri Veeruswami Pillai to the select cirple of the Kalanidhis of the Academy. There is hardly a being in the world not captivated by music Even those who cannot sing in public, hum in private. For those who have not been endowed with voice, there are the instruments. Indeed the latter seem to be more devoted to the art as the practice on the instruments demands greater industry and appli cation. In South India the Veena, Flute and Nagasvaram have for long enjoyed the leading place among the instruments. Of these the Nagasvaram enjoys a unique position. It is our tradition to consider all arts as an offering to the Lord and it is in the temple that all our arts have been preserved. Music has also been pre served in the temples, being an integral part of worship and it has been given to the veterans of the Nagasvaram to render this music service in the temples. There is hardly a happy function in our family in which the Nagasvaram is not played. It is part and parcel of life in this part of the country. % JU"'; , /: i Nagaswaram is the only form of music which can be enjoyed in the open by thousands of people and because of this, the P ts. i - iv ] t h e x x x v t h MADRAS m u s ic c o n f e r e n c e 69 Nagasvaram has been the chief instrument of the growth of musical knowledge in Tamilnad among the masses. To Nagas varam belongs the special characteristic that it can be listened to for long by all peopie and as a result of this, the Nagasvara Vidwans have developed a style of elaborating the raga for a long time and display special proficiency in Pallavi. As the Nagas varam is oftentimes played all through the night in the festivals, this kind of elaboration has developed in the art of that instru ment. Nagasvara Vidwans could legitimately take pride in the fact that it is through their performances that people at large have become imbued with musical taste and knowledge. Among the older and celebrated Nagasvara Vidwans, Tiru- vizhimizhalai. Subrahmanya Pillai presided over the Academy’s Conference a few years back and was honoured with the title of Sangita Kalanidhi. The Vidwan who has presided over this year’s Conference and who is today becoming a Sangita Kalanidhi is another veteran in the line. It is hardly necessary for me to introduce him to you. Apart from being a celebrated Nagasvara Vidwan, he is one whose qualities have endeared him to the musicians and the public. He has always been devoted to public causes and to service. 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LDqij0,[rir tjfi). effQ^00iBui36rr8sir ^/6uir06ir $6orjpj enJmiS06Otr tQjs) <=f$ © 0 ,'T. (6JD(&)66UT(ipib, 656060 @60(tpth U6tS)L-^^6urr. 1 66060 Q u r 010 srrf)ujiKj&6i?l6b Qgiremr® G)0 i u u 6uir. &r£i£p e£@6u& 06 Q uifi@ uJirir0(ll6rr, 6& @6utr6OT0G>6Tr c$i6OTUir0G>6rrf e_isj06rr 0triri9ggjib, 6Q&6U& 6t060)uu96or 0trtri3l 6£jtb, 6T6or 0trtrt3gpjtbt 6 r 0 m tS & 06OtrtSjsl 6 Q (rrj6 Sri K.R. Sundaram Aiyar, Treasurer of the Academy, proposed the vote of thanks and he spoke also on the new building of the ademy and made some announcements about the building. ]» THE MUSIC ACADEMY COMPETITIONS KT Competitions Donors CB Winners ■— o Vocal Music for Ladies c Rajalakshmi Memorial Medal-A warded 73 I Prize z by Sri K. V. Ratnam Iyer of Kozhu- Kumari B. Lilavathy > mam. II Prize Kalpakam R?man r- ' V. Meenakshi o Veena III Prize ti Veena Dhanam Memorial Medal- v K. Ananda H I P rize: X Awarded by Sri M. Sudarsanam R. Venkatraman Iyengar II P rize: ' K. Kalpakam R. Ravindran Tamil Songs The “Amarar Kalki Tambura Prize” I Prize : Endowed by Sri T.'Sadasivam Smt. Kalpakam Raman <*> r Kumari D. Shanta 2 Maharaja Svati Tirunal II Prize : Murti Memorial Medal-Endowed by { Sri M. S. Ramanathan S Compositions I P rize: R. K. Murti Memorial Committee. Smt. Sumitra Ratnam II P rize: Smt. N. C. Soundaravalli- > Purandaradas Padams Endowed by V. S. S. K. Brahmananda, o Tobacconist, Jaffna (1850-1950) I Prize : Smt. N. C. Soundaravalli ^ Pallavi Singing 2 Dr. Sankaranarayana Iyer Memorial < I Prize M edal-Endowed by Dr. S. S. Krish Kumari C. Suguna „ nan II Prize Smt. N. C. Soundaravalli < r / THE MUSIC ACADEMY COMPETITIONS Competitions Donors Winners Sanskrit Compositions The T. R. Venkatarama Sastri Gold- Smt. Kalpakam Raman M edal-Awarded by Sri T. V. Raja X ' gopalan. H r*- tr Raga Singing Rajaratnam Memorial Me dal-Aw aided I Prize : Kumari V. Meenakshi by Sri S. Natarajan s 6 50 Divya Prabandham and Sri Vijayaraghavalu Naidu Memorial- I Prize: Kumari Seeta Rama Tevaram Tiruppavai Medal krishnan junior Musician Sangita Kalanidhi Sri T. V. Subba Rao A. Srinivasaraghavan Memorial Prize-Awarded by the Executive Committee of the Music Academy. Junior Violin Vidwan Semmangudi Narayanaswami Iyer R. Ramamurthi Memorial Medal for the best junior violin Vidwan awarded by Sri V. Pan- chapagesan. Junior Mridanga Vidwan Awarded by Dr. Henry Cowell of M. S. Sekhar United States. v s Z £ > $(rrr& ^sOTUQpih (rsrtiursuQpib RAGA-ALAPA AND RASA-BHAVA . ^ Vidwan C. S. Sankarasivam « / f ( W ) t _ « 6rdi&j&'£'£ Jsted ^triree^etn^ ^syrprgjQu jnu u ir® sxj( S ^ Qp<&*j&6uui ajirtiiih <5.4ji. 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Q & L JL / ^J60T ( lO 0 © ) aisro& J3th J£ib &rr& 1FI&rr(6G) Jsl rfl m rr Jgl rfl &..@ rSerrQssr (oarrtf) ilj &rr (&s) $ p rr fi>6ts)u 7 /)0 ig2/Q<®/r®jr(6O)f©£r/r u 6QT e g )] & gb rr s rfr! QissgjCSairTrr eumr Q> mr & rrt__ ^SlQ ^e^sssr ortrGggmjslir (<£u>J§l&) & IEJ $ 9) ,© 60 T & ( ^ S 3 G U ^ l& <£ (ffrTj L-6VT tSi.iji.UL/ ,_£y(J/5<£ /P^ By Sri Satyanarayana, Vijayavada Veethi Bhagavatam is a variation of the Yakshaganam which had its origin in the early 16th century. Its name is derived from the style of its presentation in the open air stage got up in the streets. As the themes of most of these plays are taken from the Bhagavatam, they are known as Veethi Bhagavatam. There are many dance-dramas of this type performed by bands of actors and actresses. In order to make this form presented by a single artist, a new dance-drama came into vogue in the form of Kalapams. Mention has been made about this form of dance-drama by old musicologists in their works on dance and music. Some consider that it can be classified as Srigadita, a musical uparupaka of ancient tim6s. This dance-drama features only one principal character with practically no other supporting cast. She is the heroine of the piece, answering to the typical Sringara Nayika as described in the Rasamanjari. She is usually in separation from her lord who is away from her. As Vipralambha Sringara Nayika she is pining away in isolation ; smitten with jealousy, she pours out her heart to her companion who serves as a conscience keeper. The heroine is either Satyabhama or Gollabhama. She is assisted by a Sutradhara who fulfils the dual role of a Vidushaka as well as a companion. Among such dance dramas known as Kalapams, Bhama Kalapam and Gollakalapam are the most popular. The word Kalapam means the multicoloured tail of a peacock. This also means samvada or dialogue between two persons. Figuratively it has come to mean a single-character dance-drama. Like Bhamakalapam, Gollakalapam has many versions. The first one was composed by the famous saint-poet Tarigonda Vengamamba who had dedicated herself to the service of Lord Venkateswara on the Tirumalai Hills. She wrote many books in the classical style; but her Prabandha Kavya, Venkatachala Mahatmyam, and the Dvipada Mahabharatam are the most famous. The Gollakalapam written in the form of a Yakshagana prabandha has no elaborate story as such. Jt is a PTS. I-IV] VEETHl BHAGAVATAM-GOLLAKALAPAM 93 dialogue between a milkmaid and a Brahman regarding the fundamental philosophy. This is a satire of the notion that a man’s goodness or greatness is judged by the caste in which he is born. The play elaborately describes the Pindotpatti-krama or the evolution of man from his embryonic stage. The milkmaid puts forth the convincing arguments with quotations from the Bha- gavadgita, Brahmasutras and Upanishads that the milk and butter churned by her is superior to anything that is available from the rituals of Yajna. She maintains that mental worship is superior to the rituals of Yajnas. This theme is presented in the form of a discussion and dialogue between the milkmaid and the Sutradhara. Sometimes she sings; sometimes she dances, sometimes she elucidates and at other times she discusses and discourses. She employs several verses, slokas and Dhruvas to illustrate her point. Dr. V. Raghavan, in hls monograph on Music in Sanskrit Drama,1 has described the nature and function of Dhruvas. Though they are described in a different way in Sanskrit treatises, the present forms that these Dhruvas assumed can be seen from the contexts in these dance-dramas known as Kalapams. In the first instance, Pravesikadaruvu is employed to introduce the character as to how she enters on the stage. A curtain held by two men is lowered down as the principal character Satyabhama or Gollabhama appears on the stage. She will- be standing behind the curtain, when the Sutradhara describes her personality starting from her braid of hair. In some places Satyabhama lays her long hair across the curtain and there is a long piece describing the beauties of the braided hair or Jata Varnana. While singing those Dhruvas, care is taken in respect of the dramatic value of the piece, with emphasis on the Sahitya rather than on the Manodharma of Sangeeta. Some of the intricate Raga Prastaras and musical phrases used in the AtitHrasthayis are deliberately introduced to bring the Rasa or the absolute enjoyment of the dramatic situation arising out of the Sahitya Bhava. The verses are rendered in the traditional ragas, slowly taking the shape of a song with laya. These are set in varying metres like kandams, seesams and others and are known a£ Kandardha or Seesardha when they are split into song phrases 1. See Journal, of the Music Academy, Madras, XXV. 1953, 79-92. 9 6 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII with varying time-units. As Gollabhama or Satyabhama shows her face, a device like the modern flash bulb is employed by throwing an inflammable dust of incense on two torches held by two bearers. They are put together and three times the dust is sprinkled and out comes the flash light twice and the heroine makes her bow. She performs the entrance dance when the Praveshiki Daruvu is sung either in the first person singular as Bhamani Gollabhamarqu by herself or Gollabhama Vatchanu by the chorus in the third person. Akshiptiki Daruvu is sung by the Vidushaka to make fun of the principal character. This is usually a parody of the first song Kamane Godugu Kamane or Kayane Dosa Kayane. The third Daruvu Prasadiki is employed to depict some of the subtle emotions like kama, krodha or tapa, anger, sorrow or passion. The fourth one is Antari which is also used for elaborating the story or describihg the particular situation. The last one Naishkrami is utilised for indicating the exit of the character. One can see a different handling of these five kinds of Dhruvas on the presentation of Bhama Kalapam or Gollakalapam. Gollakalapam combines music, dance and literature and depicts the thought-system of Advaita or Vedanta philosophy. Hence only the highbrow can understand the subtleties of this dramatic exposition. In order to make the appeal universal and popular, some of the dance masters have taken up the task of training a few talented women in the three arts of music, dance and literature. Scholarship of a very high standard was required before one could attempt to present Gollakalapam on the stage. Towards the close of the 19th century many such masters emerged from Kuchipudi and some have rewritten this play in their own style. One of such versions is by Bhagavaturu Ramayya which is now being staged by the Kuchipudi male dancers. The Kuchipudi school formed by Saint Siddhendra Yogi imposed a ban on women specialising in this dance-form. There were always some exceptions to this rule. Towards the end of the 19th century a few great pandits well-versed in dance and drama migrated from Kuchipudi, crossed the Godavari and settled down at Pithapuram, Mandapeta and Amalapuram. Some went to Eluru, Chintalapudi or Chataparru. They became more popular ______. From Annabathula Venkataratnamma’s Bhama Kalapam P t s . i - iv ] v e e t h i b h a g a v a t a m : gollakalapam 97 after some time, then the surnames changed and they came to be known as Bharatamyaru. Most of these scholars trained women artists and produced their own versions of Gollakalapam or Bhamakalapam. The Guru of these plays takes the role of a Sutradhara or Vidushaka and appears on the stage with the typical crooked stick that is the symbol of a court-fool or Hasyagadu. He is often addressed by the dancer as Ayyavaru (Guru) or Teli. This Brahman who is an adept in music, dance and literature serves as a friend, guide and philosopher. He also provides comic relief oftentimes in situations of extreme passion or elaborate philosophical discussions. This Gollakalapam was practised by many reputed artists of the last century and some great dancers like Rendyala Satyabhama of Pithapuram, Sri Virajitam of Mandapeta, Sundari of Chataparru, Chipla Bhadram of Ramachandrapuram and Annabathula Chitti of Amala-puram are names to be reckoned with. With the changing face of society, this art form has slowly disappeared for want of proper appreci ation and encouragement. Even if there are a few descendants of the old school they have lost touch with the form ; only a memory of the ancient tradition is left. There are only a few parties still remaining in Andhra as the representatives of this tradition. Srimati Annabathulh Venkataratnam of Mummidivaram, who has come here now for this conference, is one of such exponents of this dance-drama Gollakalapam. She has given notable performances before distinguished pandits and has won the acclaim of the discerning critics as well as the general public. She has not been peforming for the last twenty years, as she had no encouragement. She has now been persuaded to give up her long exile from the art and resume it. She reluctantly came out and gave a performance over the Radio. Her broadcast from AIR, Vijayawada attracted the attention of the lovers of dance-drama. Even though she has not got trained personnel and the old type versatile Sutradhara, her Guru, to produce the play, she has ventured to stand now before you to give you at least a glimpse of this tradition of the dance play Gollakalapam. A performance like this before the Experts’ Committee of this Academy should be taken as an eye-opener to the existence of an art form which was once in perfection. The music, the dance or the text of this play cannot be conveyed in their 13 $ 8 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXfclll entire old excellence. A performance that lasts nearly 12 hours is being abridged now for a duration of an hour. Further the support ing party is not the original party well trained for the purpose. They stay in a remote village as the last remnants of a bygone dance tradition with none to appreciate their art and nobody even to understand its technique. While presenting this group, we appeal to this learned audience to use their imagination and to picture to themselves what this should have been more or less in its palmy days. What is now presented is more or less a museum specimen of a dwindling art, rather than the full performance of a masterly exposition of Bharata Natya. Gollakalapam that is being adapted into a dance-play, uses music of the traditional Ragas, Daruvus cast in the different Talas and Jatis, in the Bharata Natya style. The grammar of this dance is based on the same ancient works like Bharata’s Natya Sastra, Nandikesvara’s Abhinaya Darpana and Devendra’s work. The Aduvulu that are depicted are the basic patterns on which Bharata Natya is based. This Kalapam also follows the Ranga Puja, Melaprapti etc. that are followed in presenting the Bhagvata melas of Melattur or the Yakshaganas of Kuchipudi. In the beginining Nandi is sung in the traditional Nata raga and invocation songs are sung in praise of Vinayaka, Sarasvati and Nataraja. There is a Prastavana in the tradition of Sanskrit drama, in the form of a dialogue between Nati and Sutradhara introducing the author, the cast and the text. Make-up follows the ancient style and the costume and jewellery are in the ancient style. As for the actual performance, there is no big stage of the box type but a raised platform is provided with a pandal supported by pillars decorated with cocoanut leaves, banana trees and mango-leaf arches. The dancer shows the various movements of the Daruvu, together with Nritta and Abhinaya suitable for the Jatis and the Sahitya portion. The Edurettu timing of the Pallavi and Anupallavi accompanied by Mridangam, with the proper Kunakkol, provide ample scope for the dancer to display her skill at intricate foot work and the elaborate exposition of Pts. i-iv] veethi bhagavatam : GOLLAKALAPAM 99 the Rasa and Bhava. These subtleties can be followed by the understanding few. Gollakalapam is indeed a feast for the understanding Rasika. Srimati Annabathula Venkataratnam assisted by her daughter Satyavati and Medinti Achyuta Ramiah as Sutradhara then presented this difficult but delightful dance-drama. RESEARCH ON MUSICAL INSTRUMENTS OF INDIA Vidvan S. Krishnaswami, Vijayawada. For a long time it was one of my cherished desires to attend the annual conferences of the Music Academy and I am now able to be here and most grateful to the organisers who have so kindly permitted me. The subject which I have taken up today is about the Research on musical instruments of India and the migration of some of our ancient musical instruments to countries surround ing India at an early period. Indian culture is several thousands of years old. So also is the culture of other ancient countries like Egypt, Sumer, Persia, China etc. But the chief difference between India and these countries lies in the striking homogeneity between her past and present. The culture and civilisation of ancient Egypt, Sumer, Babylon, Assyria and Persia have long ceased to exist and are now forgotten. Their history possesses only an academical interest. On the other hand, Indian history and institutions, however, form an unbroken chain by which the past is closely linked with the present. There is the continuity in language and literature, religious and social usages, customs and manners. Even today, we keep up the chanting of the Vedas and the performance of rites and rituals and celebrations of festivals which were done by our ancestors several thousand years ago. This continuity in culture is evidently found more in our