DONATED BY. Sat. uQMATI fliitAAIiATHAS, THE JOURNAL OP
THE MUSIC' # ACADEMY MADRAS
A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC
Vol. XXXVII 1966 Parts MV
H ji t o tB t si i *nr m^rf^cr foHTfa 11
«* I dwell not in Vaikuntha, nor in the hearts of Yogins, nor in the Sun; (but), where my Bhaktas sing, there be I, Narada ! ”
EDITED
BY
V. RAGHAVAN, M .A., p h .d .
19 66
PUBLISHED BY THE MUSIC ACADEMY, MADRAS 115-E, MOWBRAY’S ROAD, MADRAS-14
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THE JOURNAL OF THE MUSIC ACADEMY, MADRAS OPINIONS The Indian Express: “The resumption of the Journal is an event of the first The Oriental Literary Digest, Poona magnitude in the musical world.” writes : The Hindu : “ The revival of this “ A journal of all-India character, valuable Journal devoted to the study solely devoted to music, has been a and promotion of Indian Music will be serious and long-standing desideratum. welcomed by all lovers and exponents Though the Sangita, a quarterly pub of the art. lished from the Marris College, The Madras M ail: “We are glad to Lucknow, and the Journal of the Music note the revival of the Journal of the Academy, Madras, (JMAM), were start Madras Music Academy (a quarterly ed in 1930, both had unfortunately to devoted to the advancement of the be suspended after issuing a few excel science and art of music) Fulfilling lent numbers. The re-appearance of the as it does a real need of music lovers, JMAM will therefore be welcomed by we are sure all lovers of art and culture all thoughtful lovers of Indian music will support it.” and culture with no small amount of H. H. The Maharajah o f Dharampur : gratification. The volume under review, “...His Highness is also delighted to though dated 1934, was published only read the articles in your magazine which a few months ago, and the promise of are undoubtedly very interesting and soon bringing out the volumes due for instructive. He is also pleased to read each of the years 1934 to 1938 resumes the proceedings of the Academy’s the thread of its publication from where Music Conference...” it was broken. The Adyar Library Bulletin: The “Though naturally it is devoted resumption of the publication of this chiefly to South Indian Music, there are journal devoted to the promotion of features which make it indispensable for research in the field of music must be serious students and lovers of music welcomed by all lovers of Indian culture. throughout the length and breadth of The Journal fulfils a real need as it is India. Publication of original articles the only journal of its kind in India.” on music by experts, and of classical S- N. Battacharya, Benaras Hindu works of Indian music are instances in University: “A glance at the Index for point. Authoritative reports of tbe the last ten years’ articles in your Maga annual conferences of the Music zine reveals to me the keen interest in Academy, Madras, are to be found only music taken by the South Indians. in the pages of this journal, and em There is no such journal in the North.” bodying as they do the discussions on The Visva-Bharati Quarterlyt Santi- important topics by experts and niketan: “The present issue of this acknowledged authorities, they cannot Journal like its predecessors, maintains a be overlooked by serious students of uniformly high level of musical research. Indian music. The contributions exhibit variety and “This alone should suffice to draw present music as a rich cultural pattern the attention of all scholars, societies characteristic of the genius of our and institutions concerned with Indo- country. Those who care to study logy to this important Journal. Indian music seriously, especially its Southern School, would be happy to dis “We wish the Journal a long and cover that each article in this Journal brilliant career of service to the cause embodies some aspect of faithful re of Indian music. Let all lovers of search in the domain of music...This Indian music make common cause Journal should inspire the lovers and with those in charge of the Journal to patrons of Hindustani music to start a ice it* growing prosperity.” similar magazine from the North.” DONATED 6Y. Sat. MMAII TISiWiJiilEAR, THE JOURNAL OF THE MUSIC ACADEMY MADRAS
A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC
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m r zrz fogrfar ii t “ I dwell not in Vaikuntha, nor in the hearts of Yogins, nor in the Sun; (but), where my Bhaktas sing, there be I, Narada ! ”
EDITED
BY
V. RAGHAVAN, M.A., PH.D.
1966
PUBLISHED BY THE MUSIC ACADEMY, MADRAS 115-E, MOWBRAY’S ROAD, MADRAS-14
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Page THE XXXIXth Madras Music Conference, 1965 Official Report 1— 68
Rare Composiu ons King Shahaji by Sri T. G. Anu ntasubramaniam 6 9 - 74 Appreciation and Appeal of’Wusic ? , by Sri N. M. Adyanthaya 75— 82 * Sastra and Tradition v by Sri V. V. Satakopan 83— 97 Pushpanjali by Sri Y. Satyanarayana 98—105 The Importance of Kaku in Music by Sri Thakore Jai Dev Singh JL06-110 The Culture of Music in Egypt by Swami Prajnanananda 111-117
Suddha Scale of North and South by Prof. G. H- Ranade 118—121
The Necessity of Proper Cannotation of the Meaning of Technical Terms of our Musi^ by Prof. G. H. Ranade 122—124
The Authenticity of Some of the Svati Tirunal Kritis by Sri S. Venkatasubramonia Iyer 125-130 Perception Theories of Sankara and Ramanuja in relation to Mathematical and Musical Concepts by Sri G. N. Ramabhadran 131—137
Confused Theories in Indian Musicology by Prof. R. L. Roy ».<• 138—144 CONTENTS Page Acoustics of the Auditorium of the Music Academy, Madras by M. Pancholi, A. F- Chhapgar & Davinder Singh ••• 145—162
Samples of Devarnamas of Haridasas Edited with Notation by Asthana Vidvan MvjSOre N. Chennakesaviah 163—176
A Rare and Unpublished Swarajat]^ Qf Svati Tirunal and a Kriti of Maha Vaidya^atha Iyer Edited by Sangita Bhushana S. Ramanathan ... 177—185
Dasavatara Ragamalika Sri Muthuswami Dikshitar Edited by Veena;i Vidvan Sundaram Iyer ... 186—207
In Memoriam by Prof. G. H. Ranade, Prof. Vissa Appa Rao, N.M. Adyanthayya, Dr. D. G. Vyas ... 208—209
Book-R eviews : Bharata Bhashya, Sangita Raja, Mridanga Tattvamu, A Historical Study of Indian Music, Artistic Values in Traditional Music, Music Memory, Ramakirtana Manjari, Musical Instru ments of India, Sangeet Natak, Kirtana Ratnakara, Ramarpana Gita Puja Kirtanas, Pallavi Ratnamala, Krishnattam, Ashtapadi Attaprakaram, Shadraga Manjari, The Great Integrators-The Saint-Singers of lndi a f by Dr. V. Raghavan, Sangita Kalanidhi Mudicondan C. Venkatarama Iyer, L. S. Rajagopalan, Sandhyavandanam Srinivasa Rao and N. Raghunatha Iyer ... 210— 228 THE XXXlXth MADRAS MUSIC CONFERENCE 1965 OFFICIAL REPORT
f The Opening Day bii M 19th December, 1965 A H tQ f «*/• •• A \ uu(“W? J <*'♦ fff f 1** The XXXlXth Conference and Music Festival of the Madras Music Academy were held in the Academy’s premises. 1 15-e , Mowbrays Road, Royapettah, Madras-14 fro m 19th December 1965 to 2nd January 1966. The Conference was presided over by Vidwan Sri Afathur Srinivasa Iyer and was declared open by the Hon’ble Sri R. Venkataraman, Minister for Industries, Government of Madras. The Conference was attended by musicians and music scholars from all over the South and also by representatives of Hindustani music and musicians and musicologists from the West. Opening Function As the Hon’ble Sri R. Venkataraman was unable to be present at the function owing to indispostion, the Hon’ble Smt. Jyoti Venkatachallum kindly deputised for him. On arrival at the pre mises of the Academy, the Hon’ble Minister was received by the Secretaries and other office-bearers of the Academy and introduced to the other Members of the executive and Vidvans of the Experts Committee and the President-Elect of the Conference Vidwan Sri Alathur Srinivasa Iyer. After introduction, there was a group photo after which the Minister was taken to the auditorium. The proceedings began with prayer by the students of the Teachers’College of the Music Academy. , • Messages * * * > Sri T. V. Rajagopalan, Secretary, then read the messages received for the success of the Conference and the opening function: Dr. Zakhir Hussain, Vice-President of India, said in hii message: x„l *2
......
: ..... ^ ... 2 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVII
“I am happy to learn of the 39th Conference of the Madras Music Academy. Best wishes for the success of the Annual Con ference.” Sri La Sri Subramania Desiga Gnanasambanda Paramacharya Swamigal of Dharmapuram Mutt sent his good wishes. His Highness the Maharajah of Mysore, the Governor of Madras, said: “I am happy to know that the 39th Annual Conference of the Madras Music Academy will be held from the 19th December to 2nd January. I send my wishes for the success of the Conference.” Sri V. V. Giri, Governor of Mysore, said in his Message that as one of the earliest Academies in Madras, the Music Academy had been providing a treat to the music lovers of Madras. He sent his best wishes for the success of the Conference H. E. Dr. P. V. Cherian, Governor of Bombay, said: ** The Music Academy, Madras, has great reputation. I am sure it will maintain this for years to come. ” H. E. the Governor of Madhya Pradesh sent his best wishes. ■ • '•'Trtofl eduA H. E. Nityananda Kanungo, Governor of Gujarat, who had formerly presided over our Sadas said:— “My congratulations to the Music Academy, Madras on its excellent activities and all good wishes for the success of the 39th Conference.” The Hon’ble Sri T. T. Krishnamachari, Union Minister for Finance, and Vice-President of the Academy, said :— “ The Annual Conference of the Madras Music Academy is an essential feature of the cultural life in the City of Madras during December. I am happy indeed that the Conference is becoming more and more popular as years roll by and I have no doubt this year’s Conference too will be a success Messages had also been received from the following other Ministers from D elhi: Hon’ble Sri C. R. Pattabhiraman, Hon’ble Sri O. V. Alagesan, Hon’ble Sri K. Raghuramiah and Hon’ble Sri S* D. Misra. : s 1PTS. I-V] THE XXXlXth MADRAS MUSIC CONFERENCE 3 Dr. C. D. Deshmukh said:—
“ The Music Academy, Madras, has gone on from strength to strength and is today an institution unique in its coverage of acti vities. It is only in the fitness of things that it should be having such a rich fare for its 39th Annual Conference. I wish the Con ference every success and the Institution even more striking progress.”
The Hon’ble Chief Minister of Madras said in his message:—
“ The Madras Music Academy has come to be recognised as the authentic institution working for the promotion of Carnatic Music. The annual conference of the Music Academy always pro vides an aristocratic fare in music, dance and drama. I have no doubt this year’s music festival and Vidvat Sadas will both enter tain and enlighten lovers of music and fine arts in the City of Madras. I send my best wishes for the success of the Conference.”
Dr. C. P. Ramaswami Aiyar had conveyed his best wishes for the success of the Conference and the performances.
Sri C. V. Narasimhan of the U. N. said in the course of his message:—
“ I am delighted to know that the 39th Conference of the Music Acadamy of Madras will be held from 19th December 1965 to 2nd January 1966. Over these years the Music Academy has grown from strength to strength. It now has an auditorium and a home of its own. Its annual Conference has gained recognition over the years as the forum for the most serious and informed discussion of all aspects of Carnatic music. The most distingui shed musicians of India have performed under its auspices. I am very glad to know that Sri Alathur Srinivasa Iyer will preside o v er the deliberations of the 39th Conference. He is a musician in the great tradition of Carnatic Music and I hope that the Conference to be presided over by him will be as successful as its predecessors. ” Paul Sherbert, Executive Director, Indian Section, Asia Society, New York, said 4 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVfl
“It is my pleasure on behalf of the Indian Council of the Society to s^nd greetings on the occasion of the 39th Conference of the Academy. What a remarkable organisation it is, one to be env,ied and emulated throughout India and Asia, setting as it does an example of artistic development which few countries or organi sations in the world can equal. I believe the American music lover has greater affinity for South Indian Music. May this Conference be the greatest success ever. Good luck to all parti cipants in the Conference and best wishes from hundreds of us here who are your friends and well-wishers.” Dr. J. Spectar, Ethno-Musicologist, New York, who had attended our Conference, said :— “As 'every year, I dream of being present and listen to the marvellous sounds of your master musicians. Although I specialise in Middle East Music, I have become addicted to good Indian Music, particularly the Music of South India.” Mr. Harold Schramm, Musician and Composer, New York, author of some creations based on South Indian Ragas said :— “I trust the Delegates will present reports of interest to all of us who are involved intimately with the Music Art of South India and hope that opportunity may be created for investigating the intriguing aspects and possibilities which are still new and largely untried.” Dr. van Lamsweerde, Curator for Ethnomusicology, Tropical Institute, Amsterdam, said:— o “I am glad that this year also, the Conference of the Music Academy will take place. Last year, I had the privilege of attending this most important musical event. I convey to all the participants my best wishes for successful meetings and enjoyable concerts.” . h
Dr. V. K. Narayana Menon, Director-General, All India Radio, New Delhi, sent his greetings. The Sheriff of Madras, the Mayor of Madras, Sri C. V. C. T, Venkatachallam Chettiar, and Sri H. C. Kothari sent their best wishes. The following members of the Council of the Central Sangeet Nataka Akademi, sent their best wishes :— Sri Sthanam Narasimha Rao, Sri Bhanda Kanakalingeswara Rao, Dr. D. G. Vyas, The Yuvaraja of Porbandar. .■ Sangita Kalanidhi T. K. Jayarama Iyer said that the Academy would find the pride of place in the history of Karnatic Music. Ragini Recreations sent their best wishes.
Welcome Address
Dr. V. Raghavan, Secretary, then read the Welcome Address to the H on’ble Sri R. Venkataraman. He said in the course of his address:—
“Dear Sir, It is a great pleasure for us to welcome you to our midst and to request you to inaugurate our Thirty.ninth Conference and Music Festival. You have been actively associated with the Congress and the Nationalist Movement and the Academy has a history which goes back to the Madras session of the All-India Congress. Many of your elders in the Congress occupying important positions in the Party and the Ministries at the Centre and in the State, have been associated not only with our organisa tion but also with this function of inauguration of our annual Conference. When we approached you to open our conference, you felt, in your modesty, rather reluctant to agree. We pointed out that it was quite appropriate that you should associate your self with the activities of this premier body in the field of music as one who has been well-known to us and to whom our Institution has also been very well known. You are opening to-day not only a series of performances but also a Conference of academic importance in the field of the arts in which we are working. It has been observed by our visiting 6 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVII musicians and scholars from outside that while there are many festivals and series of performances to which the misnomer of Conference is applied, taking place all over India, it is only in our Academy that a conference worth its name is being held year after year in which those learned in music and musicology sit together for nearly a fortnight to expound, discuss and demonstrate the different aspects of the art and science of music and allied arts. For some years past, we have expanded our Conference work so as to include not only Hindustani music but also other systems of music of Asia and the West. You may have observed that distinguished musicians and musicologists from Europe and America have been regularly participating in our Conference, in* an increasing measure in recent years. “As one who has been watching our Academy grow year after year, you are well aware of the advance which we have made thanks to the co* operation of our patrons and friends. The most obvious of the improvements in our activities is the great Auditorium in which you are inaugurating the Conference which has taken this magnifi cent form thanks to the advice and guidance of our Vice-President, the Hon'ble Sri T. T. Krishnamachari. We have yet to find suitable accommodation for our academic activities like the Teachers’ College of Music, the library, the school for dance and for the holding of the Experts’ Committee discussions and demonstrations. We have also to have a hostel for our students in the Teachers’ College of Music and the Dance School. There are students of Indian music and dance coming from outside and other countries who require accommodation. “You have been in the fore-front of the industrial and techno logical development of this part of the country. You have held important positions in the Party and played a notable part in the Parliament and as,a Member of the several Delegations abroad, you have furthered the cause of the National Government in various ways. It is to the industrial development of our State in parti cular that you have made outstanding contribution and many of our Patrons and friends who have helped us in our work have borne testimony to your unceasing interest and helpfulness in their undertakings. For the flourishing of arts and letters, the climate of patronage and help from an affluent conimuhity is a necessity. Although traditionally poets had harped on the idea PTS. i - v ] t h e XXXlXth MADRAS MUSIC CONFERENCE 7 of learning and arts cultivated in austerity and even in conditions of destitution, conditions today have so changed that it will no longer be possible to think of the divorce of the Goddesses of Learning and Prosperity, Sarasvati and Lakshmi. Indeed, the great poet, Kalidasa, prayed for this consummation of the union of Sri and Sarasvati. “Sir, we now request you to inaugurate our Thirty-ninth Conference and Music Festival. We remain, Sir, YOUR FRIENDS AND ADMIRERS OF THE MUSIC ACADEMY, MADRAS."