music and musical instruments. From time immemorial, religious feeling and emotion permeates all the various forms of Indian art. Music and dance have been the chief forms of religious expression in India. The origin of music in India is attributed, not to the man, but to the Gods and Goddesses and to Gandharvas, Kinnaras, Narada, Tumburu and so on and all of them are connected with the science and practice of music. In the course of her long history, India has evolved a wide ariety of musical instruments classified under four heads, namely P t s . i- iv ] r e s e a r c h o n m u s ic a l INSTRUMENTS OF INDIA 101 Tata (stringed instruments), Sushira (wind instruments), Avanaddha (percussion instruments like drums etc.), and Ghana (metal instruments which are stuck against each other). Much ingenuity has been devoted to the invention of these in struments and there are more than five hundred of them, each with a distinct name, shape, construction, technique of playing and quality of tone colour. They have a particular interest in the present day in as much as some have remained unaltered for centuries. Beginning with the simple forms belonging to the primitive tribes and proceeding onwards to those used in classical music today, we find a most interesting variety of instruments capable of affording much information as to the characteristics of our national music in different regions. The modern instruments Veena, Sitar, Sarod etc*; are beauti ful to look at, for they are shining neat and streamlined, some of them o: .amented with ivory. Yet they are descended from some very primitive instruments used by our ancestors centuries ago, which early man devised in order to make a kind of music that was different from the sound of his voice. We know this from the study and researches that have been made into the life and activities of ancient peoples by modern scholars, historians and archeologists. During the period of the past centuries, what a crowd of in struments has fallen out at one time or another ! Those hundreds of string, wind and percussion instruments have all gone through the testing fire of time, some of them were scrapped out and completely extinct as they were unable to sustain the changing styles of our music from time to time. Others have emerged in fuller glory and developed and evolved into our beautiful modern classical instruments, but the remaining bulk have been doggedly dragging on through the centurtes and have never changed their original shape or form and we still find hundreds of quaint instru ments used by the folk and aboriginal people of India. The old string instruments mentioned in our ancient books like Ambuja, Alapini, Parivadini, Vipanchi, Chitra, Matta- THE JOURNAL OF THE MADRAS MUSIC ACADEMV [VOL. XXXIII kokila etc., have all changed into the highly developed Veenas of north and south, Sitar, Gottuvadyam, Sarod, Vichitra Veena, j, Dilruba, Sarangi and so on. The ancient noisy Patahas, Dundubhi and the more subtle Mardalas and Murajas e emerged into soft Mridangams, Pakhawaj, Tabla etc., with more accuracy in pitch and quality in tone colour. he treatises on music only give the theory of music or a nomenclature of instruments. In order to attempt a reconstruc tion of our ancient musical instruments, it is necessary that reference be made to other documentation and we trace or rather retrace that evolution of musical life and styles of music in ancient India. In fact, it is the musical instrument which creates musical styles. By its construction and its musical potentialities and tone colour, it offers certain determined possibilities of execution. The appearance of a new instrument heralds the beginning of a new musical style. Evolution of its shape and constitution makes it possible for a musician to obtain new forms of sound. For example, the nom-tom in the Hindusthani raga alapana, Jod, Jhala etc., are of the Sarod or Northern Veena styles. Dasavidha ^amakas and the Tanam of the Karnatak music are the imita- ion of the Veena style. The various gamakas, graces and technical terms peculiar to Karnatak music are based after perfec- tioning the southern Veena. In order to study the names and shapes of our ancient musical instruments, we have to examine three important sources, namely literature, sculptural representations in our ancient temples and monuments and finally an ethnographical survey or a study of the social life, customs and manners of different tribes and communities. Our sacred books, Vedic texts, Buddhist texts, Jataka stories, Bharata Natya Sastra, Sangita Ratnakara and other treatises on music, works of Kalidasa, the Tamil Epic Silappadikaram, the 1 Telugu works of Palkuriki Somanatha, Abul Fazl’s Ain-i- Akbari and a large quantity of literature make references to musical instruments and some of them contain descriptions too. I*TS. I-IV] RESEARCH ON MUSICAL INSTRUMENTS OF INDIA 103 Next we come to the sculptures of India dating from the 3rd century B.C. up to the 16th century. A.D. The wealth of musical instruments depicted in the sculptures of Bharhut, Sanchi, Mathura, Gandhara, Amaravati, Nagarjunakonda and different temples of the North and the South, is something astounding. Particulars like the number of performers in concerts and dance parties, the number of instruments used as accompaniments, the postures in which the instruments were held and played, the standing or the sitting plan of the performers, are all revealed to an amazing degree of detail. There are varieties of bells, gongs, drums, pipes and stringed instruments and their historical value is great. Instruments depicted in the mural paintings at Bagh, Ajanta, Tanjavur and other places are of special interest. ^ Finally, a study of the social life of the different types of people would be fruitful as most of the instruments which have survived with some tribe, caste or community all over India, are of ancient origin; they are usually of older types and thus more likely to be those described in ancient works. Sometimes they have kept names resembling the older ones. So, we have to find concordance between the descriptions in the books, sculptunes and the instruments used by different people. In the course of my study of Indian musical instruments, recently, I happened to come across a stringed instrument used by the aboriginal tribes of Madhya Pradesh. The local name for this instrument is‘Gogia Bana’. The ^instrument consists of a stout staff, one end of vChich is fixed to a boat-shaped resonator and there are about five strings fastened to the staff one over the other and running parallel. The instrument is placed on the lap of the player sitting and the strings are plucked with a wooden plectrum. In general appearance the instrument looks like an arched harp in the shape of a bow. Bow-shaped Veenas are found frequently in Mauryan art. And bow harp seems to be the first musical instrument to be manifested in Indian art but it is very difficult to fix the date of its appearance in India. One can only guess that it 1 0 4 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII came into existence in the plastic art of India, on permanent material, towards the second and third centuries B.C. The most ancient artistical manifestations known in historical India are from this period and the first sculptures which have any musical figuration belong to this period. The sculptures which interest our study for this period come from Bhaja, Bharhut, Stupa of Sanchi etc., where the artists of India have sculptured muscial scenes. A type of bow-shaped Veena is represented in a Buddhist cave on a relief at Bhaja (2nd cent. B.C ) and also at Bharhut (3rd cent. B.C.). There are many illustrations in Amaravati and Nagarjunakonda belonging to the 2nd and 7th centuries A.D., some of them with elegant handles. This bow-shaped veena also occurs in Gandhara in the Greco-Buddhist art belonging to the first century A.D. This type of Veena would appear to have been the most common stringed instrument in ancient times and a principal instrument in the time of Buddha and represented in many scenes depicting the various incidents in the life of Buddha. The same kind of Veena remained in use down to the time of the Guptas, as we find King Samudragupta himself represented on some of his gold coins, playing the seven-stringed bow-shaped Veena Parivadini. \| t In Tamil literature we find that this bow harp Veena was called ‘Yazh’ and was very popular in ancient days. The kings of the early Tamil royai houses, the Chera, Chola and Pandya as well as several petty chiefs of South India patronised minstrels called Panars, who, with the Yazh on their shoulders, went from court to court singing beautiful odes on the adventures of kings and nobles in love and war. Four varieties of Yazh are distinguished : Periyazh with 21 strings, Makara Yazh with 19 strings, Sakoda Yazh with 14 strings and Senkottiyazh with 7 strings. There was also the Seeriyazh with 7 strings as opposed to Periyazh. It is generally believed that Periyazh and Seeriyazh were the oldest instruments nd they were followed later by Makara Yazh and Sakoda Yazh. Pts. i-iv] research on MUSICAL INSTRUMENTS OF INDIA 105 Sakoda Yazh was used on the stage. Yazh was a favourite instrument of the ladies of the royal household and also musician saints. Literature also mentions other varieties like Narada Periyazh, Keechaka Periyazh, Maruthuvayazh, Devayazh etc. It seems Periyazh was a beautiful instrument and was portable and its 21 strings represented the three octaves of 7 notes each. The strings of the Yazh were tuned to absolute pitch and the instrument itself played on open strings and each string was named after the note to which it was tuned. Different ragas were played by the modal shift of tonic. As the strings produced only pure notes, it was not possible to play gamakas. The basic melody was sung and the player closely accompanied the song by plucking the strings individually and by gently sweeping over all the strings beginning from the tonic note from which the raga or the melody starts. This may be compared to the way some of our modern north Indian musicians like Bade Ghulam Alikhan use the Swara- mandal or the Quanun in a music concert. Here, the strings are tuned to the raga sung and played with gentle sweeps with the fingers. The sounds emanating from the strings give a strong basis for the voice, thus enriching the music. In ancient times, the voice was accompanied by the flute (kuzhal) which played the various gamakas and embellishments. The ancient Tamils are reported to have used these instru ments with brilliant ornamentation and sometimes they were inlaid with gems and precious stones. The instruments were wrapped in silk and kept in boxes with ornamentation; garlands also were put over the stem. The word ‘Yazh’, according to some scholars, is more or less identical to ‘Jya’ by which the Vedic Veena was called. It is also probable that the word might have derived from ‘AT and ‘Yal’ the name of an ancient Sumerian instrument of this type. A lot of research has been made into the development and spread of the music of the Tamils. The history of the Yazh is becoming more clear since representations of it have been dis- * 14 OF THE MADRAS MUSIC ACADEMY [VOL. XXXlH dating from before 3000 B.C. and actual unearthed at Ur at almost as early a date. One of the basic features of Indian culture is the spirit of toleration, the other is the power of absorbing and assimilating other cultures and making them a part of its own without losing the individuality. Hisnory shows many instances that not only foreign cultures but foreign races who came as invaders were completely absorbed and adopted as integral part of the Indian community whether in the north or in the south. There are reasons to believe that at an early period, the Indian Katyayana veena, Swaramandal and Mattakokila veena became the Santur of the Middle East, developed into the Western Clavichord and Harpsichord and finally became the modern Pianoforte. It is also admitted by the westerners themselves that the violin bow and the transverse flute: are the greatest gift of India to the western world. On the other hand, the western Violin has come to stay in India, especially in the South where the possibilities of enriching our music by the use of the violin, were observed more than 100 years ago. The facilities for playing the various gamakas and graces peculiar to Indian music, have made the adoption of this instrument so thorough that the southerners have almost forgotten to think of it as a foreign instrument. These are some of the instances showing the two-way traffic of the instrumental material in recent centuries. India had trade and cultural contacts with the outside world as early as the pre-Buddhist period. In the south, she has been always open to foreign influence by way of the sea and of peace ful commercial intercourse, first with Egypt through the Phoeni cians and then under the Ptolemies and later under them emperors. Indian products like indigo, tamarind wood, muslin by which the mummies were covered, have been detected in the tombs of ancient Egypt. Naturally culture followed trade. Instruments of the Yazh type have been in existence in Egypt. Representations of priests playing the harp in the tomb of Rameses III show instruments which are not only distinguished by the number of their strings, but are also very elaborately Pts. i-iv] research on MUSICAL INSTRUMENTS OF INDIA 107 decorated, the framework being carved and inlaid with gold, ivory, tortoise shell and mother-of-pearl and ornamented with various figures and their beauty and construction are very similar to those described in the. Tamil books. The fact favours the pro bability of the existence of this Yazh both in Egypt and South India simultaneously and even if there is no borrowing, there is at least a similarity of these instruments between India and Egypt. Madam Blavatsky in her book ‘The Secret Doctrine’ says, “If Egypt furnished Greece with her civilisation and the latter bequeathed hers to Rome, Egypt herself, in earliest antiquity, received her laws, her social institutions, her arts and her sciences from India. Similarly the Babylonian civilisation was neither born nor developed in that country. It was importeckfrom India. From the Sumerian point of view, their harps were the oldest and most characteristic. The strings were either plucked by the fingers or struck with a large plectrum and it was sometimes played along with the flute (Ka-gi), just as the ancient Yazh was accompanied with the flute (Kuzhal). This instrument was originally called ‘Pan* throughout a wide district of Western Asia in the early days. ‘Pan’ means ‘sound’ or ‘music’. Curiously enough the various musical modes of the Tamil music are called ‘Pans’ and the musicians were’called ‘Panars’. Anyway, in the history of India, from the beginning of artistic manifestation, this bow-shaped veena had a glorious reign for over thousands of years and disappeared at the time of the Guptas, but survives in Burma under the name of ‘Saun’. The instrument was known in Egypt as the ‘Ban* and survives in the Indian ‘Bana’ and ‘Bin’ and Veena and also in the ‘Gogia Bana’ of the Gonds of Madhya Pradesh, mentioned earlier. In the early Indian sculptures, one would find another variety of Veena represented along with the bow-shaped Veena. This is a long-necked instrument rather like a mandolin with xa oval shaped or pear shaped resonator. The instrument daced in front of the chest very much like the mandolin, e playing. Sometimes it was also placed on the lap and pi Both the types of Veenas are continued to be shown sid / side in the 108 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII early carvings beginning from the first centuries of our era in Gandhara. This Gandhara relief would remind us of the modern Rabob or Sarod. After Gandhara, this long-necked Veena is again seen in the south after a few centuries at Amara- vati and- Nagarjunakonda, with additional pegs for tuning. In the Gupta art, between 4th and the 6th centuries, at Ajanta, this instrument is continued and occurs also in Borobudur and Java in sculptures of the early mediaeval period. In distant Japan,, in the 8th century, it has taken the name of ‘Biwa\ The third type of Veena which makes its appearance in ancient India is a prototype ef the Ektara now played by mendi cants all over India for their monotonous chanting. This is a straight stick of bamboo on which a single string is stretched and a gourd attached at one end. This instrument is seen for the first time in the 7th century at Mahabalipuram in a bas relief representing the ‘descent of the Ganges’, played by a Kinnari. Some time earlier, it is also shown in Ajanta and Ellora. Later on it is shown in the hands of male and female Hindu divinities in many of the temples of the north and south. From the 8th and 10th centuries, this Veena is depicted with two gourds, in the Pala Sena art, Bihar school and Chalukya art of the 12th century, Orissa in the 13th century, and at Belur in the Hoysala style sculptures in the 13th and 14th centuries. In the beginning of the 17th century, the Veena with a long stem with a few frets mounted on two large spherical gourds, appears frequently in Raga Ragini paintings, Moghul school and other paintings of the same period. Since its first manifesta tion in the plastic art of India at Mahabalipuram from the 7th century, this instrument has a curious evolution, and through different stages of development culminated in the royal instrument of the present day' Bin of the north and the Veena of the South. Sc Vom the early period, these three types of Veenas namely, ^e bow-shaped Veena, the mandolin-shaped Veena ar e Ektara type Veena, have been in use at one time or oti nd it is very difficult to find out, from the treatises Pts. i-iv ] r e s e a r c h o n MUSICAL INSTRUMENTS OF INDIA 109 on iconography, which one of these three instruments was used oftener than the others as attributes to the different divinities and to which Veena, the vague descriptions contained in the books refer. The migration of musical instruments of India in the ancient period forms an interesting subject of study. Before the manifes tation of musical instruments in the plastic art, currents of influences were crossing themselves in India. These currents are perceptible through the history of the musical instruments used in India at different periods. We already know that pre-Buddhist India had, at an early period, musical relations with Sumer, Mesopotamia and Egypt. Buddhism was a great force in the expansion of Indian culture and Asoka was an unique inter nationalist of history who sent out good-will missions to all the countries of Asia, Africa and Europe, besides Ceylon and other parts of Indonesia. The period between the 4th and 7th centuries was, for the music of India, a period of great expansion. Through direct communications, Central Asia, from the musical point of view, has received Indian elements and has transmitted them towards the East as well as the West. The mandolin type Veena with the oval resonator, which we have seen in Gandhara during the first centuries, and later at Amaravati and Nagarjunakonda during the second and third centuries, has migrated to Central Asia and representations of this instrument are found in wall paintings in Qizil, Yotkan at Touen-houang. Touen-houang caves were established in about 4th cent. A.D. and they are situated on the Chinese border. It was a centre of Buddhism and an important post of the overland route between China and the western world. This Veena was already popular in Central Asia during this period, under the name of ‘ Pi-pa ’ and finally took the name of ‘ Biwa ’ in Japan in the 8th century. Indian influence in the art of Java of the Khmer country and of Champa is well known. These influences seem to have had vivid repercussions in the music of the countries of the Far East. Sculptural representations of musical instruments depicted in Borobudur, Champa, Prambanam and other places confirm the existence of a migration of the music of India under its ancient 1 1 0 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII form. The famous Borobudur is a veritable masterpiece of temple architecture and the greatest monument of Indo-Javanese art and the sculptures describe the life and deeds of Buddha and Jataka stories. The illustrations of musical instruments show remarkable similarity to those found in India. The most ancient Hindu-Javanese instrumental piece of documentary evidence is a relief originating from one of the Diang temples probably dating from 7th or 8th century A. D. Small bow-shaped Veenas with 10 strings are shown. The Pram- banam temples, dating from a century later, especially the great Siva temple, show a small bow-shaped Yeena and also a repre sentation of the north Indian Veena with two large gourds. In the territory of Chandi Singasari (about 12th cent. A.D.) there are two Sarasvati figures, one holding a three-stringed mandolin type Veena and another with a seven-stringed bow-shaped Veena. The Ektara type Veena never seems to have migrated to Upper India or the west, but it was introduced into Ceylon from where it went to Java on one side and to Champa on the other. Ceylon was a stop in the expansion route of the Indian culture either towards Java or towards Champ and China. The pilgrims stopped in Ceylon while coming from or going to Java. The way of holding the Veena with a gourd at Borobudur is similar to that at Ajanta. Indian influence in Java and the Khmer country ; gave way slowly to the push and strength of the local culture. But Indo china and India developed their instruments in two directions : India multiplying and perfecting especially stringed instru ments and Indo-china and Java, instruments made of metal. In conclusion, I must say again that I am very grateful to the Music Academy for the great honour they have extended to me by permitting me to present my paper before this learned audience. I do earnestly hope that some of the ideas I have placed before them, will be taken up for serious consideration. PADACCHEDA IN KRITIS \\\ oi^aiirar V. 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(tB,W)U6mnb) ' ' .-virfc.V ' "f" 1. &i&trirl!£'!B(y) 6tdmt — S ^ tibib^ 2 . 61$ 4si r u $ e a r yuggQp S. jmrflemr urrerd&r a,rr60rr$ arriLQp— 6 0 65)1 LD Jj£ (Lp 60 IS)IT — LDQJ) Q 60 GlSOT f ) IEJ © 60T @ )$eb gJ0 6®G>e6i?,ir m ^ fc src\T m 6T6aru 6T60T JTJ U&6U IT 6ST & 601 60 Q— U(1)J5@ $ $ QTjU U601 Jb 3 UJ eiB jS ^ 6® 6ip.iu $ $ 60 $ujir& cnrgg 6r06wrLBa6rr J ^ ib ^(r^$v®60 u..u(8 $ P t s . i - i v ] PADACCHEDA IN KRITIS 119 j92(rrj&Sl(njQ(rear jp i Qarrerrerr60irtb. erdirpfRauj tsirLDis CtLDjbdSi-jduj tBujisj6S6rr ujrreyib iBtr^frS^^ibui^. u ir t - Q eueaar® U) IT (GO) 6 0 , 6T0/T evfjl s S lJJ S Sear 4L. lLQ U T (t^SoTT tom (trj6 5 ^ ITS g ] U l T ® aj(3'Sir® is&jt sl.&&if)ut-jib ^eoeOirmeQ^seB (3exjeaar®ib. QiA§£jib Qeueaart^uj ^ e rre ^ Qp&eoi& iB tsp e ijtb , 60ir&6uu)tr& Qp£& ffl9i_ey/i) uLps&ib ^exiSiuib (o6xiemr®LC. ®]isis ^ ib ’fiaserfleb & p jp j n tfi gwtiTTS ffia w f: i 6r6aru '§] GiufK3ujirirs&rr&jrri(^. 6rOiru)ls§ 6 b ertirnS& i8$ p s r r & art) nreJH (rB^ueaarib) 0 ^ € b , Gl/Blp.6V, U'S&Q&.lSLD 6TG060ir(8LD GrdiTLLtb 6rearp erOibjS lS0gi& (2) g£IlL®S Qsir®sS ear pear. ^(3,rStrL.e060rrLDcb ero(3 prr u iron?. (Tab sGl err ear p eaGl&rr p&tepib «nu-u9ea>u.(3uj a / 0 Si ear pear. @j(3 & ffgjluSl60 ibla^ j &(rijjiglaeifl guib */P’ erearp egj&q. \rpeai& c^®/«/r/B0 srrir6nexj Qair®a(9jib(3uirgi (S * rrp £ )u uirty.es Qsireaar ® 6ij/6l&ir/r&err. jS 120 THE JOURNAL Ofr THE MADRAS MUSIC ACADEMY [VOL. tfXXtil ( r S ^ U 6 m ib ) d?^trr& lam ib eQagip (j>tuir£>6orih f? £ 3 u96bt d?ggtrstyj-LD ereisr^ QutRQiwrraerr Q&ireo epieLirriraerr. (§jani&6s Gn&eSlL- Q sxj& m t^uu£bI6q8so. Q/>i^.e>jir #fT ?r l?Rf ^ *mrrn, *$«ri # n fa fc g fa i erGsrjp] mib Lc&tfleiflaeb Q&irmasruty. iBirih urrevJssm^ LD6vrg>l&) Q&rrem-Q uirrrj£&tr60 &(iTjl$)&Gtfl6b u && (8&i£ih er&sru 6p enojB. WHAT ARE THE JATIS AS DESCRIBED IN BHARATA’S NATYAS'ASTRA* \ l \ Swami Prajnanananda, Calcutta. Controversies rage round the meaning or significance of the term 1 jd ii ’ as described by Bharata. Some scholars are of opinion that there is no mention of the word ‘raga’ in Bharata’s NatyaSastra. But their views are not correct, as we find the word *raga' has explicitly been mentioned and explained at least in five places of the NQtyaSastra, and they are: (1) “Jatiragam shrutii chaiva” (Banaras ed. NS. 28-35),, (2) “Yasmin vasati ragastu” (28-72), (3) £‘Raga-marga-prayojakah’’ (31-39), (4) “ Evamenam vina ganam natyam rangam na gacchati” (32*350), (5) ‘*Shlagha ragah samgharsa eva cha” (32-475). Some are again inclined to take the word *jatV to mean ‘genus’ in a collective sense, and they say the word ‘raga’ in the technical sense of ‘melody’ would hardly be found in the NatyaSastra, and Bharata, therefore, used the word IjatV in the sense of ‘genus’. This view was maintained mainly by Captain Dey and some European exponents of Indian music. We think that Captain Dey made a mistake when he stated, “And some centuries later when Sahgita-Ratnakara was written, the word ‘raga’ appeared to have been substituted for ja ti in the N atya- Vastra.” The critical students of Indian music will find an inconsistency in Captain Dey’s statement, because it is a histori cal fact that long before Sharngadeva of the Sahgita-Ratnakara of the early 13th century, Matanga fully defined and discussed about the raga side by side with they'5//, in his Brihaddeshi of the 5th- 7th centuries A.D. Matanga said: Raga-margasya yad rupam yannoktam bharatadibhih I Nirupyate tad asmabhir-laksya-laksann-samyutam ii Yo’sau dhvani-vishesastu svaravarna-vibhusitah I Ranjako jana-chitt5nSrh sa cha raga udahritah II That is, “As Bharata and other ancient musicologists (like Kohala and Yastika) have not defined the word‘raga’ in a definite way, •Paper sent to the XXXVth Conference 1961. 16 122 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIll let us take up the task. Now,, a raga is a kind of sound or dhvani, full of vowels, and it generates sweet vibrations that soothe the mind of all living beings.” From this we should not apprehend that there was no system of raga prevalent in the pre-Matanga times (i.e. before the 5th-7th centuries A.D.), and for which Bharata did not discuss about any raga-i'eature in his Natyaiastra, rather it is to be taken that Bharata already followed the tradition of depicting the raga as handed down from his revered predecessors like Brahma, Sadas'iva and others. Bharata discussed about the ragas in the term of ja tis , and already discussed about seven pure and eleven mixed parent ragas (jatiragas) , in a scientific manner, with their salient features like ten essentials, varnas, alamkaras, murcchanas and different aesthetic sentiments and moods. He also admitted the fact that the ja tis were the source or fountain- head o f gramaragas and other kind,? o f ra g a s: jatisambhutatvad gramaraganV\ Matanga stated as to why the parent ragas like sad'l, arsabhi, gandhan, madhyama, pcnchami, dhaivatl and naisa- di were known as ja tis: He stated in the Brihaddeshi: (tIdanim laksanamaha - shrutigraha - svaradi - samuhaj jayante jatayah. Ato jataya ityuchyante. Yasmd’jayate rasa-pratitir-arabhyate iii jatayah. Athava sakala ragader-janma-hetutva1'jataya iti. Yadva jataya iti jatayah. Yatha naranam brahmanatvadayo jatayah”. Which means that the ragas are knowm a? ja tis because they were born of microtones or shrutis, initial notes or grohas, and clusters of tones. And, for that reason, they] are so called (ja tis). Or as the realisation of aesthetic sentiments is possible from them, they are known as ja tis. Or, being the source of all ragas, they are known as ja tis. Or they are called Jatis in the sense of classes, as for example, the Brahmin, etc. forming classes of human beings.” Attention may be drawn to the pure type of seven ja tis, as * has been mentioned in the Rdmayana of 400 B. C. Valmlki said that the wandering bards like Lava and Kusha sang the Ramayana-gana before the Royal court of Sri Ramachandra and the ganas were presented with seven ja tis or ja tira g a s, accompanied by murcchanas, tanas and with musical instruments lik e veena, mridahga, etc. The tunes of the songs enchanted all of P t s . i- iv] JATIS IN NATYASASTRA 123 them who were present there. It is stated in the Ramayana (canto IV) : Pathye geye cha madhuram pramanais tribhir anvitarp I, Jatibhih saptabhir-yuktam tantri-laya-samanvitam || etc. The portion o f the ilokas : hladayat sarva-gatrani manamsi hrida- yani cha, shrotrashrayam sukham” etc. exactly coincides with the later definition of raga: “shrotr-chittam ranjayati iti ra g a K given by Matanga in the 5th-7th centuries A.D. Now, from the refer ence o f the Ramayana, it is evident that the ja tis were the parent or basic ragas, and they were the forerunners or precursors of all the later ragas, marga and deshi. The Mimamsakas and the Vedantists of India hav^recognised the ja ti as universal or samanya, as distinct from individual vishesa. The universal or samanya is considered as eternal and unchanging, whereas the individual or vishesa is involved with change, decay and death, being the product of the universal. The Greek philosopher Plato called it the Type or Idea, which is permanent. Similarly, the ja tis, as described in the NatyaSastra, might be taken as universals and, therefore, unchanging, and all other ragas, being the product, as individuals and, therefore, changing. Bharata and his followers believed in the potentialities o f ja tis , and so they maintained that the ja tis might be considered as universals or genus, and the later evolved ragas as vyaktis or species. Again the ja tis and the vyaktis are not altogether different from each other, being the cause and the effect, and, for that reason, the designing of the effect (other ragas) is possible from the knowledge of the cause, the ja tis. Now, on the basis of this cause-effect or genus-species theory, some say that Bharata did not write any special chapter on the raga-raginis as they were in vogue in his time, but only gave an elaborate scheme of the ja tis or types, and that does not prove that there were no ragas and ragints prevalent in his time. The raga-raginis as such are individuals from the generic character, of which the conception of ja tis can be formed, just as we form an idea of the individual from the ja ti or type, to which 1 2 4 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII they belonged. So it is not wise to conclude that during the time of Bharata, the ja tis were only prevalent and not the vyaktis or individualized modes of raga-ragiriis, since ja ti and vyakti are correlative to each other. But this view is also untenable, as the students of history of Indian music fully know that in the beginning of the classical period (600-500 B. C.), when the gandharva type of music was designed with the materials of the Vedic music, the seven ja tis or jatiragas were only prevalent in the society, as the individualized m odes o f raga. It has been mentioned before that in the Ramayana, these seven basic ja tis were described in connection with the Ramayana-gana. In the classical period i. e. from 600-500 B.C. to 2nd-3rd centuries A.D., there were prevalent no other ragas or raginis (?) than the seven to eighteen basic ragas in the form of ja tis . The janya-janaka scheme like jatiraga- gramaraga, viz. cause-effect principle evolved in the beginning of the Christian era. The raga-ragirii scheme, in the form of masculine-feminine principle also evolved at a more recent date, in the middle of the mediaeval period, though the nucleus of it was found in the alapa-alapti scheme in the 9th-l 1th centuries, as evidenced in PSrsvadeva’s Sahgita-samayasara. But it is quite sure that during Bharata’s time, the ja tis were only pre valent and played the role of the raga. There are prevalent some other views regarding Jatis. According to some, the ja tis , as depicted in the NatyaSastra, were the music-parts or notations of the dhruvas, and not the ragas in themselves. The dhruvas, according to them, were the ready-made compositions of sahitya and sam gita, and they were sung during the interval between the two acts of drama and during public or household festivals in eulogy of the deities. So the ja tis were the closed forms of music and as such were the precursors of the ragas. When music began to be considered as an art independent of sahitya, the ragas and raginis seem to have come into being. And though Bharata mentioned the word *raga’ in the term of amsha, it did not occur in its yogarudha meaning. It stood only for musical value in general, and did not P t s . i - i v ] JATIS IN NATYA SASTRA 1 2 5 occur in its technical sense, though the origin of ragas was in the ja tis, the music-parts of the ancient closed forms. During the time of Sharngadeva or even a few centuries before him, the ja tis began to fall into the background, giving place to the ragas. But this view is not wholly correct. It is true that during the time of Sharngadeva or even a few centuries before him, the ja tis began to fall into the background, giving place to the more methodical system of ragas, but yet it is true at the same time that it was Bharata who for the first time systematised the Indian classical music in a very scientific manner. More over he fully dealt with the theory of jatis, dhruvas, and other forms of music, together with dance and drama, in the N atya- Sastra. It is clear from his description of ja tis that t 126 THE JOURNAL OF THE MADRAS MUSIC ACADI [V o l . x x x i i i Bharata used the word ‘j a t i’ in the strict sense o raga’ i.e. parent raga. Again the ja tis which have been described i the NatyaSastra, had an independent existence of their own, v heras the dhruvas were somehow or other dependent upon the ja tis , for their complete manifestation. So the ja tis shalil not be called notations of the dhruvas, but essentially they were ragas, having independent status. Further it is to be noted that apart from thi; gramaraga, the later formalised deshi ragas had also their origin in the ja tis , and it has been supported by Matanga in his Brihadde 7 : “yat kinchid etad giyate loke tat sarva/n jatisu sthitam ’. bo naturally and reasonably it is proved that the ja t i s , being the ca use of all kinds o f ragas, marga and deshi, were the ragas by the mselves, just as the seeds of the oak trees give birth to oak trees pnly and not to any other trees of dissimilar or different species, rhe forms, types and ways of presentation of the causal ja tis or jatiragas might not be similar to or exactly coincide with those of the later evolved ragas, but their claim of heredity can never be dis juted or ignored, So from all points of view and discussions, it cjin be concluded that Bharata neither used the word ‘raga’ in the sense of yogarudha, nor in those of jahad and ajahad laksanas, bu' used it in the sense of that which it really contained in itself The ja tis , as mentioned and discussed by Bharata in his Ni tyaSastra, were, therefore, the ragas i.e. parent or causal ragas from which all kinds o f ragas were born in the domain of Indian music. * SAMA VEDA AND MUSIC* By Dr. V. Raghavan Our music tradition in the North as well as in the South, remembers and cherishes ifs origin in the Sama Veda. 5rft?T ^ 9 1 ? fadTfrf: say the music treatises. flT*Tf*T*nr*tgWTiT2Fn«T sings TySgaraja. The science of music, Gandharva Veda, is an Upaveda of Sama Veda. 1>he Sama Veda is therefore of interest to music scholars as well as to Vedic scholars. The Sama Veda is the musical version of the Rigveda. It is the hymns of the Rigveda which are used as libretto or Sahitya, or Yoni as they are called, for the melodies which are called Samans: ^rlfcTS Only a very small number, seventy-five, of the hymns not found in the Rigveda occur in the Sama Veda. The hymns in the Sama Veda are mostly in Gayatri metre, with some in Pragathas, in which the Jagat! is added to the Gayatri. It may be noted that both the metrical names Gayatri and Pragatha have a musical significance. The arrangement of the Sama Veda may be briefly indicated, as the titles of its sections which the Saman-singers mention have a bearing on the music and may be understood. The hymns are in two primary sections called Sam hita or Arcika and Gana. The former is in two sub-divisions Purvarcika and Uttar arcika ; the latter part of Purvarcika is called Aranyaka Samhita. The GSna-part has the sub-divisions of Gramageya and Aranyageya, and Vha and Uhya Ganas. The Purvarcika is arranged by the deities sung of and the Uttararcika, by the order of the sacrifices where they are sung. In propitiating deities, singing the praises is more moving and effective. In the sacrifices therefore there were special *A lecture delivered at the Vedic convention in Delhi on 13th October 1962, with demonstration by Saman-reciters from different parts of South India, representing different styles of the two schools Kauthuma and Jaiminiya. \ 128 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII singers called Udgatrs who sang the hymns of the Rigveda. When they are thus being sung, Riks, from two to seven, were strung together in the same melody, and each such group is called a Stotra. The difference between the Purva and the Uttara Arcikas is that in the former the