He then requested the Hon’ble Smt. Jyoti Venkatacbellum to give the address to the Hon’ble Sri R. Venkataraman. Sri M. Sudarsanam Iyengar, Vice-President of the Academy, then requested the Minister to declare the Conference open on behalf of the Hon’ble Sri R. Venkataraman. nriailq
Oil4 ilk .&>* .t U u & vilu vM J Lv^ulioUU D U h Opening Address f
After conveying to the Academy the apologies of the Hon’ble Sri R. Venkataraman for his inability to be present at the function personally, owing to indisposition, the Hon’ble Smt. Jyoti Venkatachellum read his Opening Address. In the course of his address, the Hon’ble Minister said:— It gives me great pleasure to inaugurate the Thirty-ninth Conference of the Music Academy. It is not an accident that this Academy was born out of the All India Music Conference which was a part of the Session of the Indian National Congress in December, 1927. The first few decades of the present century were truly remarkable in many respects. It was a water-shed period in our history, and a Nation was born at the time. A spirit of abiding interest and pride in our culture, a truly creative genius expressing the upsurge of feeling in the country, invention of art forms and modes, cutting away from the dreary conventionalised forms in literature and art were all characteristics of that age.
Another expression of that emerging National spirit was the anxiety to preserve all that was best, noblest and highest in our & THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVII
culture and heritage. Our arts and literature had fallen into neglect, and were spoken of condescendingly, if not even in disparagement, till then. But they still lingered in remote centres as lone small lamps in the dark recesses of the innermost chambers of our ancient temples, only to brighten up when kindled. Forgotten works in Tamil, Telugu, Kanarese aadiSanskrit were discovered and published. Critical studies of art and music were ardently pursued by scholars and connoisseurs who unravelled their beauty and richness. To this spirit can be ascribed the formation of the Music Academy.
It is no mean achievement to have maintained the high stan dards and purity of our classical music and to have successfully endeavoured to promote it through several means. One need only recapitulate the Vidwans who have presided over the Acade my for the last thirtyeight years in evidence of this. The Annual Conference serves as a forum for Artists and Vidwans to meet, exchange idea s, and critically appreciate and appraise their accom plishments. The performances afford a rich variety of experi ence and unalloyed pleasure to the audience. In addition, the Music Academy has been running the Bharata Natya School and th,e Teachers’ College of Music which serve as focal centres for cultivating both these fine arts, and the. informed appreciation of these arts. I congratulate the Academy on its excellent record of work in fulfilment of its objectives.
‘‘It is fitting that the present Session should be presided over by Alathur Sri Srinivasa Iyer. Together with (late) Alathur Sri Sivasubramaniya Iyer who presided over the last Session, Sri Srinivasa Iyer has been a true exponent of Carnatic music at its best. The grace of a great teacher Alathur Sri Venkatesa Iyer, who himself belongs to an illustrious musical family that could be traced to Sri Tyagaraja, and long and devoted practice have to gether contributed to his achievement. His insistence on fidelity to * Sabitya \ his mastery over ‘ Laya ’ and his imaginative expo sition of the ‘ Raga’ and * Svara’ are all hallmarks of a true and sound exponent of Carnatic music.
“Art is the translation of experience. It has two aspects—one the creative and the othe presentational. We have indeed had a variety of creative artists. They have invented many art-forms. PTS. I-IV] THE XXXlXth MADRAS MUSIC CONFERENCE 9 The theme of their compositions though essentially and basically one of devotion and yearning to seek His grace have had other motifs. Our instruments are many and eaoh offers its own type of pleasure. Our classical music has even adopted Western instru ments like Violin and Clarionet which have now become as effec tive media as our own string and percussion instruments. Indeed the mastery over the instruments achieved by our artists to-day evokes admiration from the Western artists. I am sure the stan dards set in this respect will be continued for a long time to come by our younger Vidwans. “I would, however, pause to consider with you whether the same can be said of our vocal music to-day . Certainly the tradition continues. It requires conscious striving for long periods to cul tivate the voice and make it rich, resonant, and true. Modern technical inventions can indeed help slur over inherent limitations. The mike should not lull us to ignore the basic need for voice- culture. For without voice, vocal music can have little appeal. “I would refer to a second feature of presentational art, the manner Of raga singing. A few salient strokes and curves of musical phrases may, no doubt, suffice to' bring out the contours of a ‘ Raga \ It is inevitable when, particularly, limitations of time are set. But this can easily get attenuated into an abridged reproduction of a few interesting but brief musical phrases. At best the impression one can get out of such a sketch is like seeing a landscape through a key-hole. The * Alapana ’ should be an exposition of the ‘ raga ’ in all its reach and in all its depth. It demands originality and invention. Sufficient repertoire of compositions is essential to expound the Ragas fully. Each ‘Kriti ’ and the sangatis in each Kriti bring out the varied moods and the manifold nuances of feeling which they alone can express. A magnificent raga like ‘Todi* can lend itself to varied moods, each one of which Tyagaraja exploits in his numerous compositions in this raga. Vessels of emotion are fashioned out of particular aspects of the Raga or turn of the Svaras and the meaning of the compositions flows to fill them. Only the practice of a number of Kritis in the same raga can bring out the wide sweep and range of musical expression and the varied aspects of human emotion they portray. It also helps to bring out the Bhava or mood which is the soul of the raga. 2 ,10 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVII
“Music is said to be the most perfect art in which the form and the content have merged. In fact it is difficult to distinguish one from the other. Savra and Sahitya are blended and the meaning that is conveyed is the result of both. It is necessary that art forms which have been created by our great composers are preserved. Otherwise there is every danger of our heritage getting thinner and thinner. It is sometimes interesting that the same raga as adopted in the kriti of Tyagaraja expresses a shada or a mood different from the same raga in Dikshitar’s Kriti. If these artistic shades are allowed to fall into oblivion, our own originality and creative genius may suffer. For originality and creativeness in music ripen by practice, and iD practice. ‘‘In the old days our musical greatness has been attained and preserved by the individuals who grew into institutions. But there was no attempt at institutionalising the art at any time. It was handed down from Guru to Sishya-—a way of life no longer possi ble to revive. If the authenticity of musical tradition is to be maintained, it becomes necessary that we now adopt new and modern methods luckily available for us. I am sure this Academy would be interested to do so. I would now suggest a few. “Firstly, it will be useful to bring out variorum editions of compositions of each composer together with notations indicating also the variants, not only of texts but of rendering them which have been adopted by different sets of disciples. Tyagaraja’s Kritis for instance are sometimes sung in Bhajana style, at other times in Kacheri style. It will still be interesting to know how Tyaga raja himself had rendered them. But each has its own charm and pleasure. There are other Composers of great merit right down, nearer to our times. It is essential that anthologies are compiled of the works of each composer. Collected works classified into ‘ varnams ’, ‘jawalis ’ ‘ padams ’ and * thillanas’ may be brought out. Otherwise, the few that are repeatedly sung may persist and the many that are not in vogue will disappear from memory. I would also suggest a voice-library to be built with records of expositions by great artists, so that the living voice of the artists may for long remain an invaluable treasure-house and source of standard preference and inspiration for generations to come. I believe this Academy and the Sangeet Natak Akademi are already taking steps in these respects. PTS. I-IV] THE XXXlXth MADRAS MUSIC CONFERENCE 11
“Art grows by criticism. If the standards in music have been maintained all along, it is as much due to the attainments of our artists, as the sustained enjoyment and live interest of our people in it. Vast majority of us can enjoy music and can derive pleasure from it even without knowing its grammar. But it is necessary along side to have well-informed criticism of music and the render ing by the musicians which should be distinguished from mere subjective impressionistic reactions. In this respect I feel that we can make more sustained attempts, and even have journals devoted to musical criticism. For the democratic interest of the many will nurture the spread and appeal of music. The critical appraisal by the few should vouch-safe for the purity and standard of the art. “We can do no less than to preserve and foster our great heritage. The Music Academy has been rendering a great service in this task. I have pleasure in inaugurating the Thirty-ninth Conference of the Academy and I thank you for this opportunity given to me to participate in this function.”
Vote of thanks
Sri V. K. Ramaswami Mudalitr, Trustee of the Academy, thanked the Minister for having kindly inaugurated the XXXlXth Conference of the Music Academy.
.3 Election of the President Sangita Kalanidhi Musiri Subramania Iyer then proposed that Vidwan Alathur Sri Srinivasa Iyer be elected President of the thirty-ninth conference of the Academy. His proposal was seconded and supported by Sangita Kalanidhi Mudicondan Venkatarama Iyer and by Sri K. Chandrasekharan. They referred to the attainments of Sri Srinivasa Iyer in the field of music and his exemplary quality of modesty.
Rising amidst cheers, Vidwan Sri Alathur Srinivasa Iyer then delivered the Presidential Address in Tamil. Qc^silSsfrT 6TDfEl£2^ 6)!jla&611^ STD65)LI
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I-IV] THE XXXlXth MADRAS MUSIC CONFERENCE 15 $dp»a>ai uifty^iiigxfri£,/rjj ^oo>cdS prrcnr 6&;ssihT^r iriraa t^rrsvrib gt/d u l ., ^ L)inh£5ir<5tr vrr& pon& u HJOf& Qp&Qtuibrriu epGorjpj Q^/reoso ©60 ^&hr(B^ mubgi &tki@ p efflpsUfS •sfsoiu i D & s i j t h uLp6miDiLiiraGi]ib L]G(L£>l-ggillb 6&6fTfEjQs)J(r^Q J1D&1- & <5fD ££ LT L) 60T Lb (oLbGOT Q>LbtGp]Lb ^ (S tb fT ^ L D rr^ 61) 6tT IT LB g>) ^ -S F /5fE JTITfr&&LDIT d? <3f^O«0 Q & g o ig d Q&iu&i Q&rr6wjrip-(7fj&d5 Qenem^BQibssr jrn <5r PRESIDENTIAL ADDRESS of Vidvan Alathur Sri Srinivasa Iyer After conveying his regards to the Hon’ble Minister for having opened the Conference to be presided over by him, the President of the Conference, Vidvan Sri Srinivasa Iyer paid his tribute to the work the Music Academy, Madras had been rendering to the cause of Carnatic Music for the last thirty-eight years. He thanked the Academy and the musicians and music lovers for conferring the honour of presiding over the thirty-ninth Conference on him and referred to his late lamented Guru Vidvan p m l-IY ] THE XXXlXth MADRAS MUSIC CONFERENCE 17 J l V/vA A .vaj/j Alathui Sri Venkatesa Iyer and the celebrated Mridanga Vidvan, Pudukottai Sri Dakshinamurthi Pillai, both of whom took great interest in his musical education and growth. He made special mention of his own connection with the Academy, as one of the former Principals of the Academy’s Teachers* College, Vidvan Valadi Sri Krishna Iyer was his father-in-law. He also expressed his regards and gratitude to some of the Senior office-bearers who had worked for the Academy, to the President Sri K. V. Krishna- swami Iyer, Sangita Kalanidhi Sri T. L. Venkatarama Iyer, the late Sri T. V. Subba Rao, and the late Sri Kasturi Srinivasan. The President said that it was a matter of gratification for him to have followed immediately his close partner in musical life and career Vidvan Alathur Sri Sivasubramania Iyer in the President ship of the Academy’s Conference. It was however a matter of deep regret, he said, that Vidvan Alathur Sri Sivasubramania Iyer was not in their midst to see his colleague preside over the same Conference. They had growa together, learnt music together from the same guru from their 7th year onwards and performed all along together* The President continued: Those who had systematically and with devotion learnt Carnatic music in its proper style and form, sitting with older masters have been large in number. It could not be said that it would be possible for every aspirant in music to meet every one of the masters or listen to every one of ' them or to learn from every one of them some aspect or other of &the art. But at a place like the Music Academy, on the occasion of its Annual Conferences, it had been really possible for musicians, young and old, to meet a galaxy of talents in the field of music , not only from all parts of the South, but also from the North and the Western countries, and to listen to their concerts, demonstra tions, expositions and views on different subjects expressed in the discussions. To have made all these possible for musicians is a thing for which the world of music should be grateful to the Music Academy. The art of music was vast like an ocean. Whatever was L discussed or written about formed part of it, but did not exhaust it. It might be observed that every one of the few distinguished ^masters illuminating the field had achieved a distinction by 3 18 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. ixX V ll chalking out a characteristic style of his own. This is to be borne in mind by the aspiring artist. It is not necessary for a very young musician who is apprenticed to a Guru to sing exactly like his own Guru. Nor is this ever possible. On the other hand, his music should not swerve even a little from the correct standard and Lakshana and should be such as to accord to the qualities of his own voice and at the same time manifest a characteristic style of his own according to his gifts. In general education, an eleven years’ school and four years’ college course was required to confer on one a Degree. Even so, a course in the art of music. A minimum of ten years with a Guru, and a further period of five years for listening incessantly and to imbibe in himself several good elements in the music that he had heard were required. During the preparatory stages, a minimum of two hours a day practice on voice was necessary for imparting a refinement to it and to give it facility to embody the ideas clearly and with sufficient distinctness of technical details. * It had been emphasised as important that music should have Sruti and Laya; that for this, the required foundations were the mastery of Sarali, Janta, Alankaras and the practice of these in the three timings, with variations, and in the five Ghana Ragas. At least twenty-five Varnas should be practised, those ^ ^Aa Tala being important. Niraval was more difficult than Raga, Kirtana and Svara. To be able to do Niraval without impairing the form of the Raga and at the same time conforming to Laya and its manipulations might be stated to be a sine qua non of musical Vidvanship. For achieving this competence in Niraval ^ abundance of Varnas is needed. No Vidvan performed in the past without a Pallavi or without giving it due importance and hence Niraval had its proper place. These were the aspects which gave the reputation of a Vidvan to the older masters. For acquiring knowledge of Ragas, the compositioiis of 6\it great composers, Purandaradasa, Tyagaraja, Muthuswami t)ikshitar, Syama Sastrigal, Kshetrajna and Maharaja Swati Tirunal were hecessary. At least twenty pieces in Ragas like Todi, Sankatabharana, Kalyani, Kambhoji, and Bhairavi taust be learnt* It would not be an exaggeration to say that it PTS. I-iV] THE XXXlXth MADRAS MUSIC CONFERENCE 19 was in the compositions of these that even the Sastra of music was embodied. It would be an additional gain if a musician could know the meaning of the compositions and could sing with sufficient understanding of the ideas imbedded in them. Regarding Gurukula-vasa, the President said that he might say that one should stick to one teacher till he completes his training and should be devoted to him and his teaching. He drew attention to what Karaikudi Veenai Vidvan the late Sambasiva Iyer said in his Presidential Address in the 26th Conference in the Academy in 1952. The goodwill and benevolence of the Guru shed a special blessing on one’s art and performance. In the past there were no special schools and colleges for music. These institutions had come in the recent times under official and non-official auspices. These should be welcomed. But the students who were admitted into these institutions should be tested properly as to their aptitude and equipment. They should have been for seven or eight years already under a single teachef and should possess the ability to tune instruments and sing to correct Sruti. For students who have passed out of these institutions, sufficient encouragement must be given by Sabhas and official agencies. They had always adored music as a divine art capable of conferring on them benefit here and in the hereafter and also self- realisation. In the modern institutions, music had been provided for largely in girls’ institutions and the President wondered why in the schools and colleges for boys music was not introduced as a subject. Reverting to the Music Academy the President observed that it had attained a great position. That it should grow more and more and should continue to serve the cause of Music for all time to come was his prayer. Lastly, he appealed to the musicians and others to co-operate with him and help him in the conduct of the discussions of this Conference to start from the next day. The opening function came to a close with a programme of Congregational Music entitled ‘Gananjali’ presented by Smt. Rukmini Rajagopalan and Party. 