first Rik alone is given to enable a learner of the Saman to pick up and practice the melody, and in the latter the further Riks forming a whole Stotra, to be sung in that melody are given. It is just like our modern musical practice in publishing songs in notation, where we give the Sahitya of the Pallavi, Anupallavi and first Charana with text and svaras and the further Charanas which have the same notation, we leave off with the indication— ‘the others are to be sung like the above’. The second main division, called Gana, gives the melodies. According to the Samavidhana Brahmana, various esoteric purposes and fruits are associated with the different Ganas; some of these may be special and to be used only in solitude ; hence Ganas are divided into those to be sung in public in villages, Grama-geya and those to be sung only in the seclusion of the forests, Aranya-geya. Those to be used only in the latter are hence in a separate section, tbe latter part of the Purvarcika, called the Aranyaka-samhita. Uha is adaptation of what occurs in one place for another place or occasion ; accordingly, in Uha* gana, the melodies of the GrSmageya are to be utilized and in Uhya, those of the Aranya-gana. The terms Prakrti and Vikrti, base and modification, are also employed in this connection. On the same Rik, several G5nas, from simpler to more elaborate singing, occur ; also, according to the rites, the one or the other method of singing is done. [This was illustrated by the Tamil Kauthumins by singing Ognayi in three ganas, successively more and more elaborate.] This again has its parallel in our musical practice, where the same song could be sung in a plain manner and also with embellishments and sangatis. The main Ganas are seven: Gayatra, Agneya, Aindra, Pavamana, Arka, Dvandva and Vrata Parvans, S'ukriya and Mahanamnl. The total Ganas or melodies in Prakrti Samaus are 1492 and in the Uha and Rahasya 1145. P ts. i-ivj sama Veda a n d music 12$ One hears SSmans being called by different names, Gayatra, S'akvara, Vamadevya, Brhat, AgnistomI, Yajnayajniya and so on1; these names are based on diverse factors, the metre, the rishi-singer, the deity sung, the sacrifice etc. It is inevitable that when a text is sung or treated to a melody it undergoes modification; this is true of all music, Indian or Western. The more elaborate the music, the more distorted and unrecognisable do the words become. Also, when eking out the melody, mere sounds, vowels and consonants, supporting the music and having no literary meaning occur or intrude. In our classical music, we are familiar with such syllables, a, i, o, ta, na, ri etc. The syllables ‘ Tene ’ are especially given auspicious significance in later music treatises. When the Riks are sung with Samans, they too undergo modification and.?augmentation with sounds of no particular literary significance. These latter are called Stobhas and a large number of these are employed in Saman-singing, a, e, o, au, ha, ho, uha, tayo, has etc. In one or two Samans, the text is completely substituted by the consonant ‘bha*. [The bha-kara Samanwas illustrated by Kauthumins of Tamilnad and Jaiminiyas from Pannal in Kerala.] In certain Ganas words and verses having meaning, some of them of very exalted import too, occur ; but these aslo are Stobhas; e.g. in the well- known Setu-saman, which is most uplifting in its significance, except for a small passage, the text is technically Stobha. This does not mean that stobha-syllables of no literary meaning do not have Spiritual significance; the spiritual effect of Saman- singing includes these Stobhas which are part and parcel of the Ganas. The employment by some of a meaningful word like ‘Rama’, instead of the sounds ‘Te* and ‘Ne’ in our secular music in the midst of alapa could be compared with this. During the days of the classical Sanskrit drama certain verses were sung from the background by the musicians in which the words were not of any significance as such and only the melody employed was 1. For full index of these names of Ganas, see Simon’s edn. of the Puspasutra, at the end. 17 13 0 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII relevant to the mood of the situation.1 This again is a parallel in later classical music with the above-mentioned phenomenon in Saman music. In classical music too, the Sahityas become unrecognisable particularly when the singing is elaborate. Not unoften, a class of listeners and critics keep on stressing the importance of Sahitya, and the audience being enabled to follow the words and their meaning. But this often becomes impossible and that this is naturally so could be seen form the Sama Veda. The same text as it is and as figuring in the Gana could be compared from the following transcriptions (according to the South Indian Kauthuma style) : Rik : WT 3TWff I fa ^cTT Hfcff srfafa II Saman- afar* I srw# qtf l cfonf I f I ans I cffaf? I 5TT* $ ffT | nr i an sr art m u $ \\ u In this connection the following quotation from Matanga and the further observation by Kallinatha, in his commentary on the Sangitaratnakara, may be borne in mind : JRTJfa , W—1 anffal^«rf snflp|5%> f f a I * * wtosrtftfa | btcT: ST*r^5T!?fa% sjffa *T??nrcrRt P. 146, Vol. I. AnandSsrama edition. As already stated, there were special singers whose duty it was to sing the Samans in the sacrifices. Not only was this singing done to the Vjna, of which some varieties are already mentioned in the Veda, but as is common in our classical music, there were additional singers to assist the main Udgata. The participation was systematised with each part of the singing done by a separate singer. Saman-singing comprises, as the Chandogya 1. See my article on Music in Ancient Indian Drama, J. of the M usic Academy, Madras, XXV, 89. PTS. I-IV] SAMA VEDA AND MUSIC 131 Upanisad of this Veda, which expatiates on the esoteric signi ficance of S5man-singing, tells us, sections called Bhaktis, counted as five : Prastava, Udgitha, Pratihara, Upadrava and Nidhana, or as seven with the addition of Omkara and Himkara. These divisions bear resemblance to the parts of a composition in our classical music: Asthayi, Udgraha, Antara and Abhoga. The additional singers helping the Udgata are called after these parts assigned to them e. g. Prastota and PratihatS.1 In the Mahabhasya, the Sama Veda is said to have had a thousand schools or styles (sahasravartma); but in course of time the Sakhas of Sama Veda began to decay and disappear. The ancient texts speak of thirteen Samagacaryas. The schools came to be reduced to fifteen but today, there are only three schools, the Ranayanlya, the Jaiminiya and Kauthuma. Of these I have spoken in the brochure on the present position of Vedic Reci tation and Vedic S'akhas, published on the occasion of this Convention. Whatever the provenance of these schools in the past, today we find Ranayaniyas who can sing, in Jaipur and Mathura. The Rigvedins who have come for this convention from Gokarna in Karnataka say that there are Ranayanlya families in the neighbourhood of Gokarna. The Jaiminiyas or Talavakaras are in Tamilnad and Kerala and the Kauthumins in Gujarat, Tamilnad, U. P., and other places too prabably. [There was here illustrative singing of Tamil Kauthuma style of both the northern and older and the southern and newer types, of the Jaiminiya style from S'rlrangam in Tamilnad and Kodum- tarapalli in Palghat and PSnnal in Kerala.] From the point of view of music, the most important thing is the scale or the notes occurring in Saman chants. This has been examined by several musicologists, Western and Indian. According to these musicologists, the SSman-scale comes under 1. It is interesting to note that as in our music performonces, some members of the audience exclaim “ shabash” etc. and encourage the musician, in the ancient sacrifices too, when a Hota has sung a Vastra, the Adhvaryu utters what is called a Pratigara which is of the form ‘Oh ! I am delighted’—3Tts5T I See Panini I. iv. 41 and Bhattoji and Balamano- rama thereon. 132 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII the Hindustani Kafi That and the Carnatic Kharaharapriya. Mela. It is more difficult to say definitely what notes exactly occur in the Ganas of Sama Veda, but with the help of the old texts dealing with SSmagana, e.g. the Naradlya S'iksa, and the surviv ing traditions of this Veda, we may attempt at some identifi cations. The Phulla (Puspa) Sutra of the Sama Veda says that in the Kauthuma school, the Ganas are mostly in five notes, and that a few are in six, and fewer still in seven. The fact that the Gaiias in five notes are most common may be compared to the fact that the pentatonic or Audava scale enjoyed widest vogue in folk music and in the music of many peoples of antiquity, including the Greek. But if we go by the most ancient nomen clature of the Svaras in which the first is called Arcika, the second Gathika and the third Samika, we may take it that the most ancient or original form of Saman-singing employed only three notes. The Jaiminiya or Talavakara Saman which survives in parts of Kerala and Tamilnad confirms this as it employs only three notes. In this respect, as I have shown elsewhere, the three-notes Saman chant, taking the notes Ga-Ri-Sa or sometimes with a touch of Ma with Ga, has a striking parallel in the Hebrew chants of old Jewish synagogues.1 [In illustration different Samans were sung by different schools assembled at the Convention. In the Uha of Ognayi of Pannal, the general range was only three notes, all of which were however only 4 implicit in one there was also ‘ Kru^ta in Subrahmanya- bvana, five notes with the touch of the sixth occurred and the lower range went up to ‘ Pa ’. In the Koduntarapalli singing of Ognayi there were three clear svaras, though the svarasthanas were not exactly the same as we know now. In the Rudra sung by representatives of this School, there were three Svaras, with a touch of the fourth; so also in Acikrad (from Pavamana) ; in Aranya, Jyestha-saman, only two notes with the touch of the third; so also in Uha. In the Jaiminiya from S'rlrangam four notes were heard in Ognayi and the range was generally of five notes. In the Tamil Kauthuma in Pavamana five notes were heard. As an example of the rare occurrence of the seventh svara, Indra- ' J. See J. of the Music Academy, Madras, XXV. 109-11J. P t s . i- iv ] SAMA VEDA AND MUSIC 133 puccha was sung by the Tamil Kauthumins. Sangltakalanidhi T. K. Jayarama Iyer was present at these singings ] The seven notes as they occur in Saman music are called Prathama, D vitlya, T rittya, Caturtha, Mandra, Atisvarya and K ru sta; according to the Naradiya Siksa, these correspond to the following notes on the flute: Ma-Ga-Ri-Sa-Dha-Ni-Pa, which gives not a straight progression but a vakra-gati. It is also important to note that the Saman-singing, as contrasted with classical Indian music, shows notes in a descending series, avaroha- krama, which is referred to in ancient treatises as Nindhana-prakrti. Old Greek music was also in a descending series. The Music Academy, Madras, conducted some years back a seminar on SamagSna, with Kauthuma and Jaiminiya singers, and among the facts that emerged was the one that Sama-svaras did not sound at exactly the same Svara-sthanas that we are now familiar with in our classical music and that the Sruti-values seem to be slightly different, when we compare Saman-music with current classical music. The science of Indian music and the analytical study of Svaras and S'rutis has progressed in subsequent tim es; but as the groundwork of all this is the Sama Veda, Indian music still harks back to the Sama Veda, its ultimate source. Above all, the high devotional and spiritual value we attach to our art of music derives from the spiritual efficacy associated with Saman-singing. In the manner of the Vedic Saman-singing, of which the Svara- notation is immutable, there arose a body of songs called Marga or Gandharva, in the form of praises of Siva sung in Jatis, born of the Saman and the precursors of the still later Ragas, and whose Svara-notations were also held sacrosanct.1 It is because of its high spiritual efficacy, akin to Yoga, that the Lord said of this Veda in the BhagavadgltS : 1. C f. Sangitaratnakara I. 133: qsJfSf giJrrfh' INTERNATIONAL MUSIC Dr* Henry Cowell, New York Each continent has produced many styles of music of its own, but everywhere one finds the same basic elements, at varying stages of development, with an incredible number of aspects to each. The old and the new, tradition and experiment, the past and the future, inheritance and prophecy, are given different emphasis in different places, but it is their interplay that keeps the arts alive everywhere. Among the most important styles of the 20th century in the West are two that are often described as international: the atonal (called also the dodecaphonic, serial, 12-tone row system), and the tonal (today often, but not always, modal.) Fine works are being written today in each style, though there is great competition between them. The atonalists like to say that tonal music is “ obsolete ” or “ naive ”, and the lonalists call the atonalists “ cerebral” or “ provincial”. The two groups agree only in calling other styles “ academic ” or “ old-fashioned Such passionate opinions are meaningless. I have never understood why anyone should feel he must belittle other kinds of music in order to have confidence in his own. The best critics today avoid making categorical value-judgments of their contem poraries, and they ask, about a style or a single composition : What is new, and what is traditional, about its choice of basic materials, of techniques, and of forms? And what kind of relationship has been created for them by the composer ? Within each of the two so-called “ international” styles there are many different regional and personal ones (even within the atonal style): but there is a clear distinction between them in the way they see their own relationship to other music. The dodecaphonic composers, particularly at first, have tried to shape sound in ways entirely free of musical history and regional taste, MV Composers who write more or lec,iS tonally, on the other hand, seem always to have had confidence in man’s natural musical ideas, and to feel themselves close to musicians of other times and places without difficulty. There are the inheritors of the humanist tradition, to whion the iconoclasra of the atonalists inevitably opposes itself. Most of the worlds music has always been rooted in a strong sense of the pull toward the tonal center. This is true both historically and geographically, for tonality governs all the tradi tional classical music of the Orient (since a mode is neeessarily tonal), as well as Western developments so different as Gregorian chant in the 7th century, Mozart’s symphonies in the 18th, and French poly tonality in the 20th. As the Western symphonic tradition began to break up, toward the end of the 19th century, there was a renewal of curiou.sity, in France and England, about the medieval modes. This led to a great revival, which continues unabated today, of the almost unknown musical styles that had proceded Bach,— music based on the diatonic modes, which had survived of course also in the Roman Catholic chant and in the folk music of various parts of Europe and America. These diatonic modes then began to be carried forward into modal chromaticism and modal dissonance, in music written for the modern orchestra, so that melodic variety on a modal basis began to have an important part in 20th century music again. The quite different attitude that began to declare itself first m Vienna about 1909 began by forbidding, first of all, the tonal repetitions that establish the feeling of the tonal center ; it also promoted the chromatic tones of the tempered scale to equal importance with the diatonic ones. Such atonal chromaticism is a peculiarly Western kind of chromaticism. It has a perfectly respectable history, for one can find “ forbidden ” free dissonance, and the beginnings of chromatic elaboration of diatonic melodic lines, as early as the 13th century (Guillaume do Machaut, for example) and a little later with Cesu- 1 3 6 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII aldo and Monteverdi, and others from time to time. These elements of opposition to diatonicism never disappeared entirely. By the time that Central European music had passed through the hands of Wagner, Mahler, Bruckner and Strauss, the sense of the tonic had so lost its strength that unresolved dissonances were no longer a rarity, and chromatic passing tones were firmly established in our scale. So it was not unnatural that 19th century chromatic dissonance should turn into the atonal dodecaphonic serialism whose pioneer was Arnold Scheenberg. The tempered scale with its contributions to free dissonance was retained by the composers of this school, but the concept of a single tonal center for each scale was abandoned. (Or one may say that each note of the twelve was made into a tonic in its turn, which is another way of describing the same thing.) The tone-row concept of Scheenberg was in part a reaction against the exaggerated nationalisms in Europe at the end of the 19th century, but even if dodecaphonic music had succeeded in eliminating everything that has been developed as a national style in its musical materials, its real strength has been due to the necessity of building its own associations and traditions according to its own inner logic. This logic is the tighter because it is not conditioned by the vagaries of custom. Surely this is just the opposite of internationalism,—non-nationalism, perhaps. All such labels are somewhat inexact, but if one must look for “ interna- tionaliam ”, it might more reasonably be said to exist when a composer takes musical materials in a form that he has found to exist in a single culture, and then carries them beyond the limi tations of that culture, according to a logic inherent in the basic materials themselves. He will usually then find his chosen material growing as he works with it into something to be found in other parts of the world. As an example, if this concept of orderly theoretical extension be applied to rhythm, the procedure will practically always result in rhythms which can be found in Africa or Indonesia, (where rhythm is farther developed than in the West). This is not necessarily a virtue, but it is not a crime either, and it is international in the sense that the composer does not allow himself to be limited by a single national tradition. 1 3 P t s . i -iv ] INTERNATIONAL MUSIC 13? Another more or less “ international ” approach is made when a composer starts with something to be found in several traditional cultures. But in every case, the composer’s problem is to bring his chosen materials and techniques together in accordance with their own nature and its implications, and then to carry them forward into forms that will have meaning today. Whether a composer invents or inherits the point he starts from is of less importance than the music he arrives at, so to speak. Until the first quarter of the 20th contury, it was a peculiarity of Western musical theory that there was no systematic analysis of melodic forms as there was for contrapuntal and harmonic ones. Different melodic forms were in constant use, of course, but they were very simple for the most part, and while they have certainly influenced contrupuntal and harmonic forms in Western music, their influence was largely unconscious. Nobody studied melody as such. The 12-tone row composers, however, realised the need for a clear exposition of their ideas if their techniques were to be transmitted to students, and in the hands of several brilliant theoreticians their concepts have been organised into a logical musical system. This starts from their partial approach to the creation of melodic lines, and the implications of this approach are then carried forward into their special polyphony, harmony, rhythm and form. Here one finds the only codification of atonal melody that has been made anywhere. The western composers whose tonal music has a modal basis cannot point to any systematic presentation of the modes since Gregory’s comparatively simple outline for the diatonic ecclesias tical modes that was made in Rome in the 7th century, except for that of Bartok, which was confined to a simple folk tradition. Actual modal usage has far outstripped the theories of 1300 years ago, of course, so that this musical style is badly in need of a more complete presentation of the modes that will show their 18 ,'V 1$8 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII inter-relationships and possibilities systematically, to make orderly study possible. Such a systematic organisation of modal melodic possibilities not only exists, today, but it has existed since at least the first century A. D., and probably longer. It has produced a dictionary of modes, in which the possible forms appear in a methodical progression of clear relationships, and the entries in this diction ary, each of which has a name of its own, number many thousands. This is the raga system of India. It is so complete and orderly in a theoretical sense that it seems quite possible to believe that no (tonal) melodic forms have ever appeared, East or West, that do not have a place in it. The immense number of ragas is arrived at through permut ations in a diatonic system of 7 modes, whose chromatic and/or microtonal passing tones may appear at one or more fixed points (but never all at once, so that the system cannot be considered dedecaphonic nor yet oikositettarphonie in the Western sense). Modal possibilities are further multiplied by orderly variation of slides, turns and trills of different sizes and shapes, which are approached and departed from in ways that define different modes, and which appear at different points in different sets of modes, as well. Few Indian musicians will claim to use more than 500 ragas or so, today: but this figure is regarded as a reg rettable modern simplification. For lack of space I have not made a paralled discussion of rhythm, but of course no one should attempt a thorough study of rhythmic development without knowledge of the equally elabo rate codification of meter and form in India which is the system. There is no question but that rhythmic and melodic consider ations are beginning to have new importance in the West, and I believe a great explosion of energy in these two neglected aspects of our music is about to take place, in ways that will Pts. i - i v ] INTERNATIONAL MUSIC 139 affect every composer. So I should like to point out that it is beginning to be confusing if one draws a hard-and-fast musical line between East and West today. Such a distribution may be a convenience, but it is hardly a fact. The proof is simple: For a systematic study of atonal melodic construction, composers anywhere in the world must now look to the dedecaphonic music of the West. And for systematic study of tonal melodic possibilities, composers where- ever they live must look East, and first of all to India. THE TAMASHA A form of Open-air Opera of Maharashtra G. H. Ranade, Poona. This form of open-air opera is indigenous to Maharashtra. The term Tamasha is of Arabic or Persian origin but how it came to be applied to this form of opera which does not employ any exotic element in the least may appear as a mystery. In terms of the Natya Sastra, we may call it a Prahasana or a form of light comedy. Like the Bhana in Sanskrit, the Tamasha has a plot of an erotic nature, but employs language which is rustic and rather vulgar. From very early times it has been a form of entertainment common to the village-folk of Maharashtra, and its popularity has survived even to this day. In the absence of any other form of diversion, it was the only form of entertainment easily available to the soldiers of the rapidly moving armies of the old Maratha regime, and the Muslims named it as Tamasha, a term indigenous to the Persian language. This term, like many other Persian words, is now incorporated into the Marathi language as one indigenous to it. Apart from the name, the technique of the Tamasha is however quite in agreement with the conventions of the Natya Sastra. In my opinion, it even excels some of the well-known plays in the use of the power of suggestion. In the first place, it needs no special theatre or closed place, nor any curtains, wings, change of apparel or any other external material or objects. Any public place with some raised and platform-like portion of ground serves the purpose of the stage, without even any carpet to cover it. Even though there may be a change of scene suggested by the plot, no change is effected in the stage or its surroundings. The hero, the heroine and the hero’s friend are the only three actors from the beginning to the end, with three or four other persons, who are but accompanists and play the music instruments and sing the burden of the songs in chorus. *15 Pts. i-iv] THE TAMASHA 141 Suppose the incident in progress requires the presence of* .some new person into the scene, no such person actually enters tdie stage, but the hero’s friend temporarily assumes his role and acts his part for the time being. If on the contrary, it were a woman and not a man, the hero’s friend draws the end of his dhoti over his head in the manner of a woman’s Sari and begins talking in a womanish tone. If both a man and a woman were to participate in the scene simultaneously, the friend acts the double role in turns and conducts a dialogue between them by deftly effecting changes in his tone. The fun does not stop here, but the friend bends down like a horse, if the hero has to go somewhere on horseback and trots or runs (on the stage) like a horse, with the hero on his back. Similarly, if a chair or some seat were needed by .the hero, the friend offers his back to him as if it were a chair. Thus there is no barrier in effecting a change of sex at will or in changing oneself into an animal, or in transmigration from the animate into the inanimate form and vice versa. Thus the Tamasha employs the power of suggestion at its highest and at the same time discards the use of any external aids or objects. Again according to the Natya Sastra, the actual drama takes place after the Purva Ranga which is to be held behind the cur tain. In the Tamasha the invocatory ritual is held exactly in the same manner, but they hold it in an ideally artistic way. There is no curtain to hide the actors from view. But they stand with their backs towards the audience and sing the invocatory songs. When the songs are sung, all of a sudden they turn their faces towards the audience with a right about turn. This means that the invocatory procedure corresponding to Purva Ranga is over, without being observed by the spectators, and the play proper would just begin. Neither the Tamasgirs nor any musicologists have so far tried to explain this close correspondence between the Tamasha and the conventions of the Natya Sastra. l RAGA RUPA Introduction to a methodology of raga classification Dr. B. Chaitanya Deva. Special Officer in Music, Sangeet Natak Akademi, New Delhi “ Mathematizing may well be a creative activity of man, like music, the production of which not only in form but also in substance is conditioned by the decisions of history and therefore defies complete objective rationalization H. W e y l: Philosophy of Mathematics and Natural Science. One of the great needs of our time is to discover the means of coping with the problems of quantity and value : after all our most important experiences are qualitative and when every thing has been reduced to mathematics, something essential has evaporated from reality.” Julian Huxley, in his Foreword to D. H. Raw cliff’s Psychology of the Occult. A brief review of the past and existing methods of raga classification and raga analysis is made. A method of stricter study is introduced, based mainly on cybernetics and information theory. Ragas are first classified on the scales they use and then on the structure of their forms. New ways are indicated whereby raga relations can be more firmly and objectively established than hitherto. Ever since the development and codification of various types of melodies, their classification has been one of the major tasks of musicologists. Starting with ja tis and grama-ragas such study has become more and more intricate. The creation of newer melodies and the passing out of vogue of many an older one have necessitated constant revision of systems of classification. ifa t P t s . m v ] r a g a r u p a 143 The criteria of classification have also been manythe use in drama, ethnological origins, geographical associations, time of singing, nature and number of notes, similarities in raga patterns etc. After the disappearance of gramas (modes)1 and the attendant classification, the important standards were the melodic form (raga-anga) and the nature and number of notes in a raga. The raga-ragini system requires very careful scrutiny, Though it is often dismissed as fanciful and perhaps may not be useful at the present stage, it may contain many potentialities as yet untapped. It has been suggested that this classification depended upon certain grouping of scales and sjiddha (natural) and misra ^mixed), depending upon the number and nature of notes in the ragas which denoted the scales, suddha scale being one that has the same number and/or nature of notes in both aroha (ascent) and avaroha (descent), misra scale having different number and/or nature of notes in aroha and avaroha.2 Another suggestion has been that the scales corresponding to the six primary ragas are derivable from a standard scale by murcchana-bheda or modal shift.8 The fundamental six ragas and their derivatives suggest an analogy to the six basic forms of crystals and their derived subsidiary forms. Perhaps it is possible to extend this geometri cal reasoning to raga-ragini system.* The precursors of the present day system of classification have been the mela (scale) schemes of Locana, Pundarika, Somanatha and finally Venkatamakhin. The last author has been the immediate inspiration to the popular systems both in the North and the South. This has come in for certain unfavourable criticism that it. is a mathemaically perfect system but lacks musical coherence.5 Perhaps Venkatamakhin did not expressly imply what is at present prevalent in South India, for it is pointed out by some that he originally did attempt to relate raga patterns and moods.® * $ r t ? ?3p u 14 4 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXllt Whatever be the case (and without reference to Venkatamakhin), it is necessary to stress that the definition of scales apart from ragas is not detrimental to musicological study. The scale is an abstraction from actual music and eminently useful for musi cological operation, much as abstracted forms in biology and the abstracted speech sounds in linguistics. And it in no way destroys the beauties of musical execution. The main deficiencies of the present system of 72 scales in South India are that:— (1) It does not distinguish between catuhiruti rishabha (natural Re) and suddha gandhara (Mi double flat) and similar pairs. There is no definite agreement with regard to the actual acoustical value of such pairs. (2) It is impossible to classify ragas with more than seven notes in such a scheme. But what is usually done is to take into consideration only 7 notes in the raga as basic and treat the rest as accidentals. But when the extra notes are not accidentals but definitive, this procedure obviously fails. \£\'f . V ♦?£>£?«$ ■>il| ill'' \ "-. I’M it n (3) The janya (derived) ragas are not grouped together with the proper janaka (parent) with full considerations of musical similarities. The case of raga Mohana is a striking example. This raga may be considered as derived from more than one janaka mela (parent scale): Harikambhoji, Dhira-Sankarabharana> Vachaspati and Mechakalyani. It is grouped with the first only as a numerical priority and not on explainable musical relations.8 Similar to the above system but less satisfactory is the 32 mela system sometime advocated in the North. This by its structure eliminates ragas using both varieties of the same note. This defect is got overby the misrd-that (mixed scales) concept in the that-upathat-paddhati.9 The most popular system in the North at present is the 10 that system of Bhatkhande. This is so familiar that we need not pause to describe it. We need only note : 77 P t s . i - iv ] RAGA RUPA 145 (1) The system takes only seven notes at a time to define a that (parent scale). Hence ragas with more than heptatonic scales can not be easily accommodated. Whereas such ragas are not said to be great in number in the South, in modern Northern music such ragas are many. Further such extra notes are not accidentals but definitive. I may cite L alit as the best example of such a case. Again ragas Be hag, Bahar, Malhar have an inconvenient habit of turning the accidentals into definitives. Whatever be their older form, their current forms are octatonic (ashta svara). When we consider laxer styles like thumris and ghazals ragas like Bhairavi and Pilu become dvadasa svara (dodecatonic)! (2) There is often a confusion of grouping o f patterns. A glaring example is that of Kedar and allied patterns. These are grouped with Yaman, th*e reason being that all these have ma (F-sharp). But Kedar has Ma as a dominant note and ma is used sparingly in certain glides. When we consider varieties like Jaladhar-Kedar with emphasis on Ma and complete absence of ma. the resemblance of Kedar to Yaman vanishes. It may remind one of the famous controversy (still unsettled in some quarters) about the resemblance of Bhoop to Yaman and Deskar to Bilaval. Achrekar has classified ragas by scales only, as derivable from murcchanas.10 The correctness of this will depend on the acceptability of his sruti explanations and the sruti values (microtones) given by him. The raga-anga-paddhati (raga patterns) recommended by some, attempts to group ragas on the similarities of raga-anga ('melodic patterns). Laudable as the idea is, the system so far developed by this group is extremely poor and amorphous. I, therefore, propose to examine here briefly the elements of stricter methodology of raga classification. The system will not be very much different from the above. What is attempted is to place these ideas on sounder footing and to give them 19 146 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII a coherent methodology. The details are left out for the present.1* We shall first discuss the concept of Janya-janaka melas (genetic scales). Unfortunately the use of this terminology, coupled with the idea of sampurnatva (saturation) has given rise to methods which may not stand scrutiny on finer analysis or stricter methodology. It is pertinent to ask whether we can really originate one phenomenon from another, viz., one raga from another. It is true that there is often a temporal juxtaposition (the historical development). Often a melody suggests another very similar to it. But aesthetically each is unique and may not be therefore relatable to another genetically. No doubt tfiis is often convenient, just as the biological idea of genus and species is convenient. It should serve only such a purpose and must not intrude too much on the aesthesis of raga execution. This is a point that we need not stress to the extreme lest its operational convenience be hindered. However, it is proper to beware of the genetic classifi cation o f ragas, as would be evident from the discussion that will follow . Closely allied to the coflcept of genetic relation of scales, is the concept of ‘ sampurnatva ’. A heptatonic scale is called sampurna (complete, saturated). Yet even Venkatamakhin and others had to develop the system of 16 notes. Because of this system of saturated scales, we have no way of accommodating octa-and nonatonic scales (asta svara and nava svara melas). Why should the heptatonic scale be regarded as complete, i.e., sampurna 71* That such a scale has been historically holding sway for a long time or is common in our musical society, is no reason to treat it as saturated or sampurna. Chinese music, even today, is said to be essentially pentatonic14 (ouduva). Vedic chants employed only three regions. Early music (I shall not use the obnoxious word * primitive ’) had five notes. Later musical scales developed from Vedic music take five notes, P t s . i -iv ] RAGA RUPA 147 further adding the krsta and anusvara. Note that these notes have no ordinal values. They are not called sixth and seventh notes, like the other five notes in Vedic chants. Standardization shifts later on from pentatonic to heptatonic. We meet the eighth and ninth notes in the antara-gandMra (major third) and kakali-nisada (major seventh). The sampurna scale is still heptatonic but two auxiliary notes are added. Later on we meet the twelve-tone scales and even sixteen-tone scales with different nomenclature. Where is the sampurnatva in all this change ? The danger of using this word is that it has given rise to the idea of genesis and the misconceived teaching that a hexatonic or pe itatonic form is ‘born* o f a heptatonic form. N ot only so, even an ociatonic form is also born of a heptatonic scale ! Even by historical antecedents this is not true, for earlier melodies often have less ‘notes’ than later ones.15 More destructive of systematic codification is the idea that the that (parent scale) generates the raga. It is more logical and truer to state that the that is an abstraction of ragas. It is, therefore, recommended that the ideas of sampurnatva and janana (completeness and genesis) be given up. In the following, scales will be enumerated from the less to the greater numbered cnes, but no concept of genesis or completeness is implied or assumed. There are two primary criteria that are used for classification: (i) The nature and number of notes occurring in a raga and hence in the scale to which it is attached (mela). (ii) The nature of the tonal relations (raga-anga): (a) tonal strength or svara-bala and (b) tonal movement or svara-varna {chalan). 