2 0 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVII 0* 7fft lo The Conference Souvenir The Souvenir of the 39th Conference of the Academy brought out on the occasion gave a complete account of the whole session, its concerts and the subjects for the Experts’ Committee meetings. It also gave a description of the activities of the Academy and included portraits of the great composers and also of the distinguished persons associated with the Conferences of the Academy in the past. The Souvenir included also articles on musical subjects: Bhairavi Raga by Sangita Kalanidhi Mudicondan Venkatarama Iyer; an article Our Crying Need by Sri K. Chandrasekhran emphasising what was most important to preserve and promote in the performance of our art at the present moment; Bharata Sangita by the New York composer Mr. Harold Schramm which were his compositions for piano based on Indian Music; the Vachanas o f Siva• Saranas by Asthana Vidvan N. Chennakesavaiah, Mysore; and appreciations of the late G. N. B. by the Hon’ble Mr. K. S. Venkataraman and Sri C. Seshachalam. The President of the Conference had contributed an obituary appreciation of his late colleague Sangita Kalanidhi Vidvan Alathur Sri Sivasubramania Iyer. Agenda of the Conference The following was the agenda of the Experts’ Committee meetings of the 39th Conference. 1. Talks & Demonstrations :— (i) President Vidvan Alathur Srinivasa Iyer: Tiruppuhazh- along with Vidvans Subramania Desikar and Kalidas. (ii) Sangita Kalanidhi Mudicondan Venkatarama Iyer - Dikshita Kritis (iii) „ Budalur Krishnamurti Sastrigal-Gottuvadyam. (iv) „ T. K. Jayarama Iyer - Sangita and Sahitya. (v) Vidvan Madurai Srirangam Ayyangar - Rare Compo sitions. PTS. I-IV] THE XXXlXth MADRAS MUSIC CONFERENCE 21 (vi) Prof. R. Srinivasan - The Aesthetic charm o f the minor ’'•» - Ragas. (vii) Vidvan N. Chennakesavaiah, Mysore. (viii) Instruments-Vidvan Kalyanakrishna Bhagavatar-F/na. Vidvan S. S. Rangappz-Mttkhavina. 2. Presentation of Compositions (i) Dr. P. C. Sitaraman, Madurai-Rare Compositions of Kavikunjara Bharati and other Tamil Composers. (ii) Sangita Kalanidhi G.'N. Balasubramanian’s Kritis- Sri Somesvara Babu and V. Ramachandran. (iii) Srimati Ambujam Krishna’s Compositions-Kumari R. Vedavalli. 3. Laya: Pallavi, Tala & Mridangam :— (i) Panchamukhi Tala - Shatkala Bharatacharya Sri Mutnuri Suryanarayana Sastri. Explanation by Sri K. V. Subba Rao. Feature presented by Andhra Pradesh Sangita Natak a Academy. (ii) Vidvan Harihara Sarma-Mirdangam Exercises. 4. Raga:— (i) Discussion of rare Ragas. (ii) Sangita Kalanidhi T. K. Jayarama Iyer — Raga Pantuvarali. (iii) Vidvan Madurai Sobramania Iyer- **.Dura-naya-desyaV in Raga-Talk and Demonstration. (iv) Sri B. Subba Rao, Mysore-Saranga Ragas-Talk and Demonstration. (v) Sangita Bhushanam S Ramanathan - Desi Ragas in Karnatic Music. (iv) N. M. Adyantaya, Mangalore—A Third Group of s Mela Ragas within Venkatamakhin's Melakartas in which two Ma-s are to be used. 22 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVII 5. Papers:— (i) Vidvan V. V. Satagopan, Delhi University-Yex/ & Tradition: Fundamental Research. (ii) S. Venkitasubramania Iyer, Kerala University - The Authenticity o f some of the Compositions attri buted to Sri Svati Tirunal. (iii) T. G. Anantasubrahamanian, Sarasvati Mahal, Tanjore- Rare Compositions in Tanjore Mss.— Tyagesa Padas and Saharaja Padas. (iv) G. N. Ramabhadran, New Delhi—Perception Theories - in relation to Mathematical and Musical concepts. (v) Vidvan T. N. C. Venkatanarayanacharyulu, Guntur. (vi) Y. Satyanarayana, A. I. R , Hyderabad-Pi«/j/>aw/a//. (vii) Sri Robindra Lai R oy: Confused Traditions in Indian Musicology. J' .£ 6. Hindustani M usic:— (p N. M. Adyantayya, Mangalore — Appreciation and Appeal in Hindustani and Carnatic Music. (ii). Sri Thakore Jaidev Singh, Banaras-Aafctt. (iii) Prof. G. H. Ranade, Poona— (/) How and why the Suddha Scale o f North and South differ. (2) Proper Connotations of Technical Terms in Music. ttV j!,c tJk .*v- 7. ** ^ ftt ^m vfii2 i «rnS'• ; x,f Iki 7. Western and other systems of Music (i) Prof. Willard Rhodes, Columbia University, New boa York - Music of the American Indians of North America. (ii) Mr. John Cooper, New York— (a) Contemporary Western Music. (b) 'Bharata Sangita’ by Mr, Harold Schramm of r t: New York. 4»ts. i-iv) THE XXXlXth MADkAS MUSIC CONFEkfcNCE (iii) Mrs. Ruth Lorin Cooper— Song Recital - Western Vocal Techniques, Interpretations etc. (iv) Dr. Robert Garfias, University of Washington- Korean Music. (v) Swami Prajnanananda, Calcutta-27ie Culture o f Music o f Egypt. 8. Any other subject to be taken up with the President’s approval. Experts’ Committee Meetings THE FIRST DAY 20th December 1965 The Experts’ Committee meetings convened in connection with the 39th Conference of the Music Academy, Madras, began this morning at the premises of the Academy. Vidvan Alathur Srinivasa Iyer, the President of the Conference, was in the chair. After the opening remarks of the President, Dr. V. Raghavan announced the programme of the Experts’ Committee meetings and the several items included in the proceedings of the Experts’ Committee. The proceedings began with a recital of Sama Gana in voice and Veena. Sri Ramanatha Dikshitar, Sama Veda Professor, Madras Sanskrit College, along with his son Pattabhirama Sastri, gave a rendering of six Samans and he was followed by Vidvan Pichumani, who rendered one Saman on the Veena. In thanking them the President referred to the renderings being in the Kharaharapriya Mela and the intriguing nature of the Svarasthana of some of these Svaras in Sama Gana. Tanjore Manuscripts Dr. V. Raghavan referred to the institution of a research scholarship by the Madras State Sangita Nataka Sangham for examining the music manuscripts in the Sarasvati Mahal, Tanjore, and the work which Sri T. G. Anantasubrahmanian had done in the last two years under this scheme. Sri T. G. Ananta* subrahmanian read a paper in Tamil on the Padas and other 24 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVII compositions in Telugu and Sanskrit found in the Sarasvati Mahal manuscripts in the name of King Sahaji and sung on the guardian deity of the Maratha Rajas of Tanjore, viz. God Tyagaraja at Tiruvarur. The manuscripts contained the texts of the songs and mentioned the Ragas and Talas but unfortunately did not give the svaras. He mentioned also two more poets of Sahaji’s court* Soma Kavi and Giriraja Kavi, said to be the grandfather of the great Tyagaraja. He drew special attention to some of the songs of Giriraja Kavi which opened with the same words as some Of the well-known songs of Tyagaraja which went to confirm the relationship between Giriraja Kavi and Tyagaraja. The songs of Soma Kavi and Giriraja Kavi were mostly on the King Sahaji and some were on Brihadisvara and othor deities. All the pieces of Sahaji had as their Mudra, Tyagesa. THE SECOND DAY 21st December 1965 At the Experts’ Committee meetings of the 39th Conference of the Music Academy, Madras, held this morning with Vidvan Alathur Srinivasa Iyer in the chair, there* was first a recital of Tevaram by Kovur Punniakoti Mudaliar accompanied by Sri C G. Kumaraswami on the Violin and Sri S. R. Nathan on the Mridangam. The President thanked the participants. Desi Ragas Sangita Bhushanam Sri S. Ramanathan of the Central College of Karnataka Music, then gave a talk and demonstration on Desi Ragas in Carnatic music. Quoting from old music texts, he traced the development of the distinction of ragas into Marga and Desi. He referred to a list of Desi ragas given in the supplement to Venkatamakhin’s work and mentioned a large number of ragas current in Carnatic music now and called Desi ragas. He showed how in the history and passage of time, Ragas which were once very rare or not approved widely became later very well-known and popular. At present he said that Ragas which they had taken over from the North were referred to as Desi Ragas and gave examples like Kamas, Rudrapriya, Kapi, Paras, Ramakalit Bibasu, Useni> Durbar t Peelu, Sindhu Bhairavi and so on. He pointed out PTS. i-iv] tHB XXXlXth MADRAS MUSIC CONFfeRENCE 25 that while some Ragas were taken over wholesale like Tat sama words, some were adapted to the genius of Carnatic music and its gamakas• There was also a certain freedom in the use of notes which had been mentioned as a characteristic of 'Desi' in all the old texts. He took for detailed exposition, three Ragas, Kamas, Hamir Kalyani and Dvijavanti. He sang a number of songs in Kamas, Kritis, Javalis and Varnas as well as a piece from Azhagar Knravanchi, and pointed out how Kakali Nishada was a populaT intrusion and was absent from the earlier compositions of the older composers In Hamir Kalyani he sang Venkatasailavihara and in Dvijavanti, which had already come from the North in the pre-Tyagaraja times, he sang a piece from the Nandan Charitram of Gopalakrishna Bharati. The President complimented Vidvan Sri Ramanathan on his clear exposition and demonstration. Agreeing with the ideas expressed by the speaker, Sangita Kalanidhi Mudicondan Venkatarama Iyer complimented the speaker on his earnest studies and researches, particularly at the present time when musicians taking interest in academic inquiries were becoming rare. He thanked also the accompanists Vidvan Alandur Natarajan on the Violin and Karaikudi Muthu Iyer on the Mridangam. 0lt Sri Sandhyavandanam Srinivasa Rao, Principal, Central Karnataka College of Music, speaking on the subject of the morning, said that the use of notes like Kakali Ni were really examples of the expression of the natural aesthetic principle apd added that musicians might study more the North Indian renderings of these Ragas, with greater academic approach and thinking, and note how they dwelt on the Jeevasvaras with Vadi- Samvadi propriety and emphasis on Shadja and Panchama and how they used the aesthetic rod as their judgment. He pointed out how Carnatic Ragas like Jingla and Valaji have their North Indian counterparts like Jonpuri and Kalavati, He also pointed out how the Tanjore style which had become the high water mark of Carnatic music attained its character during the times of Maratha rulers when aesthetic elements of North Indian music had been absorbed. The use of a particular note was to be judged, according to him, as an intrusion if done as a result of ignorance or inability; but if an artist used it deliberately it was a natural product of his aesthetic sense. 4 26 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVI1 THE THIRD DAY 22nd December 1965 At the Experts’ Committee meeting convened in connection with the 39th Conference of the Music Academy, Madras, this morning with Vidvan Alathur Srinivasa Iyer, President, in the chair, Sri Therezhandur Srinivasachari accompanied by Kumbakonam Krishnaswami on the violin and Dindigal Rama- murthy on the Mridangam, gave a recital of Divya Prabandham. After the President thanked the Vidvaas, Sri B. K. Misra, Director, Vadyalaya, Madras, gave a talk and demonstration on Sarasvati Vina. Sarasvati Vina Sri Misra said that the Sarasvati Vina was perhaps the oldest Vina of the North which was displaced by its offspring the Sitar. It was an ideal accompaniment for Dhrupad and it was still used in temples in Rajasthan. It had 24 fixed frets, 4 playing strings and 3 drone strings. It had two gourds and appeared to have been designed for playing in a standing pose, as it was still the practice in the temples in Rajasthan, where devotees sang to the accompaniment of this instrument. Fast movements were not permitted on it and more flexions on a note and gamakas were possible on this than on the Sitar. Like all old stringed instruments, it was made of natural materials like bamboo and gourd originally and it was only later that wood came to be used. There were a few well-known Ustads who had specialised in this and especially Dhrupad singers were all of them trained to use this. With a little adjustment and improvement, the Sarasvati Vina would become an ideal instrument for North Indian music and its musical potentialities were far greater than those of the Sitar. In connection with its suitability especially for Dhrupad singing, Sri Misra rendered a Dhrupad and played it also on the Sarasvati Vina, standing in the traditional style. Dr. Raghavan pointed out that in the history of the Indian stringed instruments fixed frets were a very late evolution, the evidence for this pointing to the beginning of the 17th century; before that the frets were movable and he therefore doubted the PTS. MV] THE XXXlXth MADRAS MUSIC CONFERENCE 27 antiquity of the particular type of instrument called Sarasvati Vina. Sri Desai replied that the Sarasvati Vina was definitely earlier than the Sitar and there was a continuous tradition of its use in Rajasthan temples. In thanking Sri Misra for his valuable talk and demonstration, the President of the Conference, Vidvan Sri Alathur Srinivasa Iyer recalled how as part of Harikatha, Dhrupad singing had been introduced in the Tanjore tradition and sang a piece which he had learnt when he was young. The style of rendering was different from the Dhrupad as sung by classical North Indian musicians. Sri Sandhyavandanam Srinivasa Rao pointed out that Dhrupad was, so to say, a bridge which could bring the two styles of singing in India much nearer to each other. Mukha Vioa Vidvan Tiruchendur Sri Rangappa then gave a recital on the Mukha Vina accompanied by Kanchi Janardanam on the violin and Nagai Sundararajan on the mridangam. He first played a piece on the short traditional Mukha Vina, whose range was only one sthayi. He had devised a longer Mukha Vina for a range of two and a half sthayis, so that it could be used for regular concerts. Sri Rangappa then played two Kritis and a Pada on the Mukha Vina. R ' 7 Expressing his appreciation of Sri Rangappa’s efforts to popularise the Mukha Vina, Sangita Kalanidhi Veeruswami Pillai said that the Mukha Vina was in vogue in all temples in South India where, at particular times of the day as well as in particular parts of the procession of the deity, playing on Mukha Vina had its specified place. It was also used in old Natakams and he remembered the names of some well-known players on the Mukha Vina. It was included among the 32 Vadyas of Tyagaraja temple at Tiruvarur and at Vaideesvaran Kovil there was a tradition of its playing in the temple. It was of course superseded by the clarinet in dance recitals. Even now, it could be heard in the temples in Tamil Nad as well as in Kerala. As remodelled in a longer form by Sri Rangappa, it could be practised upon and could be even made to vie with the Senai of the North. The 28 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVII President of the Conference thanked Sri Rangappa apd the accompanists. THE FOURTH DAY 23rd December 1965 When the Experts’ Committee of the 39th Conference of the Music Academy, Madras, assembled again this morning under the presidentship of Vidvan Alathur Sri Srinivasa Iyer, Vidvan Madurai Venkatesan gave a recital of Tiruppavai accompanied by Chittoor Gopalakrishnan on the Violin and Madurai Sri T. Srinivasan on the Mridangam- “Dura-Naya-Desya” Vidvan Madurai Subramania Iyer then gave a talk and demonstration on “Dura-Naya-Desya” in Ragas as referred to and as seen in the Kritis of Tyagaraja. He illustrated his talk with vocal and violin renderings of several Kritis of Tyagaraja, including some rare ones. Vidvan Subramania Iyer took up the Tyagaraja Kriti in Arabhi, Nada-Sudharasa and explained the musical imagery in the piece and the technical implications of the several terms used there by the great composer. He drew atten tion to Tyagaraja’s comparison of Dura, Naya, Desya to the three strings of the bow of Rama. The Vidvan pointed out that even in the rendering of a Raga, there was always an inner sense of rhythm and that Raga and Laya could not be dissociated as indeed Tyagaraja had shown by using these two terms together in several pieces. The following Kritis of Tyagaraja were rendered by the Vidvan Nada Sudharasa{Arabhi), Ananda Sagara (Garudadhvani), Tappakane (Suddhabangala), Ennado rakshinchite fSaurashtra), Tulasi Jagajjanani (Saveri) and Etsarika (Ethukulakamboji). In thanking the Vidvan for his learned exposition, the President Alathur Sri Srinivasa Iyer made a reference to his special standing in the Tyagaraja-Sampradaya and the traditional style of Svara singing in a single Avarta which he demonstrated. Sangita and Sahitya Sangita Kalanidhi Sri T. K. Jayarama Iyer then gave a talk and demonstration on Sangita and Sahitya and the p4ace occupied PTS. I-IV] THE XXXlXth MADRAS MUSIC CONFERENCE 2 9 by the word* in the song. He emphasised that proper splitting of the words was necessary when rendering pieces. The characterise tics of a Kriti were explained by him as enunciated by Tyagaraja in the composition Sogasuga. The points which he made with reference to the proper handling of the Sahitya were illustrated by him by singing snatches of several pieces, particularly of Raghuvara nannu maravaka taguna. He said it was possible to render Sahitya in this way without detriment to the rhythm and melody, provided one had the “breath” and was able to negotiate the texts which were composed so as to suit the requirements of musical prosody. Vidvan Sri Panchapagesan pointed out that this was extremely difficult especially in Varnas. Sri V. V. Satagopan, while supporting the speaker, pointed out the limitations caused by the exigencies of the music and said that there