148 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII Scale or mela: We shall adopt the 7-tone scale as our standard of nomenclature as it is prevalent. For further deriva tions we may choose the 22 sruti scale or any such other arrange ment. But at present it is sufficient and easier to take a 12-tone i? scale to be our derived standard, (pramana and upa-pramana mela). must emphasize that the word sampurna is to be avoided to uake room for further musical changes. The sharps and flats inclusive we have the 12-tone scale as the upper limiting value for our method. That is, we do not expecv to meet a raga with more than 12 notes.18 By notes we understand certain abstracted nomenclature like the phonemena in linguistics and phonetics. No one-to-one correspondence between the acoustic experience and the symbol is implied. Similarly, our lower limit will be a tetratonic scale (catussvara-mela), as at present we do not recognize a tonal group with less notes as a raga. Even 4-tone ragas are rare. The scales we choose will extend, therefore, from tetratonic (catusvara) to dodecatonic (dvadasasvara-mela). We shall derive (arithmetically but not genetically) the greater numbered scales from the less numbered ones. This will approximately follow the historical changes in ragas. Our standard scale (pramana-mela) will be:— SRGMPDN Every note, except S and P, will comprise two varieties; hence we have a derived dodecatonic (dvadasa svara) standard (upa- pramana-mela) • 1 2 3 4 5 6\ 7 8 9 10 11 12 — note number. Sa, ri, Ri ga, Ga, Ma, ma, Pa, dha. Dha, ni, Ni - derived '—v—' standard s R G M p D N — standard s , H> «T, R flL, % ft f t — 3 ST *TT 4 s i \TT ST •Tf— 5WI0T ito ■ . ' f l P t s . i - i v ] r a g a r u p a 149 (a) The pramana-mela is our theoretical standard, like the primary letters in Samskrit orthography. Symbols will be as above. (b) The upa-pramana-mela will be our practical standard. It will also be our upper limiting value, in the sense that no raga at present employs more than 12 notes. These notes are like the orthograms of consonant-vowel combinations of Samskrit. The finer sruti values may be compared to the accent in a speech sound. The symbols will be as shown above and so used in all notational descriptions of ragas and scales. (c) Ragas are not taken to be born out of a scale as is done in current practice which is analogous to generating speech and language from alphabet and grammar ! Ragas are grouped together according to scales (and later on by patterns) but no genetic relations are assumed. Speaking in the words of general semantics, we should beware of confounding the map with the territory. Raga anga (patternment) : When we consider Indian music, we note two attributes of sound which are definitive in the forma tion of ragas : (a) pitch and (b) duration. The first generates musical scales and the second rhythm and melodic patterns (ragas). These two attributes we shall call articulants. 17 (a) Articulant of the first order is pitch, its unit of enume ration being the svara (note). We have defined our operational units of pitch in the preceding sections. They are analogous to the abstractions like phonemes in speech and language. They serve a useful purpose only at the notational (orthographic) levels. They have no acoustical reality but only a referential func- 1 5 0 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII (b) Articulant of the second order is duration. Strictly speaking pitch and duration of sound are inseparable. But for operational convenience we may separate them. Duration, or quantization, generates rhythm (tal) analogous to duration of speech sound generating prosody.’* Whereas it is obvious that duration generates rhythm, we should also note that it is the foundation for erecting melodic patterns (ragas). For instance, the length of time for which a note is held (the sthapana) is a raga characteristic and hence generates various melodic patterns. Time therefore enters in determining raga structure. Rhythm is not a raga characteristic and hence we shall not concern ourselves with it here. In the discussion below we have two sections. The first (III) will deal with the first order articulant (pitch) and the second (IV) will introduce the second order articulant (duration). First Order Patterns. ■ The first order articulant is pitch and we have defined above our practical units of 12 elements. We can now construct different sets of scales using these 12 derived units or upa-svaras. Each upa-svara or derived unit is independent of the others and can occur with any other, viz„ we should accept even scales as Sa ri Ri ga Ga as one such scale of five notes, though we do not have a raga with such an arrangement. Below are given the number of various kinds of scales on the basis of the 12 upa-svaras. In each case two classes are given: (A) where even Sa can be omitted. This is not done in current practice. Intrinsically there is no reason why this should not be done.1 Marwa raga (North) almost tends to this condition. (B) where Sa is not omitted, as is the current practice. For the present we shall restrict ourselves only to class B. P ts. i - iv ] RAGA RtJPA 151 Group Class No. of derived units (Upa-pramana (Sa-varga) {Upa svara sankhya) -mela) A B IV Catussvara (tetratonic) 495 163 V Pancasvara (pentatonic) 792 330 VI Shatsvara (hexatonic) 924 462 VII Saptasvara (heptatonic) 792 462 VIII Ashtasvara (octatonic) 495 330 IX Navasvara (nonatonic) 220 165 X Dasasvara (decatonic) 66 55 XI Ekadasasvara (ekadecatonic) 12 11 XII Dvadasasvara (dedecatonic) 1 1 T o ta l... 3797 981 N o te : — Ekaswara - (Monotonic), Dvisvara - (Ditonic) and Trisvara (Tritonic) scales are not recognized as ragas. They are of importance in folk music. The advantage of extending the derived standard scales to practical classification is obvious. (1) It makes room for navasvara (nonatonic) melas like those of Kedar, Basant, Lalit, etc., o f North India, which cannot be included in the Venkatamakhin system nor in the Bhatkhande system. (2) It makes room for vivadi- savara-melas (anharmonic scales) like Kanakangi (sa ri Ri Ma Pa dha Dha) and melas like Sarasangi (Sa Ri Ga Ma Pa dha ni), Rasikapriya (Sa ga Ga ma Pa ni Ni), etc., of South India which have no place in either the Bhatkhande system or the 32-scale system. (3) It cleanly bypasses the problem of naming the same note in different contexts differently, as in the present South Indian system. 152 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXIII Having thus enumerated the system of scales, we may now subdivide them into further categories. By the nine groups detailed above we can place a raga in the relevant number. For example, Bhoop, Deskar, Malkaus, Durga, Bibhas, Mohana etc., are all ragas of Gr. V, the derived pentatonic (upa-panca-svara- raga). Now within this group, we may have the following categories:— Sa Ri Ma Pa Ni, Sa Ri Ga Pa Dha, Sa ga Pa Dha ni, Sa ri Ri Ma ni, etc. To classify these we may develop grouping of the second order, which we shall call the sub-group. For example, consider Bhoop and Bibhas: Sa Ri Ga Pa Dda - Bhoop {Mohana) and Sa ri Ga Pa Dha - Bibhas. They are similar to the extent of using the derived notes of the same standard note. In our present terminiology we may say that they use different derived units but the same standard units. Thus we have the following for arrangement of Group V :— Groap V. Derived pentatonic scales. (upa-panca-svara-mela). ragas. All pentatonic \ps : i. ii. 1. Sa ri ga Pa dha 1. Sa ri Ma Pa dha 2. Sa ri Ga Pa dha 2. Sa ri ma Pa dha 3. Sa ri ga Pa Dha 3. Sa ri Ma Pa Dha 4. Sa ri Ga Pa dha 4. Sa ri ma Pa Dha 5. Sa Ri ga Pa dha 5. Sa Ri Ma Pa dha 6. Sa Ri ga Pa Dha 6. Sa Ri Ma Pa Dha 7. Sa Ri Ga Pa dha 7. Sa Ri ma Pa dha 8. Sa Ri Ga Pa dha 8. Sa Ri ma Pa Dha etc. T ype: ■,£- 1. SRGPD 2. S R M P D E xam p les: A ll ragas which use All ragas which use these these standard notes; standard notes; Bhoop, Mohana, Deskar Durga, Suddha-Saveri, Bibhas, Bhupali todi. Gunakali, Saveri, Jala- dhar kedar. P t s . i - iv ] RAGA RUPA 153 Suppose we wish to place Bhoop in this classification. Since it has a derived pentatonic scale, it will be in Gr. V. It is. of subgroup 8 of type 1. Hence it can be indicated by a number V. 8. 1. Deskar and Mohana have also the same code number. Bibhas will have V. 2.1. as its code number. • Similarly, Durga and Suddha-saveri [will have the number V.6.2. Gunkali and Saveri are indicated by the code number V. 1. 2. It should be possible to work out classification of all other ragas on similar lines. Ragas with the same code number will have the same scale but their patterns will be different, which we shall discuss later. ■ ( VV Wm ■ K' t j. .] Cases like Jog, Brindavani-Sarang, Nattai etc., which employ both the variations (derived units) of the same standard unit present further problems. These variations are not accidentals but are definitive. Considering Jog or Nattai, we h ave: Sa ga Ga Ma Pa ni Ni % By the practical units we have chosen this is in Group VII, as it is heptatonic. Note that according to the strict definitions of Bhatkhande or 32 scale systems this scale is impossible of classifi cation, for it uses variants of the standard notes as definitives. By our standard units it will fall into the Type S G M P N. This Type is found in Group V also, as seen above. Thus we can construct higher orders of abstractions, wherein different groups are brought together within the same Type. It is easy to show that the maximum number of Types in terms of standard units (and not omitting Sa) is 57, as per the schedule given below :— Types', (pramana mela) I. Tritonic (pramana-trisvara-mela) 15* II. Tetratonic (pramana-catussvara-mela) 20 * It is necessary to provide for a primary tritonic type to include derived tetratonic scales like Sa ri Ri Ma, Sa ga Ga Pa, etc. 20 1$4 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIll III. Pentatonic (pramana-pancasvara-mela) 15 IV. Hexatonic (pramana-shatsvara-mela) 6 V. Heptatonic (jpramana-saptasvara-mela) 1 T o t a l 57 • __ In onr classification, therefore, we have 981 sub-groups, arranged into 9 kinds of groups and 5 kinds of types. The grouping of ragas into these groups, sub-groups and types would require careful scrutiny. This is particularly with ragas using accidentals. For instance, Alaiya Bilaval, Bilahari, Kedar, use ni as accidental and Kedar, Behag use ma in such a capacity. But it has not always been so. The older forms of most of these ragas do not use them. What was once an accidental has now become almost definitive, to such an extent that even Bhatkhande was led to place Kedar in Yaman group because, perhaps, of ma. Our system therefore must be accommodative enough to incorporate such historical changes and the placement o f a raga should require revision if found necessary. The number of scales worked out here as 981 is of course too large for present day music. For that matter not all of the 72 melas have been musically realised. 981 is therefore the upper limit with the present set up of music and musicology. It is potentially capable of ,holding all the ragas that can be formed with 12-tone units. If it is any consolation, the reader may note that in the classification of plants they deal with nearly 3,50,000 sp ecies! (I might even suggest that raga classification may adopt the methods of plant classification, somewhat on the lines of Willis’ system of suppression of characters.)20 Second Order Patterns. Having classified ragas according to the scales they use, we shall now examine the method of ordering according to patterns. One of the common current practices is to further divide the meld Pts. i-iv) raga rupa 155 (scale) of a raga into the aroha and avaroha (ascent and descent) and thence derive further combinations. While this can be done even at the first order patterning, it leads to a very great number of scales. Further, by the method we are now going to introduce, this aspect is automatically accounted for. (See section 2 below), A raga is determined not only by its scale but also by the manner in which the notes are combined : by the varnas. It is these varnas or tonal arrangements which give them a form, the raga - rupa. We shall consider again the same familiar pair: Bhoop and Deskar. Both have the same scale and hence have the same code number as the first order. Further, they have the same (theoretical) ascent and decent. But they have different tonal arrangements and emphasis and hence we differentiate them. (This, succinctly stated, appears to me to be the ba^is of raganga- paddhati). To date, our music recognizes two major differentia for deter mining melodic patterns rdga-anga or raga-rupa): 1. A raga pattern is delineated by the emphasis of any note in it. This has often been designated by the terms like amSa, vadi, samvadi, etc. But these words have changed during the course of history and often practice does not conform to theoretical defini tion. (Eg., Dha in Bilaval and Ga in Asavari). Therefore, without concerning ourselves with these terms, we may take note of another set of terms: bahulatva (multiplicity) and alpatva (scarcity). Both these we may include under a single head: svara-bala. This we shall also call the tonal strength. The strength o f a note (svara-bala) in a raga is the extent to which it is used in that raga. Now bahulatva is obtained by two processes : (a) alanghana (non-omission). The note is not jumped as much as possible. (b) hapana (extension). The note isTield for a greater lgth of time. Alpc scarcity) is the contrary process of jumping a nots Qr dwell n u note for a short time. 156 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII The second characteristic, sthapana, immediately brings in the second articulant, duration. Hence the durational values of notes determine, in part, the tonal strength and hence the raga rupa (melodic patterns). We shall also see later that duration is one of the methods of enumeration and treatment of data. What has been said about a single note applies to groups of notes, analogous to word and morpheme analysis in linguistics. We may think of such groups in various ways—in terms of samvadis (tones related by fifth or fourth), tetrachords, trichords, etc. Sanyal has worked out tried relations and has been able to show the presence of definite patternments in our ragas.21 2. The other determining character of raga-rupa (pattern) in the chalana (tonal movement). More technically put, this is the transitional character of notes in a raga. We may broadly recognize two aspects of such movement: (a) Discrete : Each note is considered as a discrete entity which induces movement to another note. There is no question of continuity in this aspect. This is the level of notation and also music of instru ments like jaltarang, harp, etc. It is analogous to the orthographic representation of speech change —the spelling of a word. (b) Continuous : The whole raga—say, a song in the raga— is plotted as a curve of pitch against time. What we have is a graphic representation of the raga or song as it is executed. Here again we may have notational levels and acoustic levels of recording the movement. It will be noted that time again enters here determin ing the raga rupa. The essential patter1 is of a raga could be elicited from such a raga curve. Based on the above ideas it is proposed to ii duce here a method of determining the raga-rupa.22 Before d so, it is advisable to establish certain fundamental idea icerning patternment. A pattern (rupa) can be conceived of as being constructed of certain elements. The whole, haying its own character, is some thing more than the addition of its parts ; yet a good idea of its structure can be got by studying the constituent elements and their inter-relations. The necessity for such a treatment appears to me to be due to the limitations of the mind which by its very nature separates time and space. A raga is such a structure made up of its notes. All music, more particularly for us a raga, is therefore a set of elements arranged in a certain way : i.e., a set of notes arranged in a certain manner. Now when a structure has its elements occurring, not in a haphazard manner, but with some recognizable order, it is called a stochastic process. A raga, then, ig a stochastic process. Also, consider a raga, say, Jaunpuri. When its ga (Mi-flat) is sung, we know that Ma or Pa (Fa or Sol) will not follow. Either R i or Sa (Re or Do) is expected. That is, the incidence o f Ma or Pa depends on the incidence of ga. Such a system wherein the incidence of any element is controlled by another is called a Markoff process. A raga is, then, a Markoff process. The reader will recognize here the close similarity of music to speech and language with their letters, words, phonemes etc., which are arranged in a certain manner for purposes of communication. It is possible, therefore, to adopt for musical analysis all methods of linguistic and phonetic analysis (in short, of any code) mutatis mutandis. If this is so, it is clear that music is a message. That is, it is a set of elements used to convey something. Our purpose here ends with this operational definition. We shall not here enquire into the motives, effects and the ‘meaning’ of music. Meaning and structure will be scrupulously kept apart at this stage. We shall concern ourselves only with the structure of ragas and not their ethos. 158 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII A message is capable of delivering information. The greater the number of elements it has and the greater the number of combinations and permutations it can have, the greater the amount of information it can deliver. (Notice that again we are not concerned with the ‘meaning’ of the message—we shall not enquire anything about the receiver of the message nor the motives of the sender). In other words the number of patterns of elements possible in a system is an indication of the amount of information in that system. Consider a system or message like a raga with 7 notes. If this message is such that there is an equal likelihood of any element (note) occurring at any time, the number of patterns produceable is maximum in this condition : for any arrangement of elements is permissible and is a message. We then say that this system has the maximum information or entropy. (Entropy is synoymous with information). Under such conditions it is obvious that the system {raga) has a very uncertain structure; for any note can occur at any time with equal probability. In common parlance, there is great chaos or disorder. Information or entropy then gives us measuring of the ordering (rather the disord ering) of elements in a system. We see then, that the greater the uncertainty or disorder the greater the information or entropy. (The reader is to be warned that information here means the capa city to generate patterns and not meaning). For instance, when you tell me that the sun rises in the east, it is not information to me. I already know it and you have not added anything to my fund of knowledge. A statement to the contrary is highly informative, and I will have to consider seriously the nature of the universe and the informant! In the case of a raga, for instance a composition of say 28 notes using 7 kinds of notes, if each note occurs 4 times; i.e., no note is favoured against another, there is maximum uncertainty. No raga is formed. An example of such random arrangement of 28 notes of 7 kinds is given below. The reader will gather the meaning of the above statement! Ma Ga Pa Ri Sa Ni Dha Sa Dha Ga Ma Ni Pa Ri Pa Ri Sa Ni Ma Ga Dha Pa Dha Ga Ri Ni Sa Ma. Pts. i-ivj RAGA RUPA 15$ However, all ragas have greater or less chance of recognition. The fact that we say such and such a group of notes from such and such a raga is a sufficient indication that all is not disorder here. Some amount of order (predictability) is present and hence we can recognize it, if we meet it again. That is to say some constraint has been placed on the chance of any element (note) occurring in the system. This constraint is measured by what is called redundancy. To the extent that certainty and hence redundancy increases, entropy or information will decrease. Take for instance ga in Darbari, and Jaunpuri. When ga is sung in the former, we are in doubt whether Ma or R i will follow. But in Jaunpuri we have no such doubts, because this raga is never sung with Ma after ga. We can then say that ga[in Darbari has more information than ga in Jaunpuri: it is more redundant in the latter raga and hence introduces greater constraints. Also consider Bhoop and Deskar. In the former Pa is sung less than in the latter. That is, it has a lower probability in Bhoop. We say that it has less information or entropy than in Deskar. The probability of occurrence of a note in a raga is, therefore an indication of its entropy. More strictly put, the average actual entropy (//) per element (note) in a set or system (raga) is given by : H= -fep/ log p/ where H = the average actual entropy or information per symbol; P/ = the probability of occurrence of any element (/) in the system. When in the raga a note is highly probable, we say it suffers bahulatva (multiplicity). The contrary, low probability, is alpatva (scarcity). Suppose we have a set of n notes, say 7. If all notes are equally probable in occurrence in the set, then the probability of any note occurring is l/n = 1/7 = 0.1429. This is the measure of its swara-bala or tonal strength. Its entropy per symbol is: —log l/«=* 0.8450. But this is the maximum entropy per symbol, because all notes are equiprobable and if we alter the condition we 1 6 0 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII will favour one note against another. Thus for all heptatonic ragas ( Yaman, Asavari, Kalyani, Sankarabharanam, Bhairav, etc.,) this is the maximum entropy possible. In our example given above (a set of 28 elements of 7 kinds, the probability of any note is 4/28 = 1/7 = 0.1429. It therefore has the maximum entropy possible for a heptatonic raga. It is a very uncertain pattern; any note can occur at any time. It has maximum information and least predictability. It can give us a very great number of arrangements of notes. But since the artist who executes such a set of notes and the listener who listens to such a set of notes are too uncertain about its structure, it will be rejected musically. To the other extreme is maximum redundancy—least in formation or entropy. The set of notes is too familiar, lacking in the new and unexpected. E.g., Sa Sa Sa Sa, Ri Ri Ri Ri, Ga Ga Ga Ga, Ma Ma Ma]Ma, Pa Pa Pa Pa, Dha Dha Dha Dha, Ni Ni Ni Ni is a system of high redundancy. All ragas and songs have their structure somewhere between the two extremes. Neither extreme uncertainty (maximum inform ation) nor extreme predictability (maximum redundancy) are musical. We are to have a certain amount of expectancy (redun dancy) combined with certain elements of surprise (entropy). It is thus possible to define, in part, the pattern in a raga by studying its entropy and redundancy. Redundancy (r) is obtained by: where r=redundancy, H = actual entropy and E = maximum entropy. The ratio of actual entropy to the maximum entropy is called the relative entropy. This shows to what extent the system (raga) deviates from a state of maximum information. A few trial samples are given below. To obtain the various factors involved in the calculations, the following procedure is adopted. A composition (a song, chiza, kirtana, pada, etc.) is chosen for enumeration. The reason is that alap as given Pts. i-iv ) RAGA RUPA 161 in notation does not indicate the correct time value for any note. Also, the song is completed in a given time. Again, in rare ragas only, songs are available in notation. When in a song, a note extends for one matra (one akshara for South Indian music) it is said to have a strength of one unit. Fractions of a unit are also counted. The strength of each note in the song is measured and tabulated. The ratio of the actual strength in matras to the total number of matras of the song gives the probability (/?,) for the note concerned. The entropy can then be calculated by substituting all the p t’s in the equation given above. The fesults for Bhoop and Deskar, an average of six songs in each, are given below. The graphic representation of the svara-bala (tonal strength) is called the raga spectrum (raga svaravali) (Fig. 1) Fig. 1. The raga spectra of Bhoop and Deskar. The height of eaich bar is proportional to the tonal strength of the note. Notes are indicated by the numbers. Notice the more unequal distribution of tonal strengths in Deskar as compared to Bhoop. Observe the emphasis on the lower tetrachord in Bhoop and on the upper tetrachord in Deskar. The differences between the two patterns are evident and have been • established objectively. The following inferences are in order 21 162 THB JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIIl Raga Maximum Actual Relative Redundancy (North Entropy Entropy Entropy r = 1 - R Indian) E * H R = H /E Bhoop 0-6990 0-6752 0-9659 00341 Deskar 0-6990 0-6551 09372 0-0628 N o te : In the above calculations the tonal strengths have been calculated irrespective of the positions of a note (ascent or descent). For detailed study they may be so studied* Similarly, we may divide the notes into tetrachords, samvadis, etc., and study their inter-relations.) (i) Both ragas use Sa Re Ga Pa Dha. They have also the same theoretically permitted ascent and descent. Hence their differences are in their patterns. (ii) Since both employ 5 notes, their maximum entropy is 0-6990. Hence, potentially both are capable of the same number of patterns. (iii) But the actual entropy of Bhoop (and hence its relative entropy) is more than of Deskar. Therefore, Bhoop has greater equality of distribution of notes and hence can generate greater number of patterns than Deskar. It has more of the unexpected in it. (iv) Deskar has greater redundancy than Bhoop. It is more restricted in its patterns than Bhoop. (This is, of course, the converse inference from iii). (v) The orders of decreasing tonal strengths for them are (as calculated from the six compositions studied): Bhoop: Sa, Ga, Ri, Pa, Dhaf (Do, Mi, Re, Sol, La). Deskar: Sa, Pa, Dha, Ga, Ri, (Do, Sol, La, Mi, Re). * All values of entropy, etc., are calculated with logs to the base 10. Pts. i- iv ] RAGA RUPA 163 This again shows that Bhoop is purvanga raga (emphasis on lower tetrachord) and Deskar is an uttaranga raga (emphasis on upper tetrachord). 2. Chalan (transition): Besides the tonal strengths of notes in a raga, their movement or transition {chalan) is the other defining character. For, it. is quite possible to have the same set of notes having the same entropy, as far as their probabilities of occurrence per se in the set are concerned, but having different modes of arrangements. So far we have not mentioned anything about the ordering of the elements in the set. We had calculated the individual proba bilities of notes without regard to the mutual influences. In the first example given above, each note had a probability of 1/7 and the notes were distributed in a random manner. But consider the following cases: (i) Sa Sa Sa Sa, Ri Ri Ri Ri, Ga Ga Ga Ga, Ma Ma Ma Ma, Pa Pa Pa Pa, Dha Dha Dha Dha, Ni Ni Ni Ni. (ii) Sa Ri Ga Ma Pa Dha Ni, Sa Ri Ga Ma Pa Dha Ni, Sa Ri Ga Ma Pa Dha Ni, Sa Ri Ga Ma Pa Dha Ni. As previously, in both sets each note occurs 4/28 times: its probability is therefore 1/7. Hence in all these cases, the entropy per symbol on the basis of tonal strength is the same. But, surely, they do not have the same pattern. In the above two sets the arrangements of notes are not random. They have some order in them. The differences in these sets are therefore due to the arrangement of the elements. This arrangement is the chalan or transition of notes in a raga. That is, when any particular note is sung, what is the probability of any other note occurring after it in the raga ? Ar 164 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII instanced above, what is the probability of M a or R i occurring after ga in Darbari ? As a first guess, we may say equal. Not so in Jaunpuri. The probability of Ma after ga in this raga is zero and that of R i is very high. This progression from one note to another is the essence of melody. This movement or chalan is called transition. Obviously, the transition characteristic is again definable in statistical terms. To study this, what is known as the transition matrix is constructed from the notations of songs. The 12 notes are written one below the other on the left and one after another at the top. Let us imagine a song consisting of 20 such movements, from note to note. Amongst these let there be, say, 5 transitions from Sa to R i. That is, in this song (hence, by extension, in the concerned raga) the probability of Sa-Ri transition is 5/20=1/4 or 0-25. Similarly the other transitions in the raga or song can be calcul ated. The value 0*25 is written against Sa under R i. The matrix is thus constructed from all other transitions. Transition matrices for Bhoop and Deskar (average of six songs in each case) are given in Table I, vide next page. ' . \ Mi . * li 13.0 11.6 0.0 dha Dha 4.7 6.6 0.0 0.9 1.2 Ga Ma ■a Pa 0.8 0.9 12.1 ft* - 7.9 4.8 0.0 10.8 0.4 ri Ri 8 j Sa >< 3 Their diagramatic representations are also given (Fig. V CSs I J__L 3 S 810 1 5 8 1 0 13 Q IQ 13 5 10 13 5 8 10 Deskar > CO S C co O > o > o ta 2 o< 39 6 10 5 6 10 8 10 1 3 5 10 1 3 5 8 r x X 10 X Fig II. Transition diagrams for Bhoop and Deskar. In each diagram, the lower block is numbered according to the note from which a transition starts. The upper block bears the numbers to which the transition takes place. Above each number, a vertical line is drawn the height of which is proportional to the percentage of the transitions concerned. For example, in Bhoop there are three transitions from note N .10 {Dha), to Note No. 1 {Sa), to N o: 3 {Ri), to N o . 8 {Pa). Pts. i- iv ] RAGA RUPA The differences are evident. From these it is possible to establish the transitional entropy, relative entropy and redund ancy for each raga. These data are given below:— Transition Characteristics Raga E H R r Bhoop 1-3010 1-0369 0-7965 0-2075 Deskar 1-3010 0-9736 0-7485 0-2515 The entropy has been calculated by taking each transition as a unit in the set. The following inferences are in order :— 1. The maximum of transitions for each is 20.^ Hence E for both is the same. 2. R is greater for Bhoop. Hence, compared to Deskar, it has more information. That is, it is less certain in its movements but capable of giving a greater number of patterns of melodic movements. Perhaps, this is the reason for its greater popularity. What we have described so far is the proximal ordering. That is, the entropies, etc., deal with the immediate transition of an element: how a note moves into or brings in the next. Other forms of ordering removed from the immediate may be studied with profit. (b) We have said nothing in the above about the time factor in transition. Also each note was taken to be a discrete unit somewhat like a phoneme or orthogram in language repre sentation. Actually music is a continuous phenomenon : a ‘ flow of sound ’. It is therefore possible (and more logical also) to treat it as a continuous message. One of the possible methods is suggested below. This at once takes the tonal strength, duration and transition in one equation. This is its great advantage. At first is the obvious fact that a raga (or a song in a raga) is a movement of pitch in time. So, we draw a graph of notes (or frequency) against time (say matra). What we get is a graph of 168 THE JOURNAL OF THfe MADRAS MUSIC ACADEMY [VoL. XXXIII the chalan or movement of the raga. Notice (i) the duration is taken care of in the graph and hence the tonal strength is immedia tely accounted for ; and (ii) the graph also gives the actual move ment of notes and hence the transitions are calculable. Now, in any raga there are two factors : i. The essential or significant: This element which con sists of tonal strength and transition is sufficient and necessary to define the raga. This is what we actually mean by raga angat pakad, ranjan-svara, etc. ii. The non-essential or random: This element is not necessary to define the raga and mainly comprises surprises, transitions, ornaments likes graces and glides. They add the necessary flesh to the bone. The curve shown is for Bhoop. This figure (Fig. 3) Fig. Ill, Melodic plot and autocorrellogram of a progression in Bhoop. A tentative explanation of the above graphs may be given. The first one is the melodic progression in Bhoop. (Itana jobana Asthai. Vide V. N. Bhatkhande, Kramika pustaka mala, III. 26. Slightly modified). The autocorrellogram expresses the correlation of the notes in the progression. First, the correllogram shows a periodicity : positive (crests) and negative (troughs) are repeated. Hence there are important tonal groups which occur again and again ; they are the groups which give the raga its form. Confin ing ourselves only to the crests, it was seen from the actual data (details not given here) that a high correlation was obtoined for the note-pairs Sa-Dha, Dha-Pa, Pa-Ga, Ga-Ri. The other correlations are poor. Bhoop is therefore revealed in these note-pairs. To have a more detailed and definite know ledge o f a raga, a greater number of songs would have to be analysed. P t s. i- iv ) RAGA RUPA 169 contains both the essential and random elements. We have to disentangle the two and define only the essential which is the basis of the raga-rupa. This is done by defining the graph by what is known as the autocorrelation technique. This eliminates the random elements and gives only the essentials. Further this is based on the calculation of the probability of any point (on the original graph) occuring after any other essential or significant points, thus automatically defining the transition. The reduced graph is called the autocorrelogram and it shows the essence of the raga. The technique is laborious, but eminently suited for our purposes. * * * We have thus established a method for finding the raga rupa or the essential pattern of a raga. Such an analysis and definition gives us a stricter method of raga classification than the methods so far available. A raga can, therefore, strictly be defined by a set of numbers which indicates their position in the group of scales, their internal arrangements in terms of entropies and other characters of tonal arrangements. The method herein developed has definite advantages. First of all it is definite and objective. It eliminates to a high degree personal impressions and vague statements. It enables comparison of ragas on a methodical basis. It does not require much acqu aintance either with the ragas we deal with (though to a certain degree this acquaintance is helpful), much as we study the structure of unknown codes and languages. I may point out the major uses of this method:— 1. Raga forms can be described strictly. 2. Ragas can be compared and classified. 3. It is possible to make a study of the historical deve lopment of Ragas by studying compositions chrono logically. 4. It is possible to 'give a stricter comparison of com posers, gharanas, etc. Content analysis will be very useful in this context.** 22 170 THE JOURNAL OF THE MADRAS MUSIC ACADEMY fVOL. XXXlll As an example of this we shall study the use of Sa Ri Ga Ma Pa Dha N i. In the North we have Yaman and in the South Kalyani which use these notes and are very closely simil $ . The average raga spectra for these two are given here (Fig. 4). The Yaraan K a ly a n l F ig. IV . Raga spectra of Yaman and Kalyani. Notice the enphasis on unequal distribution of Notes in Yaman, as compared to Kalyani. entropy for tonal strength Yam am=0.7988 and Kalyani = 0.8377. But the maximum entropy for both is the same (0.8451) as they use 7 notes. But their relative entropies are 0.9452, 0.9913 respectively. From these it can be surmised that the structure o f Yaman is more ordered than Kalyani i.e., it is more redundant, In the latter there is greater information and hence uncertainty: it is more difficult to predict which note is more prominent in strength than the other. Hence Kalyani can generate more patterns. We may offer a conjecture here. The fact that Yaman is more redundant (r= 0.0548) and Kalyani less (r« 0.0087) may be due to the concept of “vadi* in North Indian music. (For the present we shall conceive of the vadi as the note that dominates the raga structure). All notes circle round this domin ant note or its samvadi (fifth or fourth). The position of any note in a raga is controlled to a great degree by. these dominant Pts. i-iv] raga rupa 171 notes. Such music we shall call telecentric (para kendrita). \n Kalyani there is less of such control. Each note is fairly independent of the others in its tonal strength. That is, each note seems to circle round itself. Such music we shall call autocentric (sva kendrita). Though it is hazardous to generalise from a single sample, we may say that North Indian music is telecentric and South Indian autocentric.