should be neither comparison nor controversy about the relative importance of Sahitya and Sangita in a composition. He also recalled his own detailed study of the subject in a paper of his in an earlier Conference published in the Academy’s Journal. THE FIFTH DAY 24th December 1965 The Experts’ Committee meeting of the 39th Conference of the Music Academy, Madras, held this morning, with Alathur Sri Srinivasa Iyer in the chair, began with Conjeevaram Sri Sarangapani Chettiar’s recital of Tiruvempavai, accompanied by Sri P. Ramachandrayya on the Violin. Vina Vidvan Sri M. A. Kalyanakrishna Bhagavatar of the Central Karnataka College then gave a talk and demonstration on Vina. The Vidvan observed that, as he had pressed at a former Conference of the Academy, there was a need to hold a discussion of Vina teachers and players who had been following different fingering techniques and to codify the technique, so far as the teaching of Vina up to the Varna-stage at least was concerned. He appealed to the Academy to take a lead in the matter. Accom- 30 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVII panied by Tiruvalangadu Sri Sundaresa Iyer on the violin and Sri Guruvayur Dorai on the Mridangam, Sri KalyanakrishnaBhagavatar rendered on the Vina the Vama Vanajaksha, in Ritigaula, and two Kritis in Pantuvarali and Kharaharapriya and a Javali in Behag. In thanking the Vidvan, the President of the Conference endorsed the Vidvan’s appeal for the need to call together the Vina Vidvans and teachers and systematise the teaching of the instrument and hoped that the Academy would be able to take up this matter as early as possible. Hindustani and Carnatic Styles Dr. V. Raghavan then introduced Mr. N. M. Adyantayya, foremerly Jt. Director of Industries and Commerce, Madras and a student of Hindustani Music, who had been associated with the Academy since its inception. Mr. Adyantayya he said had also recently brought out a book entitled ‘Melody Music of India- How to learn it*. Speaking on Aspects of Appreciation and Appeal of Music, with reference to Hindustani and Carnatic systems, Mr. N. M. Adyantayya observed that the subjective appreciation and appeal of art were not amenable to scientific or other laws. The first quality required for appreciating another expression of the same art was sympathy and the absence of a preconceived antipathy or bias. Notions of comparative superiority and other misconceptions are impediments to understanding. The factors in the musical expression of another type which had to be taken into considera tion in understanding or appreciation were pitch and intonation, tonal modulations, pitch variations, the employment of ‘grace’ of different types (gamakas), the manifestations of the tala or laya element, and other technical aspects like Bol-tans, Niraval or Svara singing. Adventitious circumstances like facial and physical movements of the performer, the understanding of the Bhava by the performer of the music rendered by him, the acquired mental background which rendered the presented art form familiar and induced tension, release a surprise together with the avoidance of the staleness and undue repetition, the sense of curiosity or newness, change in fashion — all these al$ Dr. Raghavan thanked the lecturer on behalf of the Conference and the President. THE SIXTH DAY 26th September 1965 At the Experts’ Committee meeting of th 39th Conference of the Music Academy, Madras held under the Presidentship of Vidvan Alathur $ri Srinivasa Iyer, Kumari R. Priyamvada rendered Dikshitar’s Kriti Mahaganapate in Naitai and the Navagraha Kriti Suryamurte in Saurashtra. Panchamukhi Tala There was then a demonstration of a very difficult feat in Tala called Panchamukhi Tala. The feature was presented by the Andhra Pradesh Sangeet Nataka Akademi. Sri K. V. Subba Rao of A. P. Akademi gave an introductory talk on Panchamukhi Tala. The display included Iswara+Panchamukhi, Vishnu Panchamukhi, Brahma Panchamukhi, Anjaneya Shatkala Panchamukhi, the latter three being more complicated than the first. For the keeping of time and indicating the different gatis, the two feet and palms, as also the folded arms struck against the side of the body were used at the same time. Sri Rao said that the exponent Mutnuri Sri Suryanarayana Sastri belonged to a family of Bharatacharyas and had himself practised these Panchamukhis for 16 years. The mode of performing them was set forth in the work Nandikesvara Bharata, a manuscript preserved in Surya narayana Sastri’s family and from which Sri Sastri quoted the Sanskrit verses. The Iswara Panchamukhi consisted of 1260 aksharas, although in the actual display it was presented only in 180; the Vishnu Panchamukhi consists of 28, the Brahma 231 and the Anjaneya Shatkala Shanmukhi 256 aksharas. In the Vishnu Panchamukhi there were Arohana, Avarohana, Adhirohana, Pratyadhirohana and Chitrarohana. Assisted by his brother Sri Mutnuri Sambamurthi on the Mridangam, Sri Mutnuri Surya narayana Sastri first sang a number of Kautlams and Sabdams on 32 jTHE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVII Vinayaka, Siva, Devi and the gads Salyaka-gamana, Kuranga- gamana, Karandakakhaga-gamana, Tantuvaya-gamana and Mayura- gamana. He then demonstrated the Isvara, Vishnu and Brahma Panchamukhis and the Anjaneya Shatkala Shanmukhi. He was applauded by the audience and the members of the Experts* Committee who watched the display included specialists in Tala and Pallavi. The President Alathur Srinivasa Iyer praised the old Vidvan for his mastery and pointed out particularly that the Arohana and Avarohana included in the display was a novelty. Sangita Kalanidhi Mudicondan Venkatarama Iyer recalled the executions of such difficult Ta/a-displays by the late Tiruvaiyaru Subramania Iyer and Karaikudi Subbarama Iyer. He added that although the artist that morning was not a vocalist and his display was confined to the Tala aspect only, it was a great achievement. Vidvan Tinniyam Venkatarama Iyer commended the skill and practice of the artist. Sangita Kalanidhi Semmangudi Sri Srinivasa Iyer observed that for such specialisation in difficult branches and researches into the intricacies of Talas, special scholarships and aid should be given by the authorities and commended the Music Academy, Madras for the role it had played in providing a venue for encouragement as well as presentation of such rare features# The artist was felicitated by Embar Vijayaraghavachariar who presented on behalf of Alathur Krishnamurthy Iyer a wrist ■ watch to Mutnuri Surya narayana Sastri in appreciation of his achievement. On behalf of the Academy and the Conference, Dr. Raghavan thanked the Andhra Pradesh Sangeet Natak Akademi for presenting this feature and Sri Subba Rao, Sri Suryanarayana Sastri and Sri Sambamurthi for their participation. Text and Tradition Vidavan V. V. Sadagopan of the Delhi University then gave a talk on Text and Tradition-Fundamental Research. Singing from the Kritis of Tyagaraja Q n the philosophy of music, the speaker emphasised how music as an art was based on Ananda and Nada. He pointed out many circumstances which led to the falling down from that great ideal. Music, he said, could, in this respect, be classified into three kinds, the best which was based in the real essence of music, the middling which was concerned only with the t*TS. I-IV] THE XXXlXth MADRAS MUSIC CONFERENCE 33 Svaras and the third which revdled only in calculations and manipulations. To bring out the essential ideas of the real music, the speaker sang a number of songs composed by him in homely language and in folk-song style. He pleaded for a rational, practical and scientific approach towards both the literary and traditional heritage that had been handed down from the past, and for adapting the useful and aesthetic f ideas which had 'snrvfrfeT v*lue. sbs® sdt gnitnobne aion* X# fcos 'to iijiw iluiog sdJ wod boaiesdom Dance Traditions -..-u t Vidvan Sri T. N. C. Venkatanarayanacharlu of Guntur then read a paper on Music and Dance Traditions and referred to the Bhagavatamela, Yakshagana, Kshetrajna Padas and other music compositions which related to the dance traditions. THE SEVENTH DAY 27 th December 1965 M When the Experts’Committee of the Music Academy, Madras, re-assembled this morning, in connection with the 39th Conference, with Vidvan Alathur Srinivasa Iyer in the chair, there was a recital of Dikshitar’s Navigraha Kriti ‘Chandram Bhaja’ in Asaveri by Smts. Kausalya and Radha. Raga Pantuvarali . Then Sangita Kalanidhi Sri T. K. Jayarama Iyer gave an illustrated talk on Raga Pantuvarali. Sri Jayarama Iyer emphasised the greatest service the Music Academy had done to music through the Conferences, namely the discussions on Ragas and the codification of their Lakshanas with the help of all the leading musicians steeped in the tradition. Raga Pantuvarali had been discussed by the Academy and noted as belonging to the 51st Mela with Antara Ga used a little flat. Sri Jayarama Iyer said that several of the Ragas which are called Rakti-ragas should be learnt not only by their Lakshanas but also by constant listening to the senior experts and the study of the Kritis of the maste r composers in those Ragas. E.g. Ga in Pantuvarali was a little less than Antara and a little more than Sadharana. Pa is important for this Raga and could not be ignored. As an example of the 5 34 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVI! old song in which this Raga was present in purity, he sang Karana niku of Bhadrachala Ramadas. Speaking generally on the essentials of a Raga, Sri Jayarama Iyer drew attention to such points as the notes to be dwelt upon, to be repeated and so on. After the President had thanked the Vidvan for his informative talk, Sangita Kalanidhi Semmangudi Srinivasa Iyer spoke endorsing the points made by tbe main speaker. He illustrated the points with snatches of Kalyani and by showing how ‘Ma’ differed in different Ragas. He also emphasised how it was necessary to study deeply and ponder over the Sancharas im different Kritis in the same Ragat by the masters. He pointed out that it was not the largeness of the repertoire, but the deeper study of a limited number of Kritis that really mattered. He regretted that because of the multiplicity of aids to-day and the spread of the art owing to the requirements of larger education and the desire for increasing participation in the art, the emphasis on the proper grasp of the form of the Raga was not there and there was the danger of the true forms of the Ragas becoming changed. In thanking the Vidvans, Dr. Raghavan drew attention also to a detailed article on the Raga Pantuvarali in Vol. IX of the Academy’s Journal by Sangita Kalanidhi Mudicondan Venkatarama Iyer* New Compositions This was followed by a recital of new compositions of Smt. Ambujam Krishna in Tamil and Telugu, by Kumari R. Vedavalli, accompanied by Dindigul Sethuraman on the Violin and Sri T. R. Subramanian on the Mridangam. The following pieces were rendered: Kolankana-Nata Kuranji; Nilichiyunnanu- Ramapriya; Gati neeye-Todi; Tallidappomo-Hamsanandi;Devaki tan- Ragamalika; Andal vazhi - Saveri; and Adaikkalam-Madhyamavati. The President of the Conference and Sangita Kalanidai T. K. Jayarama Iyer expressed their appreciation of the compositions, their language and musical settings. ^ t Old Compositions Dr. P. C. Sitaraman of Madurai gave a recital of some little known T of composers of the family of Mazhavaraya- nendal i Bharati of whose songs he brought out a PTS. I-IV] THE XXXlXth MADRAS MUSIC CONFERENCE 35 volume in notation for the Academy. Two members of his family who composed songs were Rayavaram Subba Iyer, author of Tiruvi- layadal Kir tanas, and Satavadhanam Balasubra mania Iyer. Accompanied by Parur Anantaraman and Karaikudi Muthu Iyer, Dr. Sitaraman then rendered two pieces of Rayavaranr Subba Iyer in Saurashtra and Kambhoji, a piece in Darbar by Balasubra- mania Iyer and a piece of Chidambara Bharati in Sankarabharanam- Rupaka and a Tamil Pada in Kamas by the same composer. After the President had thanked Dr, Sitaraman and his accompanists, Sri Embar Vijayaraghavachariar referred to the value of the Kirtanas which had continuous story themes, for performers of Harikatha like himself. He mentioned in this connection the Periapurana Kirtanas of Ramaswami Sivan, brother of Maha Vaidyanatha Iyer and Mazhavai Chidambara Bhagavatar and to the Tiruvilayadal Kirtanas of Subramania Bharathi. He appealed to the members of the Mazhavai family to publish the portions of Periapuranam Kirtanas of Chidambara Bharati still in manuscript. THE EIGHTH DAY 28th December 1965 The meeting of the Experts’ Committee of the Music Academy, Madras, convened in connection with the 39th Conference, began this morning with a recital of Dikshitar’s Navagraha Kriti Angarakam in Suruti by Smt. Rajesvari Ranga nathan who rendered also a composition of Sri G. N. Balasubra- manian, Kamalacharana in Amrita Behag. Saranga Ragas Sri B. Subba Rao of Mysore, author of Raganidhi, a thesaurus of the Ragas of the North and South, then gave an illustrated talk on the group of Ragas named Saranga of which there were 15 in Hindustani and 15 in Carnatic music. Sri B. Subba Rao stressed the value of a comparative study between the Ragas of the North and the South. He pointed out that in Hindustani a nuclear Sanchara which might in this case be called Saranga Anga, gave a unity justifying the suffix Saranga in the set of Ragas known by that appellation, but in Carnatic music, however, Ragas with the suffix Saranga belonged to different Melas. In the 36 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVII Saranga group, there were Ragas which used only one of the two Madhyamas, as well as those which used both or did not use either. .The speaker pointed out that while it was well-known that Carnatic music had taken several Ragas of the North, it was not equally known that Carnatic Ragas had been known to Hindustani musicians, particularly through the Marathi stage where several Carnatic Ragas were used. Sri Subba Rao said that all the Ragas which he was going to explain and demonstrate were not fit for Alap and for some of them, it was the meend that was important. He then played all the 30 Saranga Ragas of the North and the South. Carnatic Saranga was shown by him as having touch of Kamod of North and distinct from it was the Karnatic Sarang belonging to Mayamalava Gaula in which, however no composition was available.0id Sangitia Kalanidhi Sri T. K. Jayarama Iyer, who was equally well acquainted with Hindustani and Carnatic music, in endorsing the opinion of the speaker, said that in the group of Hindustani Ragas taking a common name there was a common anga. E.g. in all Ragas of the Saranga group, Sa Ri Ma Pa Ni and in the 18 Kanaras, Ga Ma Ri Sa were common. ■' dT The President of the Conference thanked Sri Subba Rao and praised his work in the comparative study of the two schools of music. Mridangam Sri Harihara Sarma of Sri Jaya Ganesa Tala Vadyalaya then gave a talk and demonstration on how to learn Mridangam playing. Following the lines of the teaching which he had learnt from Sri Tanjore Vaidyanatha Iyer and Sri Ponnayya Pillai, he had introduced some small innovations for facilitating teaching to a large number of students in his Vadya Vidyalaya. He illustrated the different stages of the teaching of Mridangam with his students belonging to the beginning, middle and the final stages of the school. Referring to the paucity of books on Mridangam-pedagogy, he referred to his book just published and presented a copy of it to the Academy. PTS. 1-IV] THE XXXlXth MADRAS MUSIC CONFERENCE 37 Sangita Kalanidhi Mudicondan Venkatarama Iyer compli mented Sri Harihara Sarma on the successful way in which he was conducting his Mridangam school and the useful additions and modifications in the Sol-series which he had devised. Inci dentally, Sri Venkatarama Iyer recited also a beautiful Sollu-k- kattu in a composition of Mahavaidyanatha Iyer. S'i Venkatarama Iyer said that there were small differences in the style and approcah in the teaching of Mridangam by defferent masters, and although there was definite use in the codification of the method and the teaching done in the school, he felt that it was necessary for a product of the school to spend some time with a chosen master of the instrument. / The President congratulating Sr* Sarma on his efforts, announced the presentation by Sri R. Ranganathan of Rs. 5/- each to thirteen students of the beginning stage who had demonstrated that morning. Ragas with Two Madhyamas Sri N. M. Adyantayya then placed before the Experts* Committee his suggestion that to reduce the monotony, add variety and give scope to the individuality of the artist, the water tight dichotomy of Ragas into Suddha Madhyama and Prat I Madhyama Ragas, interposing, so to say, a Berlin wall in the midst of Ragas, might be relaxed and the judicious and artistic use of the two MA-s (n a Raga might be permitted. Indeed, he said there were a few Ragas, about a dozen, where this phenomenon could be seen. Sri Adyantayya illustrated his talk by singing Behag, Basant, Inan etc. Sri Adyantayya’s idea was that the Ragas where this could be done should be formed into a third group. Incidentally, he also stressed the need for a system of education in music which could adapt the old Gurukula system to suit modern conditions, by the creation of pensions and scholarships for select Vidvans and select students who could maintain intimate relationship over a period. Sangita Kalanidhi Sri Semmangudi Srinivasa Iyer endorsed the suggestions of the speaker, mentioning the examples of Saranga, B ’hag, Hammir and Iman. He also supported the idea of scholarships mentioned by the speaker which would enable intimate and intensive training to select students by senior masters. 38 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL.XXXVII Sangita Kalanidhi Sri T. K. Jayarama Iyer, on the other hand, pointed out that the use of Svaras in Karnataka music differed from the Hindustani, that while in Hindustani a Svara was used with the same Sruti-sthana in all the Ragas where it occurred, in Carnatic, the same Svara differed in its Sruti-sthana in different Ragas, and he found no necessity to mix two Madhyamas or to adopt the practice of the North Indian singers in this respect. Hindustani Raga singing had its own strict rules and when Carnatic musicians took a Raga from Hindustani or vice-versa, they should know fully the Raga which they borrowed and sing it properly according to the Hindustani or Carnatic conception, although the importing by the singer of certain characteristics of his own school could not be avoided. He referred to the increasing use in the North to-day of several Carnatic Ragas including rare ones like Andolika and Narayani in which Khyals were being sung. The President of the Conference thanked Sri Adyantayya for the thought he had bestowed on the subject and the two talks he had given during the session. THE NINTH DAY S * 29th December 1965 At the Experts’ Committee meeting of the 39th Conference of the Music Academy, Madras, held this morning under the Presidentship of Vidvan Sri Alathur Srinivasa Iyer, there was first a recital of Dikshitar’s Navagraha Kriti Budham Asrayami in Nata Kurinji by Vidvan B. Krishnamurthy and after the President thanked him, Professor Willard Rhodes of the Columbia University, New York, gave an illustrated talk on the Music of the American Indians of North America. Music of American Indians Introducing Professor Rhodes, Dr. Raghavan mentioned that he was also connected with the Indian Section of the Asia Society, New York, which was promoting the performance and understan ding in America of Indian Music and Dance. Prof. Rhodes first conveyed the greetings of the Asia Society and the Society of PTS. I-IV] THE XXXlXth MADRAS MUSIC CONFERENCE 39 Ethno-Musicology of U. S. to the Music Academy and its 39th Conference. He referred to the tradition of Indian music as one of the oldest in the world and contrary to the fears expressed by some of the experts in the earlier talks in the Conference, he, for one, felt that there was no danger of this tradition deteriorating, but changes which were evolutionary and within the body of the tradition, were bound to occur in the nature of things ; only revolutionary change was disruptive of the tradition. The American Indians, Prof. Rhodes said, came to America from Asia some ten thousand years ago and the impression one got of them and their music in the films was not genuine. After giving a short account of the Red Indians, the speaker said that Red Indian Music, unlike that of the ancient Indian tradition, was simple and primarily vocal. Ethno-musicologists no longer called the ancient peoples, with whose music they were dealing, as primitive, because they some times revealed a developed and organised culture and they therefore preferred to call these pre literate. American Indian music was of different styles because of the areas and the many tribes occupying those areas. While there was no theory or regular teaching, it could be seen that their music was pentatonic and was built of three notes, two round a central note corresponding to Sa and the music was repetitive and without improvising. It was a descending scale. They had a few instruments—a flute which was used for love songs and one stringed violin which came after the Spanish influence. A simple rhythm was used on the drum. In the three-tone melody there was an organised structure with an introduction, middle and close, with the introduction being emphasised. Their music was related to religion and every day activities like grinding the corn in which, while the woman sang, the man turning the basket, tapped, and war, victory, etc. Prof. Rhodes then played records of two songs, one on the flute for love and another a song for honouring. In a different tribe there was a music related to a nine days* ceremony in which a mask was used and the music was sung in chorus, in which a head voice shouted in falsetto and a chorus responded in normal low voice and with a rhythm which changed from a duple to triple pattern. Rhythm in American Indian Music may generally be said to be iso-metric, with repetition of the initial pattern. Taking the American Indians in 40 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [ VOL. XXXVII New Mexico who lived in villages and had a strict social organi sation, with priest, civil Governor, etc., Prof. Rhodes described their dance music. The dances of this area were well organised and were done in unison. He played then a religious Rain-dance, and then a piece called butterfly dance which was done in colourful costumes. American Indian Dance, Prof. Rhodes said, was formerly done by men and women separately, but in the last half a century, they had taken to dancing together. They took *wo steps forward and one step back and displayed a heaving up and down. It showed a triple rhythm and a striking tone quality in the music. It could be seen that whether simple or complex, a music was always an expression of the culture and although music was a universal language, like language and dialects, music had also varieties according to the country and the area. He then played samples of a spinning dance song and a corn grinding song. He said that it was striking to note that the medical man bore a name which meant ‘Singer’. The songs had a few words but for the rest, the music was eked out by meaningless syllables. An Italian scholar had worked on the texts of these American Indian songs. Answering a number of questions, Professor Rhodes said that there were examples of music in the Atlantic coast in the South West among the more civilised tribes, bearing tbe influence of African music, in which a leader first sang and a chorus responded. There was also a Sun dance of a religious character done on the fullmoon day, when men took a vow to the great spirit, resting a pole on their chest. The whole music was maintained orally and although there was no school, there were groups of people who were gifted in the art. Songs were held by individuals as their wealth and inheritance. Of instruments, they had besides the drum and the flute already mentioned, a handbell, ankle-bells for dance, a stick which was rubbed for producing a rasping sound, a gourd filled with seeds and shaken, and a water-drum which was a kettle filled with water. ’ * i * J: 9 The President then expressed his thanks to the speaker and in conveying the same to the speaker Dr. Raghavan pointed out how the descending scale, the three tones etc. pointed to parallels in ancient systems of music like the Indian Saman music, shades of which were also heard particularly in the butterfly dance piece which was played that morning. PTS. I-IV] THE XXXlXth MADRAS MUSIC CONFERENCE 41 Western Vocal Technique Dr. Raghavan then requested Mrs. Ruth Lorning Cooper* musician and teacher from New York, to speak on the subject of Western Vocal Technique and Interpretation. After referring to her training and special interest, Mrs. Cooper spoke about the training which a Western singer had to go through in order to become an accomplished artist. A singer who had to interpret a composer’s music as accurately as possible had to know the composer’s style and the broader style of the composer’s age plus his own intuitive feelings. One singer did not interpret the song exactly in the same manner as another and it was in the element which he personally brought to the interpretation that his genius lay. The vocal techinquo for vocal or opera singing was the same and at the basic level, it lasted from 3 to 5 years after which the singer continued to widen his repertoire on his own. Mrs. Cooper then demonstrated as to how a beautiful sound should be produced. Vocal technique in the modern times began with the advent of the opera round about 1600 A. D. when the necessity grew to fill larger and larger halls without the use of the microphone. A beautiful sound meant a full and flexible sound with a well controlled ‘Vibrato* and the singer should have an even scale from bottom to top. She then explained the vocal ranges and types for the different voices soprano, tenor etc. She emphasised the requisite body posture and the tension and relaxation pertaining to the vocal apparatus, the breathing through open mouth and nose to the open throat, the vocal cords, the different registers and the resonators within the body, the intonation of vowels and consonants. She then dwelt upon different styles and illustrated the same with pieces from the Italian opera composer Monteverdi and also from Handell and Schubert. She was assisted by her husband Mr. Cooper on the piauo. Coming to the 20th century composers, she said that instead of composing in the same diatonic scale* contemporary composers had taken modes and illustrated the same from the compositions of her own husband. She sang a Gregorian chant in Dorian mode and a song of Tagore in its English text which Mr. Cooper had composed in the Aeolian mode. She then mentioned the contemporary French Organist Mr. O. Massien, who was deeply influenced by Indian music, its Ragas and rich rhythmatic variety. A piece of his was then 6 " * **" 42 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVII rendered by her on Resurrection in a fast rhythm, a modal piece but with shift of tonality. Answering some questions, she said that although the structure of the piano was on the temperate scale, they did sing to the natural scale. On the subject of the relation of Hebrew chants and the Gregorian chants, Prof. Rhodes informed the meeting that the whole subject was dealt with by Eric Werner in his book “Sacred Bridge”. Answering another question, Mrs. Cooper said that while in India they could go to 3 octaves, the normal range in the West was 2 octaves and a couple of notes above. Answering another question, she said that there was much to learn mutually from the vocal technique of India and the West. Conveying the thanks of the President of the Conference to the speaker, Dr. Raghavan mentioned that the participation of Mr. and Mrs. Cooper in the Academy’s conference was arranged through the kind courtesy of the U. S. Education Foundation in India. THE TENTH DAY At the meeting of the Experts’ Committee of the 39th Conference of the Music Academy, Madras, held this morning, with Vidvan Alathur Srinivasa Iyer in the chair, Smt. Padma Narasimhan sang Dikshitar’s Navagraha Kriti Brihaspate and Ganesa Kriti Karikalabhamukham. After the President thanked her, there was a recital of the compositions of Sri G ., N. Bala- subramaniam, and then a talk and demonstration on Western Music by Mr. John Cooper. G. N« Balasubramaniam’s Compositions , Two pupils of the late Sangita Kalanidhi G. N. Balasubra- maniam, Sri Somesvara Babu and Sri V. Ramachandran, accom panied by Sri T. V. Ramani and Sri Velukutty Nair, gave a recital of the compositions of G. N. B. They rendered Vara- Vallabha (Hamsadhwani), Kavalayellam (Sarasvati), Samagana-lole (Hindola), Intaparaku (Bhairavi), Dasasata (HamsanUda), Nanu- brovu (Chenchu Kambhoji), Nidaya galkuno (Shanmukhapriya) and Mohana Krishna (Kadana-kutuhala). PTS. I-IV] THE XXXlXth MADRAS MUSIC CONFERENCE 43 The President thanked the participants. Vidvan Nori Nagabhushanam paid a tribute to the late G. N. B. and referred to his compositions being in rare Ragas in Sanskrit, Tamil and Telugu, and possessing embellishments like Svarakshara, Western Music Mr. John Cooper, composer from New York who is on a visit to India to teach Western Music and also to study Indian Music, under a grant of U. S. Education Foundation in India, gave an illustrated talk on the fundamental principles of Western Music, contemporary Western Music and examples of modern Western compositions, including his own, which embodied ideas adopted from other musical cultures. His illustrations on the piano were accompanied by Mr„ Forbes on the violin and Mr. Xavier on the cello. He referred with appreciation to the work of the Music Academy and the very deep interest in India and in Madras in particular in knowing about Western Music. Pointing out the basic difference between Indian and Western Music, Mr. Cooper explained the concepts of melody, tonality, intervals, the basic ratios, and the relationship of rhythm to the last. He illustrated the principles of harmony, counterpoint and the conception of chords. While East and West were united in fundamental melody, the difference between the two grew with the strong tendency in the West to develop the shape of musical ideas through tonal forces. The West was also deeply indebted to India for the rich tradition of rhythmic structures. The speaker then took up the composer Bela Bartok and in particular his composition ‘Mikrokosmos’ and mentioned other composers, Hindmith, Debussy, Stravinsky, Prokofieff, Copand and Charles Ives, and explained the characteristics of each of these composers. The speaker then referred to some compositions revealing the influence of Asian and Indian Music. He mentioned in particular Harold Schramm and his compositions published under the title “Bharata Sangeet”. Mr. Schramm had been in India and the pieces played on the piano by the speaker included Alaripu, Yati Prabandha, Varnam, Desi Gana (folksongs) composed by Mr. Schramm for the piano. In this the composer was mainly based on his own Western system but had adapted some aspects of Indian Music and left much for the imagination of the player, without writing everything down. Mr. Cooper then mentioned 44 THB JOURNAL OF THE MADRAS MUSIC ACADEMY [ VOL. XXXVII his own work, based on the English texts of Tagore’s poems and two works on which he was working at present, one for wind and string quintette in a synthetic mode and entitled Jap Tal and an opera adopting Middle Eastern modes. Answering a question from Dr. Raghavan as to what the speaker thought about the comparative merits and success of composers like Cowell and Schramm who embodied Indian elements in their creations, Mr. Cooper said that he was very much attracted by and felt interested in the work of Mr. Schramm written on an Indian background and observed that to-day Western composers could absorb more of elements of other musical cultures than twenty-five years ago. He also thought that compared to other similar works, Schramm’s was more structural in its use of Indian elements. Mr. Cooper said that that was the only way of genuine contact with musical cultures other than one’s own. Dr. Raghavan expressed the thanks of the President and the Academy’s Conference to Mr. Cooper. THE ELEVENTH DAY 31st December 1965 The meeting of the Experts’ Committee of the Music Academy, Madras, convened in connection with the 39th Conference, under the chairmanship of Vidvan Alathur Srinivasa Iyer, began this morning with a recital of Dikshitar’s Nava^aha Kriti for Friday, Sukra Bhagavantamip&xaz) by Kumari Rama Devi. Kandar Anubhuti and Tiruppuhazh The President of the Conference Vidvan Alathur Srinivasa Iyer then, along with Sri Subramania Desikar and Sri Kalidas of A. I. R., Tiruchi, presented songs of Arunagirinathar from Kandar Anubhuti and Tiruppuhazh which had been set to tunes in the style of Kritis with Pallavi, Anupallavi and Charanam, to enable their rendering in the main part of the concerts, giving scope to Neraval, Svaram singing, etc. Sangita Kalanidhi Semmangudi Srinivasa Iyer, in compli menting Sri Subramania Desikar and Sri Kalidas on their work, said that such songs of great devotional value of saints set to music in this form could be utilised very well in schools. PTS. I-IV] THE XXXlXth MADRAS MUSIC CONFERENCE 4 5 Kaku in Music Dr. Raghavan then introduced Sri Thakore Jaideva Singh, till recently Chief Producer for Hindustani music, All India Radio, Delhi and formerly connected with the Bhatkande College of Hindustani Music at Lucknow and felicitated him on the recent conferment of the Fellowship of the Sangeet Nataka Akademi, Delhi, on him. Sri Jaideva Singh then gave his talk and demonstration on Kaku in Music. He traced the treatment of KBku from the earliest source, namely, Bharata's Natyasastra where sufficient attention has been given to it in the treatment of the text of the Drama and its delivery. Kaku referred to the flexibility of the voice and its modulation or intonation suggestive of some significance other than what was apparent. He then illustrated the change of significance and meaning particularly from the point of view of emotion as a result of the change in the manner of saying the thing. He explained the six characteristics or excellences of voice in delivery and also the six aspects of Kaku as described by Bharata, and applying these to music, with special reference to Hindustani singing, he illustrated them by singing snatches of several Ragas. He showed how the emotional quality differed by reason of the modulation, tempo and other qualities. Pointing out how the neglect of Kaku made their music artificial, he appealed to the musicians that its importance should not be forgotten. Prof. P. Sambamurthi endorsed the speaker’s observation about the importance of Kaku and referred to its role in pure and applied music. Dr. Raghavan pointed out that compared to Bharata’s treatment of Kaku which applied primarily to the delivery of the spoken text of the Drama, the treatment of Kaku with special reference to music was to be had in works like the Sangitaratnakara. He also referred to the extent to which it could be employed and quoting from poet Magha’s SiSupalavadha observed that the true emotional or aesthetic impression should be evoked by the quality of the music rather than by the mani pulation of the voice by Kaku ; Magha had pointed out that a good voice should have reach and sweetness without resorting to the Kaku. He also drew attention to the classification in Poetics of the poetic expression depending upon Kaku as not of the best, but of the secondary type of Kavya. 