* 5. The method gives us a tool to define the stimulus, in the psycho-acoustic study of music. The iconography, the dhyana- m u rti, etc., are the responses. Hence, we can more definitely correlate the stimulus and response in our music. The present paper thus attempts at suggesting a stricter method of classifying ragas. Methods hitherto follqwed in our musicology have not been definite, except the 72 mela scheme of South India. Even this deals only with heptatonic scales and does not touch at all the raga forms or patterns. The present attempt is to combine both these aspects and to deal with them in a methodical and objective manner. In the present method, we treat raga classfication at two stages:— (1) Scale and (2) Form. (1) The twelve-note scale is taken as the operative derived standard. Depending on the number of notes in the scales, we have 981 scales divided into 9 groups. These are further abstracted * A further conjecture may be offered here. In autocentric music the number of patterns that each tone generates is great and hence such music has ragas which are more versatile. The various patterns are grouped together in the same raga. In telecentric music, the ragas are more con strained. So patterns which are grouped together as one raga in autocen tric music are often separated as different ragas in telecentric music. Com pare Mohana of South with the two ragas Bhoop and Deskar in the North. Telecentric music thus creates different but constructed ragas out of a set of elements. But autocentric music creates more patterns in the same raga. The potentialities of the same set of elements are thus differently exploited in the different types of music. 172 THE JOURNAL'OF THE MADRAS MUSIC ACADEMY [VOL. XXXlll on the levels ©t primary standard notes, grouped into various groups, sub-groups and types. (2) In each of the categories ragas having the same scale but different patterns can be separated. The pattern of a raga is determined by statistical methods, mainly depending on cyber netic and information theory techniques. Here again we recognize two bases of definition : (i) svara bala or tonal strength and (ii) chalan or transition. The forms depending on these are calculated by studying the entropy, relative entropy and redundancy of the ragas. It is, therefore, possible to indicate ragas by sets of numbers which define their position according to scales and patterns. n 1. B. Chaitanya Deva, Emergence of the Drone in Indian Music. Jl. Mus. Acad., 1952 (Madras) 2. H. Mukhopadhyaya, Dhrupad svara lipi (Hindi) Pt. I, p. xxvi. (Indian Press, 1929). Other detailed discussions of the Raga-Ragini systems may be found in the following:— Swami Prajnanananda, Historical Development of Indian Music. (K. L. Mukhopadhyaya, 1960.) Swami Prajnanananda, Rag—o—rup (Bengali) (1957). A. N. Sanyal, Ragas and Raginis (Longmans, 1959). O.C. Gangoly, Ragas and Raginis (Nalanda, 1948.) 3. D. C. Vedi, Composition and the six Fundamental Ragas of Hindustani Music, Jl. Mus. Acad., X X . 108 (1949), Madras. 4. My thanks are due to Prof. D. R. Bendre, Dharwar for this suggestion. 5. G. H. Ranade Hindustani Music, 89 (1938.) 6. T. L. Venkatarama Iyer, The Scheme of 72 melas in Carnatic Music, Jl.Mus. Acad., XI. 80-86 (1940). (Indian Music Pub. House, Madras.) 8. Ibid. 26-37. 9. M. N. Saxena, That-upathat-paddhati (Hindi), Sangit, XXVI. 3. pp. 85 ff (1960). 10. F. Framjee, Theory of Indian Music, (Poona, 1938). 11. N . M. Khare, Raganga Paddhati, (Hindi) in^V. N . Pat- wardhan’s Raga Vijnan V. (1939). 12. Preliminary attempt in this direction is being made, the results of which may be found in B.C. Deva and P. S. Nair, Forms in M usic (paper to be published). i r*. >’ . %%■. * * 13. I may here draw the reader’s attention to a similar situ ation in the case of Buddha' (pure or natural) scale which has not always remained the same. Cf. C. R. Sankaran and B. Chaitanya Deva, Postulational Methods and Indian Musicolgy, Jl. Bom. Univ. P t. 2. (1949). 14. A. Danielou, Introduction to the Study of Musical Scales 62 (India Society, 1949). 15. I wish to make it clear that this is not to be conceived as ‘evolution’. Denielou has remarked on the absurdity of imagining a five-colour spectrum of light evolving to seven colonr spectrum (op. cit.) I would say that it is even more absurd to:posit the evolution of a five-colour spectrum from a seven-coloured one! What we have is a continuous spectrum of sound (or colour) and quantize it for operation in the temporal world. I may refer here to the work of C. R. Sankaran in acoustics in this regard : vide his On Defining the Alpha-phoneme, Current Science (Jan. 1944) 1.11-12; A Contribution to the Study of Speech-structure, Bull. Dece. Coll. Res. Inst., Poona. 12 (1951); A Philo sophical Analysis of the Alpha-phoneme Theory in THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII Relation to the Problem of Speech-structure, Bull, Decc. Coll., 14. (1952). In no case is any stage *sampurna’ (complete or saturated) or ‘janaka' (parent). 16. It is to be' understood very clearly that there is no question of temperament here. We shall call these 12 positional indicatives in the continuous stream of sound. Cf. A. Danielou, ibid. 13. 17. J. L. Dunk, Origin and Structure of Rhythm (James Clarke, 1952). 18. C. R. Sankaran and B. Chaitanya Deva, Studies in the Phonetics of Dravidian, Bull. Decc. Coll., 1961. 19. B. Chaitanya Deva, Melody vs Harmony, Sangit'm Kala Vihar, July 1960. 20. B. Mandelbrot, On the Language of Taxonomy in Information Theory, Third London Symposium, 1955, Ed. C. Cherry (Butterworth, 1956), refers to J. C. W illis’ Age and Area (Cambridge, 1922). 21. A. N. Sanyal, ibid. Dr. Sanyal is to be congratulated on his attempt to search for raga patterns with methods more rigourous than those obtaining hitherto. The methods of triads which he has used, perhaps, can give us very interesting clues to the subtler patterns in ragas. But it is necessary to note that he has not avoided certain significant errors, both historical and methodological. For instance: i. He has attributed an unverified historical authority to his method. The method is simple and could not have missed the eyes of earlier musicologists. We have no references to such a method of triads in any of our texts, in so far as I am aware of. It is not permissible, therefore, to attribute his P t s. i-iv] RAGA RUPA 175 own method to the ancient ideas of ragas and raginis. ii. The burden of proof lies with him to show that the facts bear out the assumptions. He has not presented the classification of even a single raga- ragini family and shown how they are relatable by his method. iii. The attribution of masculinity and feminity to any triad or trichord and thence to a raga seems to rest only on the personal association of the author. iv. In the calculation of what he -terms as the dominant imiversals (triads), he compares their strengths with individual notes. This is a method ological error. It is more correct to compare triads as they occur in any raga or ragini with other triads and notes with notes. If this had been done perhaps the results might have been different. 22. The foundations of the present ideas were developed and prasented in a series of extension lectures delivered by the author at the College of Music, Baroda in 1954, independently :of information theory and cybernetics. However, these branches of knowledge have such rigour and elegance that I have used them here without hesitation. For greater details of application of this method to Indian music the reader is referred to B. C. Deva and P. S. Nair, Forms in Music (to be published.) The present paper is a simpler statement of the methods to be presented therein. For a comment on statistical nature of structure, vide B. Chaitanya Deva, A Note on the Nature of Structure, Nachrichtentechnische fachberichte (NTF). Band 3, Information theorie, 1956. 176 THE JOURNAL OF THE MADRAS MUSIC ACADAMY [VOL. XXXIII Those interested in the details of the method herein presented may refer to the following:— (1) C.E. Shannon and W.W. Weaver, The Mathemati cal Theory of Communication, (Univ. Illinois Press, 1949). (2) C. E. Shannon, Prediction and Entropy in Printed English, Bell System Technical Journal, 30.50-64 (1951). (3) W.R. Ashby, Introduction to Cybernetics. (4) G. U. Yule, The Statistical. Study of Literary Vocabulary (Cambridge, 1944). (5) B. Berelson, Content Analysis (Illinois, Free Press, 1952). (6) W. Fucks, On the Mathematical Analysis of Style, Biometrika, 39, 122 ff (1952). , On Nahordnung and Fahrordnung in Sample of Literary Style, Biometrika, 41T16 ff (1954). (7) B.C. Pinkeraton, Information theory and Melody, Scientific American 194 2 77-87, (8) E. Coon and D. Krahenbuehl, Information as a Structure in Music, Jl. Mus. Toeory II. 2127 ff. (9) D. Krahenbuehl, Information as a Measure of Experience of Music, Jl. Aesthetics and Art C riticism 27. No. 4 (1959). (10) W. Meyer-Eppler, Physical Analogies of Linguistic Structures, Ind. Linguistics 17 (1957). (11) B. S. Ramakrishna, Information theory and some of its Applications, Curr. Sc., 27-376 (1958). 23. B. Berelson, Content Analysis (Illinois, Free Press, 1952). TWO NEW KRITIS OF SRI MUTHUWSWAMI DIKSHITAR “ Kanakasabhapatim” in Malavasree on Nataraja at Chidambaram and “Pranatartiharaya” in Samanta on Pranatartihara at Tiruviyyaru Edi ted by V e e n a V i d w a n A . S u n d a r a m I y e r ' 1. “ iFrasroroftrV’ ii m s ^ s fa i’t — « iif5 si& i n'tai* ii «T5i > f l s f e r a , il $ II iranra>reraifs5'm aftaifet p g sg f^ . H * H 2 . “ niraiflm ” II HlflSW't — ailftaii&l II f t 1 qoraiffera w# n si ii spremorifag?3farai«i Slfe5%5|qi5^feT!I irartrw^rrffcsin lf3l5lf?r^f|j(*IfIH S l^ airiq fo?I5R^I*IFI i^ ?% 5iq ^ i5rra n q s iiim g im ig s t r a ll si 11 11 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII e -a *8 b a 3 -9 * 1 8 9 9 b .g 9 •S ** 9 . 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M 3 a P t s . i - i v ] t w o n e w k r i t i s o f s r i m u t h u s w a Mi d i k s h i t a r 179 9 3 ~ 9 3 3 i *3. « b 9 3 b 5 * • ! b , 'I ^ § . ^ © .eg •1 • 1 9 Is 9 b •*\ Q • 3 *61 •1 * *1 fcj b ’I b ^ * b*» 59^ " C&ck 15 59 O •1 ^ s t . ^ • e *1 1 *1 ■% 1 1 ‘I eg * ee • 3 * 5 'I § 3 .eg ‘S i b -eb « 3 **b »8L , «e b b3 59 ® ^ 9 • *^ * 9 * 3 ^ 3 e '1 3 is *6 ..eg * >8 . ©I 3 *b 2 ** 9 a I*! 9 3 •i © -* ©*© 1 ®t eg ••is’ 1 * 3 * Is • • b 3 b eg 3 § b b b b *18 •9 •1 3 4 I b-«fc » b b b © «b *■* •3 2 qs (Si *3 I K • < •eb 3 b •3 •18 •*ei ^ ®L .1 „ *e ,fc fe «b 3 'I 59 b ’ I 3 2 $ b •9 e> • ' 5 • * <© '*= < b eg b eg 3 °? b «© • < *81 9 3 St * § •a ‘1 e •9 ’ e© | § *»s 1 ee e s> fc=s tee © b ° b ^ * b * b b b *® ■© 3 *3 <1 3*3 & 3•3 3 3 *3 a 3 **8 3 3 •a* 3 o *s a •Ml. CO 3 § 9 TH JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII TWO NEW KRITIS OF SRI MUTHUSWAMI DIKSHITAR 181 to to 11 to mm * to to to 5 to to & 4 r 6 to ‘to fe9 * to * ‘to to to tK to to •to i £ • I * r < £ « <£ ,k -to tr todE ‘to IT to lb to to?■ »— • t r h r dE tfe: &.*• hr ••i d E to to •to to .j^MT v«» •‘ t o to & • to t— t o •4? to & 4 S •to • i i to to to *—■ ‘ t o htf fir to i l t— •to • •CP to to Htf to t o £ •‘ t o to? •to to *c£ to ‘ t o fc9 to w dE t— •to to •to to •to to ‘to • fcr to? *to t o •to | y to i.t< < £ .& dE to to •to g ♦to "to * CsL to & i»»r 1— ‘w * * •to to? •to to? to I? •to £ to £ •to * » •to to ‘to tr •todE •to dE to to •to to dE "4? to to to C to to M •4r to to i i « • to •to • TEMPLE Vidvan Sri Chinnathambi Pillai of Tiruvarur [In Sri Tyagaraja temple, Tiruvarur, there are some Padavarnas which were played by the temple Nagasvara-karas on the bari-nayanam. Already the Sangitasampradayapradarsini has given with notation seven of these in Todi, Hindola, Sriranjani, Khamas., Purnachandrika, Nilambari and Hindolavasanta. Three of these Padavarnas, in Suddhasaveri, Purnachandrika and Mal.avagaula, not brought to light so far, are published here. These were copied from the palm leaf ms. lent by Sri Tiruvarur Chinnatambi Pillai and after checking by listening to their renderings by Sri Chinnatambi Pillai, they have been written down by Sangita Bhushanam S. Ramanathan.— E d .] P ts. i - iv I Th r e e r a r e p a d a v a r n a s f r o m t i r u v a r u r t e m p l e 183 ar^sronGoiffl — <3ii_^sT6irii) udDflDa® e n )/r ; 6r0ir ; ft m if) ft u m u rr ; 1 & t ; & rr sron ^rr uir & ir uir wir, u £>T I in in & t ...... (S ir isf- . • . • t t .... ' ^ ” " ' $ " : u t @ t & u in ir | m ir ; ; ; II Q e s r . ... tnir ; uir ro & t urr uir mir uir inir I ft& roir f t ; u i r ; inir urn ft ft II in .... 6ii . . . (S tt . . 6&1 esr ... . m ir ", , j I ft J j } II ; u i r & i r ; & rr erOT 6roir ; rf) 6rd t if) in ir I ft ; 6 r0 /r ft ft ft 6rorr; ^ s / r ; I 6Y0-O U> ^ 0 firf? . . . . <*65T . . . 63T : ; i ■ 1 1' i . & ir ertitr & t u ir | &ir ft erdir; H . . . . . iLiq. ; u t & t ft 6t»T ; j s t ; gtO ^ u t | u t & m m u @ t u t & t g V t & t ^ T u y 6td -v 0 * 633T U if) . . m . . 6TT , . T ISJ . . j£T UT UT mT I U T m T ft 6TD/T|| ft . 661U ... (jpi^truSlsrcaijii) f ft 6t o t & t erdT ft; ft&ror ft mT I ft 6rt)T ftm r u t m r f t 6rdrf & u*nr I U T m T U T J I U T J & T U T || m r r n T fterV T f t m T u t & t 6t o t & t | ft&rOT m T ft ek>T ft ft erdir u,r m T U T & T U T I ; m T ft 6VHT II % V - ' " ' • ' 6T iS 4 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIII fsrswrii) j J u i r ; ; ; u r r ; ; ; Iuorr; urr ^rr eh & urr & rr urr urr ldit | u r r u g g r r ...... ldit . urr mir /P ertirr \ fP ; ; ; D fP ic/r - . 0 60? . ■^) ^ } ) erorr f ; j j /P j | ^P^ to/r } } ; /P J 6/0 nr ; I /P ; /P 6n)/r | ^/r 6n)/r /P ero/r It /P ld/t - (urru) 2 ) /Pi?;ldit i? erorr f? /? ; urr I uiritiir fPerOtr /Pioir urr & rrehrr&rr | ufT'&ir uirLDir I urriDrr /Perotr II /Fwrr - {u rru ) 3) u i r ; urruorr fFetOrr /? ; f? ; I rnrr; /? erorr fP urr ; ld it f? erorr I /?, srOir, 'jsrr I erorr; /P /P j] $ rr, u rr, & rr urr ld it u rr, @tr, & rr I r • • ehrr ; fP ehrr ijrr, /P, ehrr &rr urr | bDir uir &rr urr I ; nur IP erorr H fF uorr - P t s. i-iv] three rare padavarnas from tiruvarur temple 185 — ® U S U ) erorr; I u ir; u l d a ir I id a id if! \ a ld u ld • . ft* J I utr aipfr ero iB tB u II ^ tr if) eryI /F; erorr ; er ir ir ihQinr . . . a(Sa . . irir . urr ;| & u ld a ld /P if) \\ a id if) ero \ fP air ld it uir ggir 6 0 . L D iu r ... 6 0 irir . . . mir. erorr ; I rB rB ero iB u id a ld II if! a ld u \ ero iB u idif a id if) ero Vi eroir lS) . . . yrfj . . . & uj tr . . . (Sa1 . , ...... <* 6ro/r iB u \ & & if) if! erOrr ero if) II <55 ii) /F | <5s/r ld u u 6rd erorr || 6n)/r /# u I , ld ldit uir ld a II , ld if! a I ld uir id air id if) || (ujireo) u ir ; \ i$uaiDif)6roi8u II. / F ; I a id uir a ld /F eroir || ldit 0 i_//r8 . . . if! . 'Sir err . . (SeO . . irir 1 ) /F ; | if! ,« LD U ir LD a LD II rf! <56 id if! 1 erorr, erOir if) a id || 6)0/r, 6n) 1 iB u - & 'Sir - f? fP II « a ir - ld I LD ID a ID iF <55 to II 2 ) 6rt)/rt ero I iB u - & '&rr - if! /F II <56 a ir - ld 1 U LD a ID /F <56 ID II 3) ID IT U ID 1 <56 ID /F ; /ft <56 II LD U ir ID | <56 LD fP ; <55 LD || if! a ld u 1 erOir, 6rOiBuu6rOr8 H U iB U LD 1 U LD <56 LD if <56 ii) || 4) u ir, u 1 , id a ld u ir ld a m II , ld if! ero | fP , fP ero tB u || p tr if! 6n) I /F if) ero rB u II ss/ft ero if) | if) a LD fP <56 to Lf II u p u «ii)l t ero iB u ero iB u u II , LD U LD | a ld if! erOir if) aLD II 186 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXIli wrorai Qsiroror — u t a f l e m ir; fi* s if) s t ; ; s t m r m u 0 T u 0 m u | m s mir s if) if) ero /£|| iBasr ($6or . . s t 60 . . . is m . . . lB . . J&) • . . . /? 1 8 6 ro / 8 0 u i r - m s mir s if) 6 rd 1 8 \ eroir ff sift sir \ m u s mir - u t 0 II % . . . S (T )U - gglQ . . . l_* . 633 617 . . . . iL» . . . CTGTlB u t ; u t m s u s m T u t ; | 0 T & efoir rBero I 1 8 6 ro f? e r o 1 8 f$ e ft iT || SXI6&T t u i fi . . . t ( S e n 0 3 n if! . . . . . & 6u . . T ,8 6 rt> 1 8 6 f o f ? 6 ri)T f t i8 6 t o t i 8 0 t 0 T 0 1 8 0 ir I u 0 m u s m i 8 0 \ 0 u u m s i f ) 6 rdi8 \\ 6016V. . . . 0 ZUJ IB T ...... (8 0 * . . . S 6V . 0 . g g . « 8 J& 3. . . . S . dpijSiruSliicajgLD 6 t o t ; i ifl i f i 6 r o fit j s u m s m || u t . 0 r i$ 6 ro I , if) s m u m s if) II 6 ro if) s mT u st, m u 0 T iB e r o i f) I s if) erO T 1 8 0 r8 & I u t - m s m s if ) i d || (r86or(S6or) floor ft u t 3 0 / u t ; 0 t u t m s mr | sif) ifiertieroir & 0t if)rf) | 6 rt)T, if)-ST to/rll U T T . . U J OP . . . . if0$. . 8 . . # 6 1 7 , 6rtlirL£) 1 ) 6 rOT ; ; /f; ' s t ; m T I 0 T , u t , m o I <®/r/P S T m r II 2 ) 6 tdT ifl&n) sif) 6r0(f) s t i d s m irsm \ u t 0 / 8 u 0 m u | s t urn sif) s m || 3 ) U 0 /8 u 0 u m s mi8 0 u T m s if)i8 1 6roif)s erdifisrdiQ0 I 0 s if) s m r ; II 180 u s m u 0 t8 6ri>if)smstf)6rai8 | s if ) s n ) 6 t o t , i8 0 I u u t r m s if) s m || ( u f T u r ) % A SULADI IN MOHANA E dited by Sangita Bushanam S. Ramanathan The Suladi given below is in Sanskrit and the authorship is not known. It has.three parts. The first is in Tiruputa Tala, Vilambakala; the second is in Rupaka Tala, Madhyama Kala and the last in Ata Tala, Druta kala. IP 188 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [V oL . XXXI ' i _ fV qrcm wg&fta qqqgsq qqT ft^«RT55:—^Tqjrrr^: a p r o f t r o q w p w ^i w r qf%5r q^orrsq qqste sprawl qi$q *tt^ aw flWi*rotfqq tfrftawg* qwsfta w q n w ilw q saaq fWra qq$q qq§q gftaafar q<$q §qq*q aqSfqqqiqgqs qqoftqqRR ^JrTT^i ' sftqMs iTT qifl qqffeqiqfq^c ir q p w q $ i \ a q ? fa % q * w qsrqqgq qq«i 5R qpr qrc P t s . i - iv ] a s u l a d i in m o h a n a 189 &onr£l: SiupifliuQJii Ouiuii $«DL girsii.* GiMpmsjrii) Qp^si) sirsCii jStotix : afien) \ erofi | ero ^ \\ erofia \ fierO | & u || ^eroero | 6rO/r | erO/f? (| ®/r . jr/r ul/6337 ‘ ( 2 a . & » / tr u)65d? ibit p* erofia | 6s/r | || « « « | u u | || u ,ser>) | & u \ &tr || erorrgj* 2 ero s S ^ ero-aggasr tr <*£65 u t l d l/ qT) I&6>x>tr | & u | ;s i r II & u t r | <®« \ f i f i || «/^€ro | erofi | en) ^ •;! u trr& utr ^ tr tr . < * £ « tBtr. , rir. iu am e r o f ia I fie ri) I j £ u D @ erorr | eronr | erorr II e r o f ia | 65 65 I err G>utre$& g ] 6 iiijsirir. ii3 eisr 6ar Hr LD&rr-nT-nr.tjrf} K . V . 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