46 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVII In answer to another question, Sri Jaideva Singh clarified the relation of Kaku with Raga and Rasa and the variance of emotional quality from singer to singer. Korean Music Dr. Robert Garfias of the University of Washington, Seattle, U. S., then gave a talk illustrated with tape recordings on Korean Music. Dr. Garfias who was in charge of the Ethno-Musicology Department of the University of Washington had specialised in Japanese music and was at present on a project sponsored by his own University and the Rockefeller Foundation to help the setting up of systematic Archives in Philippines and Korea of their own ancient national music. He observed that although they in India had one of the oldest and richest tradition in art as well as folk music, they had not yet undertaken any systematic accumulation of recordings and the setting up of musical archives in this country. Korean music, Dr. Garfias said, had parallels with Indian music. The influence or similarity went to the Buddhistic age of the 7th or 8th century A. D. In the passage of time, Korean music, like Japanese music, had developed different styles and now it did not sound like Indian music, despite some structural similarity. In common with the old Indian music, Korean Music was largely instrumental and employed several instruments which had been played together, although with some variation from player to player. There were unusual combinations of rhythm. There were three types of music in Korea, the court music of the orchestral type, the art music of the region Chella-do in South Korea which was highly developed and the common folk music. The speaker then played some recordings to illustrate different types of music, the music of the ancient Confucian ceremonial, music in military style, vocal music at banquets which were examples of the court where there was music all the time. Compared to Japanese music, Korean music had greater freedom and lighter rhythm. He then played a recording of solo vocal music of a lady with only one drum as accompaniment which showed the employment of vibrato. The speaker said that vibrato was important and they had rules as to the number of vibrations to be employed. He gave also an example of a music on the instrument Kayagura. They had I Pi'S. MV] THE XXXlXth MADRAS MUSIC CONFERENCE 47 several wind instruments including the flute and a stringed instrument played with a bow. A characteristic of this type of music was that while the rhythm and the final note were steady, for the rest the player had freedom to improvise fully and they had also some laws in improvisation. Improvisation sometimes lasted an hour. Although they had no scale or raga, they had different emotional themes, heroism, sorrow, love, anger etc. which the player tried to bring out. The President thanked the lecturer for his participation in the Conference. t THE TWELFTH DAY 1st January 1966 **' At the meeting of the Experts’ Committee of the Music Academy, Madras, convened in connection with the 39th Confe* rence, Sri Vidvan Alathur Srinivasa Iyer presiding, there was first a recital of some of the Nottu Svara Sahityas of Dikshitar, by the students of the Teachers’ College of Music Academy, accompanied by Vidvan Sri P. Ramachandriah and Dindigal Ramamurthy on the violin and mridangam; and then the recital of Dikshitar’s Navagraha Kriti for Saturday by Smt. Prema Subramaniam. Dr. Raghavan explained how Dikshitar came to compose these Nottu Svara Sahityas. Dikshitar’s Kritis Then the President requested Sangita Kalanidhi Mudicondan Sri C. Venkatarama Iyer to give his talk and demonstration of select compositions of Dikshitar. Vidvan Sri Venkatarama Iyer said that a full study and practice of the compositions of every single great composer like Tyagaraja or Dikshitar would require a life time. A comparative study of the compositions in the same ragas by Dikshitar and Tyagaraja would be of great instructive value for musicians and students. There were also differences in Sancharas in the same raga as handled by Tyagaraja and Dikshitar. Both of them had composed short and simple pieces for beginners as well as pieces of great artistic and structural beauty resembling Prabandhas. In his Kritis, Dikshitar had revealed also his great 48 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVII knowledge in Mantra and other Sastras. Accompanied by Vidvan Alagiriswami on the violin and Vidvan Madurai N. Krishna Iyengar on the mridangam, he then gave examples of Dikshitar’s art. Starting with simple pieces, Sri Gananatham (Isamanohari) and Mahaganapate (Natanarayani), he rendered the following Kritis of Dikshitar: Anandanatanaprakasam (Kedaram), Srinathadi, Dikshitar’s first composition which showed his fine conception of Mayamalavagaula; Krishnanada (Gaulipantu); Sri Vidya Raja gopalant illuminating the rare Raga Jaganmohana (Jalarnava mela, 38th); Sri Nilotpalambikaya in Kannadagaula, which the speaker had edited in the Academy’s journal. Although the aroha-avaroha were the same for this Raga for Dikshitar and Tyagaraja, some additional sancharas might be seen in one not seen in tbe other. Sri Venkatarama Iyer sang also parts of Srimatassiva- vamanke in Byagada to show the special sancharas of Dikshitar in Byagada, and particularly the character of Madhyama here. Sri Venkatarama Iyer observed that music was created every time it was sung and concluded his recital with Sri Kamalambike in Sri. Release of new book Dr. Raghavan then requested the President of the Conference to release the Academy’s new publication of a volume of the songs of the Prahlada Charitra of Mclattur Venkatarama Sastri, prepared with notation by Vidvan B. Krihnamurti. Vidvan Alathur Srinivasa Iyer released the publication. Poshpanjali Sri Y. Satyanarayana of A. I. R., Hyderabad, then gave a talk on Pushpanjali in Natya. He traced the history of the invocatory dance of this name in the temple and textual tradition and its survival in modern times in Alaripu in Bharata Natya and in certain other forms in other dance traditions. He said that there was a longer and a fuller Pushpanjali in which a number of instruments aud a whole sequence of dance items figured with particular sthanas, songs, churnika, etc., and quoted descriptions of Pushpanjali in Bharatadarpana by Mudumbi Narasimhacharyar. He also pointed out the varieties in the per formances of Pushpanjali in the different parts of Andhra Pradesha. A description of Pushpanjali as conducted in temples was also mentioned by the speaker and reference was made by him to some PtS. l-iv) THE XXXlXth MADRAS MUSIC CONFERENCE 49 manuscripts on the subject in the Sarasvati Mahal, Tanjore, and the Bharatasarasamgraha of Chandrasekhara in Telugu. Kumari Srirangam Gopalaratnam sang in illustration some of the items mentioned by the speaker, namely a new Sabda in Sanskrit on Goddess Kalpakambika in Mylapore composed by Dr. V. Raghavan, an old churnika on Mahavishnu and an old Jakkini Daruvu in Mukhari. • The President of the Conference thanked the speaker for his interesting paper and Kumari Srirangam Gopalaratnam for her recital. Devarnamas Mysore Asthana Vidvan Chennakesavayya gave a talk and demonstration of Dasar Padas. Briefly pointing out the history of Dasa Koota composers of Karnatak he said that although the bulk of the Padas were composed in the 15th and 16th centuries, the history of Devarnamas went to much earlier times. He took up especially the Pada composers Sripadaraya, Vadiraja and Kanakadasa and sang Kanakadasa’s Ganapatistuti followed by Nammamma Sarade (Darbar), Na Ninagenu Bedithaila (Gauli- panthu), Harinama (Panthuvarali) and Sumane (Madhyamavati). He was accompanied by Sri Alandur Natarajan on the violin and Dindigul Ramamurthi on the mridangam. He observed that • Purandafacjasa was revered as the Pitamaha of Karnataka Music arid* appealed to the Vidvans that Dasar padas should be included in their concerts. In thanking the Vidvan, the President Alathur Srinivasa Iyer endorsed his appeal to the musicians to include Devarnamas in their concerts. * r* / -n o D scij 1© m m bwiptvb udi smbuM .xaisbaoA z k a M o & THE THIRTEENTH DAY ^ 2nd January 1966 Concluding Function The last session of the meetings of the Experts' Committee of the Music Academy, Madras, in connection with the 39th 7 50 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVII Conference, was held this morning under the Presidentship of Vidvan Alathur Srinivasa Iyer. Papers s Dr. V. Raghavan communicated the following papers by participants who could not personally be present at the Confer ence: 1. Swami Prajnanananda, Calcutta-The Culture of Music in Egypt. 2. Prof. G.H. Ranade, Poona-(i) How and why the Suddha Scale of North and South differ (ii) Proper Connotations of Technical Terms in Music. 3. Sri Venkitasubramoni Iyer, Trivan- diam-The Authenticity of some of the Compositions attributed to Sri Svati Tirunal. 4. Sri G-N. Ramabhadran, Delhi-Perception Theories in relation to Mathematical and Musical concepts. 5. Prof. R. L. Rai, Delhi University—Confused Traditions in Indian Musicology. These papers are published elsewhere in this volune of the Journal of the Music Academy. The President then referred to the Proceedings of the 39th Conference during its sittings which began on the 20th December and invited the participants to make their observations on the work done in the Conference of the Academy. On behalf of the participants from Mysore, Sri B. Subba Rao and Asthana Vidvan Chennakesaviah, as also Sri B. S. Krishnappa of the Kalabhivardhani Sabha, Mysore, spoke and praised the Academy for its work and wished further success for it in the years to come. On behalf of the participants from Andhra Pradesh, Vidvan Nori Nagabhushanam expressed his appreciation of the work of the Conference and the variety of features, the competitions, the concerts and the discussions. On behalf of the Hindustani participants, Mr. Thakore Jaideva Sittgh spoke and said that there were musical festivals in the North miscalled Conferences, but it was only the Conference of the Music Academy, Madras that deserved the name of the Con ference in all-India. He referred to the work of the Academy in the field of Carnatic Music and in the comparative study of Hindustani as also of different other systems of music outside India. He stressed the fundamental principles common to the North and the South and emphasised the need for a common notation which would go a great way in the learning and apprecia tion of the music of the country. He also pointed out that some PTS. MV] THE XXXlXth MADRAS MUSIC CONFERENCE 51 new developments could be made in the line of Brinda-singing, particularly in respect of simple songs. Speaking on behalf of the Carnatic Musicians, Sangitakalanidhi T. K. Jayarama Iyer gave a resume of the proceedings of the Conference and referred also to the work which the Academy had done during the past four decades. He touched also on the subject of Kaku discussed during one of the morning sessions. While endorsing the emphasis which the previous speaker laid on the fundamental principles common to both the North and the South, he stated that as the two had developed characteristics of their own, any suggestion about the fusion of the two systems of Indian music at this stage was not feasible. As an Indian musician, he would say that among things which the Academy had achieved and were of importance to the whole world of music, in India and abroad, were the Journal of the Music Academy, Madras and the inter national participation by musicians from other countries and the comparative study of other systems of Music which enlarged their own horizon. While the Academy had taken its stand firmly on the Carnatic system, it had been able to take into the purview of the Conference the study of the other systems also. Speaking on behalf of the participants from abroad, Prof. Willard Rhodes of the Columbia University referred to India as possessing the oldest and continuous musical tradition. While there were ancient peoples whose civilisations had died, in India there was a remarkable continuity. Another thing which struck him was that he found here in the field of Indian music a large number of people in other professions and walks of life who were at the same time deeply devoted to music and were also practising the art. It was a matter for satisfaction that all this rich tradition was not stagnant and scope was seen for new creations and compositions. He was sorry to note that the popular music of the West and particularly of U. S. had invaded Asia and Africa, but he hoped that the healthy and vital tradition of the art in India would not be affected. On the other hand, the contact with the other musical cultures would prevent the Indian music from in-breeding and becoming Ethno-centric. In the U. S. they had awakened, although slowly, to Indian music and were trying to gain for themselves that which they had lost, particularly improvisation which they had in the 16th and 17th centuries, but had later been lost, with the result that their music had become bookbound. 52 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVII They were also awakening to the significance and the beauty of the Indian Ragas and Talas and Indian music today had begun to play its role in the music of the world. Finally he said he would stress also the fundamental and universal values of music all over the world and thanked the Music Academy for making it possible for him to attend and participate in the Conference. The President of the Conference Vidvan Alathur Srinivasa Iyer then thanked all the participants from different parts of India and foreign countries for their co-operation and contribution to the Conference and thanked also the members of the Executive of the Committee for the conduct of the Conference. Condolence Resolutions He then made a reference to the demise of Sri K. V. Krishna- swami Iyer, the President of the Academy and the loss that they had sustained in his death. The President also placed before the Conference a Condolence Resolution touching the demise of the following musicians who had been connected with the Academy and its work: Sangita Kalanidhis G. N. Balasubramaniam and Alathur Sivasubramania Iyer, Mridanga Vidvan Tiruchendur Ramiah Pillai, Nagaswara Vidvan Ayyampettai Venugopal, the young musician T. V. Sundararajan who unfortunately died soon after his concert in the Academy that year; Mr. Chaturlal (Tabla) and the American composer Dr. Henry Cowell. Felicitations The Conference also expressed its felicitations to Prof. G. H. Ranade, Poona, and Thakore Jaidev Singh, who had participated in the Academy’s Conferences, on the Fellowship conferred on them recently by the Sangeet Natak Akademi, Delhi. Journal Dr. Raghavan then announced that Volume XXXVI of the Journal of the Music Academy, Madras for 1965 had been complet ed; it carried the proceedings and papers of the 1964 Conference. Vote of Thanks Bringing the proceedings to a close, Dr. Raghavan then thanked the President of the'Conference, Vidvan Alathur Srinivasa PTS. I-IV] : / THE XXXlXth MADRAS MUSIC COEFERENCE 53 Iyer for accepting the Presidentship of the 39th Conference. Sri T. V. Rajagopalan, Secretary garlanded the Vidvan on behalf of the Academy. Dr. Raghavan then thanked the Academy’s Office bearers who had helped in the successful conduct of the Conference, Secretaries Sri T. V. Rajagopalan, Sri Ranganathan and Sri S. Natarajan, Sri P. S. Ramachandran who was in charge of the Competitions and Sri T. S. Rangarajan who was in charge of the seating arrangements. He expressed the Academy’s thanks to the Hon’ble Sri R. Venkataraman, who opened the Conference, the Hon’ble Chief Justice of Madras for kindly agreeing to preside over the Sadas, the musicians and musicologists who had come from different parts of India and countries abroad for the Experts* Committee Meetings, the musicians who had adjudged the winners in the various competitions, the Donors of medals and prizes, and the Junior and Senior musicians who had taken part in the concerts during the Music Festival. Speaking about the work and co-operation of the other office-bearers of the Academy, he mentioned especially Sri G. Narasimhan, who had recently taken over as Treasurer and was also the Chairman of the Conference Souvenir Committee. He thanked the Government of Madras and the Corporation of Madras, in respect of electricity, transport and other arrangements, the Press of Madras and the Editors for the coverage they gave to the proceedings of the Conference, the P. S. High School authorities for their co-operation and the groups of Boy Scouts who had helped the audience and the Office-bearers of the Academy. Lastly he expressed the Academy’s thanks to the large, enthusiastic and distinguishrd audience who had attended the Academy’s Confe rence in all its activities, the morning discussions, the competitions, the junior and senior concerts and said that their appreciation and enjoyment of the art was the bedrock of the Academy's work. The Proceedings came to a close with the singing of Mangalam by Smt. D. K. Pattammal, Smt. Rukmini Rajagopal and others and a group photo of the participants of the Experts’ Committee meetings. ;d adi moiT .ra^wal la K. V. Krishnaswami Iyer Memorial Meeting The Academy held before the end of the Conference a special memorial meeting in honour of the President of the Academy, 54 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVII Sri K. V. Krishnaswami Iyer who passed away during the session of the Conference. The meeting was held on 2nd January 1966 at 8 a.m. in the auditorium of the Academy. Dr. C. P. Ramaswami Aiyar presided. Dr. V. Raghavan, Secretary, read the messages received which gave expression to the qualities of head and heart of the late K. V. K. Aiyar and the many sided and valuable public work which he had done. Dr. Ramaswami Aiyar recalled the career of Sri K. V. Krishnaswami Aiyar as an Advocate. He said that they had assembled there to honour the memory of Sri K. V. Krishnaswami Aiyar. He was a remakable and unique personality. The fact that they were assembling there in the precincts of the Music Academy to do honour to a prominent and succesful lay wer was itself an index of the varied personality of the departed man. He said he knew Sri Krishnaswami Aiyar from the day of his enrolment and he along with two notable compeers, Sir Alladi Krishnaswami Aiyar and Sri T. M. Krishnaswami Aiyar, now happily with them, were persons who imposed their personality *nd their genius especially at the beginning of their career in the legal world. ; dgiH M .T ant : Sri K. V. Krishnaswami Iyer was of the tradition of Sir P. S Sivaswami Aiyar and Sri T. R. Venkatarama Sastri and the like. His advocacy was of a cogent, persuasive, undemonstrative but effective type. From the beginning of his professional entry he was regarded as one whose statement of facts and law had full face , value. His presentation of cases was always marked by thoroughness, sensitiveness, effectiveness without any boisterous ness, and as the judges used to tell me, he paid complete attention to what he said and they never doubted the authenticity of his statement. He was of the painstaking, accurate, thorough variety of lawyer. From the beginning of his legal career he paid attention to the educational problems. He was a member of the Senate of the Madras University. The history of the Madras University during the days when he occupied a position of responsibility in the academic bodies were days marked by the careful scrutiny of the academic credentials of institutions. PTS. I-IV} THE XXXlXth MADRAS MUSIC CONFERENCE 5 5 He paid special attention to the P. S. High School. His maintenance of clear and accurate accounts was one of the aspects of his personality. People who collected funds for public or private institutions seemed to consider that their duty was finally discharged if the fund9 were put into a Bank. But what happened to those funds later on did not seem to be a matter of great anxiety. Every institution with which he was connected could bear testimony to the fruits of his industry. He made great efforts in organising the affairs of the P. S. High School. He was indentified with the progress of that institution. A person who was a great advocate, a person who was a careful husbander of the funds, one who devoted much attention to the educational problems was also a great exponent and exemplar of Fine Arts. Music was one of his chosen subjects of appreciation. He was responsible, as in the Syndicate of the Madras univeridty, for insisting on the maintenance of the standards of purity and classical tradition. In addition, Sri Krishnaswami Aiyar was a man who possessed the compact of loyalty. He did not easily extend himself, he did not give his fiiendship indiscriminately. He was particularly a disciple of Sri S. Srinivasa Iyengar and Sri V. Krishnaswami Aiyar. He recognised the people who worked in this field and appreciated their genius where they were found, and stimulated and inspired them in their work. While he was critical of certain persons, he was capable of deep friendship and fervent loyalty. It was his my melancholy duty on that occasion to pay a tribute to this distinguished man who had impinged himself on the institutions of importance and was a significant man in the city of Madras. Their honour was due to him. “May God bless his soul and may he rest in peace. ” Sri P. Venkataramana Rao, Retd. Chief Justice of Mysofre and a contemporary of Sri K. V. Krishnaswami Ayyar at the Madras Bar, said : 03 m *awl “I thank- the organisers of this meeting who gave me an opportunity to pay my tribute to my friend, whom I knew for ovef 60 years. I became acquainted with him when he was a fellow student in the Madras Law College in 1906. There were, as it used to be said by the Bench and Bar in Madras, three Krishna swami Aiyars who rose to eminence in the profession, V. Krishna* 56 THE JOURNAL OR THE MADRAS MUSIC ACADEMY [VOL. XXXVlt swami Iyer, Alladi Krishnaswami Iyer and K. V. Krishna swami Iyer, Sri Krishnaswami Aiyar served his apprenticeship under the great lawyer Sri Srinivasa Iyengar. He was a lawyer with fine legal acumen. He had all the qualities of a successful lawyer, having a clear head, quick action and above all as my friend C. P. said, he maintained thoroughness and high professional standards. Irrespective of the case he handled, he did his best. His advocacy was clean and straight. He inspired cot 1 donee iamong his clients. Sri Krishnaswami Aiyar was a g erm an of indefatigable energy and unceasing activity with a usiderabie drive. He was not only a Secretary of the Madras Advocates Association for sometime but also a member of the Low College Council and the Bar Council. He interested himself in education end in Fine Arts, particularly in music. Very early in life le became a member of the Syndicate and the Senate and took a prominent part in the University. He had a passion for music and was the President of the Music Academy after the death of Sri Rama Rau and the position the Academy occupies is due cot a little to him. He started the Library movement. He was a President of the Library Association for several years and did arrangements to make it most useful to the public. He was a sincere and loyal friend. He had a fine sense of discipline and was a dynamic personality.” Sri K. Balasubramania Aiyar said; “We have assembled here to mourn the loss of one of our great friends. I had the privilege and honour of enjoying friendship with him for more than 30 years. He was a sincere public worker. He would never compromise with injustice nor would he be indiscriminate. He would write accounts himself till 12 o'clock in the night and kept up purity of character. He was a courageous person and full of convictions. His work was very great in making the Tamil Lexicon proceed with quick progress in the Syndicate of Madras University. He appointed himself as supervisor and organiser and was able to harness all their services. It was the greatest work in Tamil literature and culture. He had a clear intellect and great academic ability. He was the Founder-President of the Madras Library Association. He organised the mobile Library van movement. He also had a model library Act prepared. Once Sir Owen Beasley called him “Library Kfishnaswami”. Had it not been for him, the Library PTS. MV] THE XXXIXth MADRAS MUSIC CONFERENCE 57 movement would not have been a great success. If the Librarians are now chosen for efficiency and capacity, it wa» due to him. He had richness of ideas and originality. He was connected with the P. S. High School for over thirty years. He purchased the play-ground for the School. He made it the premier school in the City. To the Music Academy his services are immense. He took up its Presidentship and saw to it that it maintained the standard of Carnatic music. He was a great task-master and disciplinarian. But he had a large heart. He would appreciate goodness in every one. We have therefore gathered here to pay our tribute and cherish the memory of a great man. May the Lord bless his soul.” Dr. Raghavan, Secretary of the Academy, then plated Before the meeting the following condolence resolution : “This meeting of the members of the Music Academy and the public expresses its sorrow at the demise of Sri K. V. Krishna swami Aiyar and places on record its deep appreciation of the great services which Sri K. V. Krishnaswami Aiyar rendered to the Music Academy, as also to several other educational and cultural bodies and resolves to convey its feelings to the members of his bereaved family.” Sangitha Kalanidhi Sri Musiri Subramania Aiyar in speaking on the resolution said! Revered Chairman and Friends, in seconding the reftoltttton on behalf of the musicians I wish to say something. I came into contact with Mr. K. V. Krishnaswami Aiyar in the year 1924, in the All India Oriental Conference which was held in the Senate Hall. Keerthanacharya Sri C. R. Srinivasa Aiyengar was entrusted by Mr. K. V. Krishnaswami Aiyar with the arrangement of a programme of music for the benefit of the delegates who had come to the Oriental Conference. He arranged a number of per formances in which mine was one and naturally every musician was allowed only about half an hour. But not being satisfied with that, Sri Krishnaswami Aiyar picked out a few musicians and arranged for a performance for three to four hours in the house of our friend Sri K. Balasubramania Iyer. From that time onwards I came into contact with him and it is the good fortune of the Music 8 58 THE TOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVII Academy that almost from its very inception he was at the helm of ‘affairs. At the beginning in the Music Academy all the musicians Were averse to give any programme in advance of the performance. ¥ was also one among them and Sri Krishnaswami Aiyar would stick to his point and made all the musicians realise that the pro gramme must be given beforehand and we did it. He was a man of dynamio energy and he had no likes and dislikes towards musician. Whatever may be, he was very particular that really deserving musicians got the chance. On behalf of the ihusicians, let me say that we all bemoan his loss and the music world has lost a very good patron of music. I second the resolution. •: Dr. C. P. Ramaswami Iyer, in carrying out the resolution, asked the members to stand for two minutes in silence. The Sadas ' The Sadas of the 39th Conference of the Academy was held on 2—1—1966 at 4 p. m. in the Auditorium of the Academy. Sri P* Chandra Reddy, Chief Justice of Madras and Ag. Governor presided over the Sadas. There was a large gathering of musicians and music lovers besides the members of the Academy. The Proceedings began with prayer after which the Sadas was convoked by the Secretary of the Academy Sri S. Natarajan. ST ' '.m-'' '' V ‘!1 T - J J57 .» i7 L I3k- 77 "'r'„ 7 •: >•' Sri R. Ranganathan, Secretary of the Academy, then read the following additional messages received by the Academy for the success of the 39th Conference. His Holiness Sri Sankaracharya of Sringeri had sent his blessings and prasadam. The Hon’ble Sri S. Hilkam Singh, Speaker, Lok Sabha, had aent his best wishes. The following Central Ministers had sent their best wishes! Sri T. N. Singh, Minister of Industry, Sri D. Sanjecviah, Minister for Labour and Employment, Sri Shamnath, Deputy Minister for Railways, and Sri B. R. Bhagat, (Planning). Sri R. Nijalingappa, Chief Minister of Mysore, and Sri K. Brahmananda Reddy, Chief Minister of Andhra Pradesh, had sent messages. FTS. i-iv] THB XXXIXth MADRAS MUSIC CONFERENCE 59 Dr. Thomas Simons, former American Consul-General in Madras and now Director, American Institute of Indian Studies, •aid / “I recall the several annual occasions in earlier years when I could attend the Conference a^id enjoy the music and dances during the Conference. Madras is indeed fortunate that the Music Academy offers this splendid musical experience to tha people of the City.” Professor Barbara S. Smith, Director of the Music Depart ment, University of Hawaii said in her message! “ I am sure the event will be an important and inspiring one and I look forward to a copy of the Programme and Papers.” Mr. Petre Bodout, Honoured Ballet Master, Bucharest, Rumania, who had visited the Aaademy, said “I shall be present in spirit at the 39th Conference of the Madras Music Academy and throughout its various sessions, sharing in the inspiration that such a distinguished assembly will provide. I congratulate those responsible for the stimulating event and I send my heartfelt wishes to all the artists and musicologists present at the Conference. May their creative artistic power and their achievements bear their fruit and influence on the artists throughout the world.” Messages had also been received from the following musicians and experts:— Sangita Kalanidhi Rajamanickam Pillai, Professor Vissa Appa Rao, Guntur, and Sri H. Yoganarasimham, Mysore. Sri S. Venkateswaran, I. C. S. (Retd), Vice-President of the Academy, then welcomed Sri P. Chandra Reddy and the guests and the Sadasyas. He pointed out that the Sadas of the Academy corresponded to the Convocation of a University and the conferment of the title of Sangita Kalanidhi on the President of the Conference of the year to the Degree conferred by a University. He pointed out the appropriateness of the occasion by the.fact that the Chief Justice was also at that time the ,Ag. Governor of the State. 66 THE JOURNAL OE THE MADRAS MUSIC ACADEMY f VOL. XXXVli He then called Sangita Kalanidhi Sri T. K. Jayarama Iyer to present Vidvan Alathur Sri Srinivasa Iyer, the President of the Sadas. In presenting Vidvan Alathur Sri Srinivasa Iyer. Sangita Kalanidhi Sri T. K. Jayarama Iyer read the following citation:— Vidvan Alathur Sri Srinivasa Iyer Born in 1911 in Ariyalur, Tiruchi District of Lakshmi Ammal and Angarai Sankara Srowtigal, a scholar in Veda and music, actively connected with the conduct of Bhajan festivals. Was put to music at the instance of Arivalur Nagasvara Vidvan Sivanandam Pillai. Had his first lessons with Vidvan Alathur Venkatesa Iyer who was connected with-the Tyagaraja Param- para. Became inseparably associated first as co-pupi aud then as a performer in concerts, with Vidvan Alathur Sivasubramania Iyer, the President of last year’s Conference. Had his debut in 1928 at the Tyagaraja Festival at Tiruvaiyaru and the Dak- shinamurti Gurupuja at Tiruvarur. Had the good fortune to be associated, with Pudukottai Dakshina- murthi Pillai and Veenai Karaikudi Sambasiva Iyer and later with Sri Palani Subramania Pillai and Sri Palghat Mani Iyer. Appoint ed Asthana Vidvan of Travancore in 1944. Noted for correct Pathantara of Kritis and specialisation in Laya and Pallavi. Sri T. V. Rajagopalan then presented Vidvan Erode Visvanatha Iyer for the Award of a special certificate of merit FTS.I-IV] THE XXXlXth MADRAS MUSIC CONFERENCE 61 for hit long service to the cause of music as a Violin Vidwan. He then read the citation:— Vidvan Erode Visvanatha Iyer Born in 1906 in Nochur in Palghat as son of V. Ramaswami Bhagavatar, who was pupil of Tiruvanantapuram Paramesvara Bhagavatar and Talaigya- yar Somu Bhagavatar and had specialised in Pallavi, Tanam and Neraval: learnt his vocal lessons from his own father; later learnt violin under Vidvan Subbu Iyer of Mayuram and Sangita Kalanidhi Marungapuri Gopalakri- /\ shna Iyer; started playing in concerts from his 18th \ # t year; has been associated as accompanist with all leading musicians and especially with Sangita Kalanidhi * Chembai Vaid- yanatha Bhagavatar. The President of the Sadas then presented the Certificate of Honour to Vidwan Erode Visvanatha Iyer. Sri R. Iswaran then presented Ghatam Vilvadri Iyer for the award of the special certificate of merit and read the following citation: Vidvan Ghatanr Vilvadri Iyer Born in 1901 as one of the sons of Tiruvilvamalai Subramania Iyer, a renowned Chenda player in Malabar; came of a family of experts in the different drum-instruments of Kathakali, his elder paternal uncle having been an all-round expert in Kathakali; 62 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL* XXXVli bad hii first lessons on Mridangam from his elder brother Palakkadu Alii Paramesvara Iyer for whose dramas he began to play Mridangam; later, continued his practice oa the Mridangam under Vai- dyanatha Iyer of Tanjore; was Mridangam accompa nist for several well-known Harikatha performers; later had participated as Mridangist in vocal and instrumental Katcheries; started playing on Ghatam in 1936 in Madras and had become *an invariable Ghatam accompanist for the concerts of leading musicians and had become well-known as Ghatam Vilvadri Iyer. , c r The President of the Sadas then presented him with the Certificate of Honour for the services rendered by him as a Ghatam Vidvan. Felicitations The recipients of honour at the Sadas were then felicitated by Sangita Kalanidhi Mudicondan Venkatarama Iyer and other musicians. Sri Venkatarama Iyer paid a tribute to Sangita Kalanidhi Alathur Stinivasa Iyer and Vidvans Erode Visvanatha Iyer and Ghatam Vilvadri Iyer. Sri Thakur Jaidev Singh, of Banaras speaking on behalf of the Hindustani participants observed that music was a link between the finite and the infinite and all those who participated in the service of that noble drt deserved congratulations. He was very glad to be present and participate in the Conference of the Academy and in the Sadas where three musicians were honoured and oh behalf of the musicians of the North he extended felicitations to the President of the Conference and the two PTS. I-IVj THE XXXlXth MADRAS MUSIC CONFERENCE 63 other Vidvans who received such honour at the hands of the august body, the Music Academy, Madras. Prof. Willard Rhodes, New York, speaking on behalf of the participants of the Conference from abroad expressed his pleasure at having been able to attend the Conference of the Music Academy, Madras and mentioned that the traditions which the Academy had built up and the work which they had done were very well- known outside this country. The art of Indian Music itself, he said, had a very long tradition and this opportunity whrch he bad gained of visiting India and attending this Conference showed him that it was not only an ancient art but also a living art. He congratulated all the artists who infused vitality to the art in the present times. He offered his best wishes to the Music Academy and congratulations to the musicians who had been honoured and wished that the Academy and its work might continue for long. Sangita Kalanidhi Sri Alathur Srinivasa Iyer then acknow ledged the honour done to him and the felicitations given to him by his fellow musicians and musicologists. In his reply Sangita Kalanidhi Alathur Sri Srinivasa Iyer expressed his gratitude to the Hon’ble Sri P. Chandra Reddy for presiding over the Sadas and conferring the title on him. He thanked the Vidvans and scholars who had co-operated with him in the fruitful discussions of the Conference. He expressed his appreciation of the assistance extended to him by the Office-bear ers of the Academy and the Members of the public who came in large numbers to attend the discussions and demonstrations. He said that it was a matter for pride for them that the Academy was able to continue its pattern of work over the years. He said that he might suggest that in the coming years they might provide for opportunities for the public to listen to expositions by the senior- most Vidvans who were not generally participating in the concert series. This would help in the public keeping in touch with the traditional and other special learned aspects of music known to the elders in the field. Such performances might be made a legitimate part of the Experts’ Committee proceedings. Special Awards Dr. Raghavan then introduced the winntrs of the Sptcial Awards and referred to the various Endowments for the Special 64 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVIJ Awards which included one by the distinguished American composer Dr. Henry Cowell. He made a reference to the sad demise of Dr. Cowell on the eve of the Conference and the letter received from Mrs. Cowell which conveyed the great regard which she and her late husband had for the Academy and its Conference which they had once had the privilege to attend. The President then gave the Special Awards to their winners: Best Junior Musician: T. V. Subba Rao Prize awarded by the Executive Committee of the Music Academy: Smt. Alamelu Mani. Best Junior Mridanga Vidvan : Awarded by Dr. Henry Cowell, U. S.: Karaikudi Mani. Best Junior Violin Vidvan : Semmangudi Narayanaswami Iyer Memorial Prize awarded by Sri V. Panchapakesan: L. Subramaniam. Best Sub-Senior Musician: V. R. Sambasiva Iyer Prize endowed by S. Natarajan and S. Krishnaswami: V. Ramachandran. The Principal of the Teachers’ College of Music of the Academy, Sangita Kalanidhi Vidvan Mudicondan Venkatarama Iyer, then presented the successful students of the Academy’s Teachers’ College of Music and requested the Chairman of the Sadas to present them with the Certificates. The Chief Justice then distributed the Certificates to those who had come out successful in the examinations of the Teachers’ College of Music. Sri P. S. Ramachandran then presented the candidates who had come out successful in the various competitions held during the Conference and the President of the Conference then distri buted the medals and prizes to the winners. (See list below.) President's Speech Chief Justice Mr. P. Chandra Reddy then delivered his presidential address. He thanked the President, the Vice-Presidents and Members of the Executive Ccmmittee of the Academy and the President of the Conference for the cordial welcome they had extended to him. He said that be felt honoured in having been PTS. MV] THE XXXIXth MADRAS MUSIC CONFERENCE 65 invited to preside over the Sadas of the Conference* He pointed out that the Music Academy is one of the popular bodies catering to the taste of the people, endeavouring ever since its birth in 1927 for the advancement of the science and art of music and that the Conference of the Academy was attended by delegates from all over the country as well as by musicians, composers, and musicologists from European countries, Canada and the U. S. He stressed that the leading artistes who were learned in the Sastras and Sampradayas and who constituted the Experts* Committee should reconcile the theory and practice without creating any impediments to the development of the art. One of the services rendered by the Music Academy was the issue of the Summary of the Ragalakshanas as clarified in the discussions at the Conferences. The Raga system is a gift by India to the world of music. He said that the Music Academy wag not merely confining itself to South Indian Music, but had been encouraging North Indian music by inviting leading musicians and musicologists from the North for the Conference and for vocal concerts, instrumental recital and North Indian dance-performers, and thus it had been striving to bring about the emotional integration between the different peoples of the Country. He pointed out that the Academy had done much to revive the art of Bbarata Natyam which had recently fallen into disfavour and had rescued the art from the danger of extinction and had established the lasting gratitude of the dance-lovers of the whole world. It had also encouraged rising talent by introducing into the music world promising musicians whose talents would have remained undis covered otherwise and had given scholarships to deserving juniors in the art of the music and dance. He also mentioned that the Academy had been doing good work in promoting good music, by creating a taste for classical music and dance by honouring music composers. He stressed that music lovers should insist on high standards of music being employed so that the popularisation might not lead to deterioration. He stated that music was one of the powerful forces that contributed to emotional integration which knew no barriers. He said that the greatest singers and composers in the world were saints, many of whom moved from place to place, preaching the philosophy of life. The compositions of Sri Purandaradasa, Ramadasa, Dikshitar, Tyagarajar and Syama Sastri fostered the Bhakti cult and they were a source of great 9 66 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [vOt. 30CXVII inspiration to the Indians and made them realise the real human values. He stated that, as observed by oor revered President Dr. S. Radhakrishnan, these pursuits were woven into the musical compositions which shaped our culture. It was the duty of every Indian interested in music to see that the richness of the cultural heritage was preserved with aesthetic standards and the beauty and purity of our ancient art were maintained. The Music Acadamy had been playing a vital role in the cultural renaissance of the country. He expressed the hope that the Academy would continue to serve as it had been doing in the past and would do much more than what it had been doing to spread the light of Indian music all over the world. He offered his hearty congratulations and felicitations to Vidvan Sri Alathur Srinivasa Iyer on the title of Sangita Kalanidhi which he had deservedly earned. He also congratulated the recipients of other honours. He wished them all greater fame in the years to come. Vote of Thanks Sri K. Chandrasekharan then proposed a vote of thanks to the President of the Sadas and also to several others who made the Conference a success. He made special mention of the fact that the Academy had grown enormously in recent years. Formerly the Academy was having only 10 days Conference and this year the Academy was not able to reduce it to less than 15 days. He said that but for the team spirit maintained here, the Conference could not b8 a success. LIST OF PRIZE WINNERS Ir] H XXXh ARS UI CONFERENCE MUSIC MADRAS XXXIXth THE I-rv] . COMPETITIONS DONORS WINNERS Yooal Music T. R. Venkatarama Sastri Prize I Prize Sarada Gopalan (Ladte) awarded by Sri T. V. Rajagopalan II 99 K. Kalpakam III 99 A. Vijayalakshmi Modern L. Muthiah Bhagavatar Memorial Prize awarded I 99 K. Kalpakam Compositions by Sri T. L. Venkatarama Iyer II 9 9 S. Suguna III ** D. K. Meera Maharaja Svati Murthi Memorial Prize endowed I 99 Rukmini Ramani Tirana! Compositions by R. K. Murthi Memorial Committee II 99 R. Sitalakshmi III 99 A* Vijayalakshmi Purandaradas Endowed by V. S. S. K. Tobacconist, I 9> S. Suguna Padas Jaffna (1850-1950) II J» Sarada Gopalan i i 99 M. S. Rama Devi Kshetrajna In memory of M. C. Rajagopal awarded ii 99 R. Sitalakshmi Padas by Mrs. M. C. Rajagopal Special Prize—Gnanam Subramaniam Ov WINNERS COMPETITIONS DONORS II V XXX [VOL. ACADEMY MUSIC MADRAS THE OF JOURNAL THE Pallavi Dr. Sankaranarayana Iyer Memorial Prize Jayalakshmi ; Singing Prize endowed by Dr. S. S. 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XXXVli 19. piriLi-iiflu9&i}®r<3fr FF&§saruu prSliL\ib arrssvruutB Q jnpi. erorrjriEi&rr - : ^ r g err# ^ «TS#T^ ^ ------6T6QTJ£1. 20. <35ir@$ii9j&Gk6ff oT’XmbirrBrrpouig'iLfib urrty-uSQfja Q(rrfir. j r t r & i b (prfoSf - p i r o r n b : TI^T ;nsn m c^TTH — or&srpjj. 21. efl^pprfi&eopjSpjjeiretr iLjefrorrinr. irrr& ib <35tri9 - ^rfh-fL- pir H'Tg cT^Tc^^ l ^ T ^ r 2 2 . @rf&rrij)) prrsu&rGfleflqTj&t&jih gSq^QeiJ&hr&rr® Q 8^p$jrp^^(Tfj< !k(& )tb swojiriBooiiuiLfib urri<^.iL]6ir i r it <35 ib - Q HT£c5T3-*T ?3TTH %cT^^T or&srpji- f§)G p LLrrtdffl uso Q < ^p [r(a a m !w <5T(igi5pqrj6fi uS!(TF)b(&jb 6k>eiJrruS60)uuiLjb ^p/buir^ofTiLjib unrLf-iLjerreirrrir. 6T606orr uptEiatoTTjb (5 £$<£ <35 Lb(B Introductory This discourse is the result of my own humble observation and experience of music and its response on different classes of people. It does not claim any academic or scholastic approach nor any deep study of ancient literature or modern theories on psychology or metaphysics. Its main purpose is to focus attention and draw out and draw upon the knowledge and experience of learned musicians and scholars of the Music Academy, Madras in regard to important aspects of appreciation and appeal of music. There is at present a great deal of confusion, misunderstand ing and misconception regarding music, musical excellence and achievements not only among the lay public but also among musicians, music-minded persons, critics and reviewers. Perhaps a little knowledge and understanding of the fundamentals of appreciation and appeal may lessen the chances of ignorance domineering over appreciation. There is also a growing isolation between Hindustani and Carnatic music which requires to be countered in the interests of widening the sphere of understanding and appreciation. 1. Appreciation in its abstract fo rm : Appreciation and appeal in their abstract forms are qualities inherent in all living beings under the comprehensive words aesthetics and emotions. Perhaps they are God-given and natural attributes of life. They exist even in animals. The tiger which comes to its kill stealthily must necessarily possess this quality and appreciate its feed and relish it too. But we need not discuss it here since this discourse relates only to human beings with special reference to art and music. The theoretical basis of aesthetics and appreciation of tones and patterns, the stimulus and responses caused by telecentric 76 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. £XXVH and auto-centric notes like Vadi-Samvadi etc. have been discussed before at these conferences, at the instance of workers in this field, notably Chaitanya Deva, A. N. Sanyal etc., but these are still being studied in an objective manner. But the subjective appreciation and appeal of art and artistic production in a relative sense, yii-a-vis the creators of art and their users and appreciators are so universal and complicated that a simple treatment is difficult. For, it is not amenable to any scientific or psychological law like the chemical formula or equation Hydrogen and Oxygen is equal to H20 or water; because hydrogen and oxygen always produce water whether A mixes them or B ; but in the case of art and music there are two groups of indeterminate quantities and several other variables which vary from individual to individual among the performers and listeners. Although theoretically even a scientific evaluation of each type and an universally applicable formula might be possible in the fulness of time, it is not at present available and so, I shall con tent myself for purposes of this discourse with the practical side of subjective appreciation and leave out of account the spiritual aspect and a God-given talent, although this spiritual aspect is important nevertheless. The norms and standards of appreciation and appeal may be grouped into 3 broad categories: namely, 1 . Superficial and physical. 2. Deeper subconscious and intellectual. 3. Deepest or emotional and lasting which may reach the transcendental in its extreme reaches. Each of the first two may be experienced through necessary training, practice, devotion and familiarity in a progressive degree. The last may also be reached by special gifts and efforts, but it is generally confined to a few great souls. There is some deeper layer of human nature which we have not yet reached by ordinary methods of Science, we only call them “spiritual”. The raison d’etre of appreciation or the most essential requisite in an average person is 1. Sympathy. This sympathy may take several forms. It may be sympathy or affinity due to nationality, caste, religion, race or even political or ideological affiliations of the performer- It may also be sympathy due to the faith, devotion, familiarity and meaning of the words or 6ahitya and style of the music heard. PTS. I-1V] APPRECIATION AND APPEAL OF MUSIC 7 7 If sympathy in any one of the forms is absent, at least lack of antipathy or prejudice or bias is essential. This may be called negative sympathy. This negative sympathy is a strong impedi ment to appreciation of even the best of things. As an instance I may mention how years ago Geetanjali of Poet Tagore which won the Nobel Prize, was hailed in one of the European dailies with a cartoon of an ape singing from the branch of a tree. When however, both sypmathy and antipathy are absent, there may still be professional or occupational envy or jealousy which is known to exist even among artists, musicians and a few other professions. This jealousy may generally and unconsciously be an impediment to appreciation. There is also another impediment which I may name “Superiority Complex”. Western people generally possess this superiority complex. Similarly there is an element of this quality even among the pro tagonists of Hindustani and Carnatic music as against each other. This is of course erroneous and is gradually disappearing. When, however, all the above impediments are eliminated by culture, studied effort and training and when sym pathy or affinity in any one of the forms mentioned above makes itself felt, real appreciation may be deemed to sprout and grow in an appropriate and conducive medium. 2. Elimination of Impediments Medium of growth The medium through which appreciation may arise, grow and get reinforced may be the ears, the eyes, the mind and the brain. This is how we come to appreciate and enjoy musics drama, painting, architecture, poetry, philosophy, lofty ideas and the beauties of nature. A feature of this medium is that the effect of one medium may offset or reinforce those of the other media and as a consequence the degree and intensity of appeal and appreciation may correspondingly be reduced or enhanced. At present, theoretically speaking there is no yardstick or unit to measure and compare appreciation for the reasons mentioned earlier in this discourse, namely several indeterminate variables involved; but every person can, according to his own training and background, feel a summation effect which results in enjoyment and all round satisfaction of the kinds mentioned earlier. 78 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVII When considering all round appeal and summation effect it is impossible to expect appreciation at every stage and in every branch of the exposition of art. Hence there is need to discri minate between the good and the not-so-good points and emphasise and assimilate the former and neglect the latter. This is the crux of appreciation and when it reaches a high water mark it becomes admiration. Practically speaking this admiration in addition to the joy of creation and artistic urges is the root cause of excellence of production and achievements especially in art and music. A gentle exclamation or clapping of hands or praise, works wonders with musicians and artists. It blesses the giver and the given. 3. Discrimination between good points and not-so-good points Paraphernalia of appreciation. There are several other factors which contribute to appre ciation in varying degrees even in a listener with a neutral or open mind provided the basic core of appreciation namely, understanding and sympathy are present, both in the performer and the listener or in any one of them. The performer and the listener are like the transmitter and the receiver. To borrow a radio phrase one has to “tune” himself to the other. The following are the further facets of appreciation and appeal. 4. Purity o f pitch or meend 1. Purity of pitch which we call correct intonation either vocally or instrumentally and a shine or brilliance in the spectrum of sound prodaced either in the prolonged production of sound or its merger with neighbouring note or notes called Meend, shake or sphuritam, have a universal appeal. The ear has a natural affinity and responds and resonates to sounds which have no dissonant beats or beats of more than 33. Pure sounds produce no beats. 5. Modulation 2. Change of volume and modulation, tone, colour, cadence and nuances of the voice or sound even while prolonging the same pitch or change of pitch. Certain vowels and diphthongs make for appreciation by counteracting monotony. RTS. I-IV] APPRECIATION AND APPEAL OF MUSIC 79 In Hindustani music there is a good deal of modulation. In Western music this is a speciality and is greatly appreciated but in Carnatic music it is not so prominent at present. 6. Sequences o f pitch variations or individuality 3. Sequences of pitch variations and their volumes and nuances according to the Ragas and songs which are actuated by a personal element in each artist and his training, inspiration and mood which can only be defined as his personality. When this personal element coincides with that of each listener, appreciation grows. Generally speaking employment of notes which are in perfect harmonic relationsip or in medial and/or other relationships and consonances with the tonic and in vadi-samvadi relationship creates appreciation in each Raga, Sometimes a tension is created, and released by omitting a note and then releasing it quite unexpectedly. This element of surprise mostly contributes to appreciation of Raga development. 4. The appearances, facial and body movements and bhava of ,the performer with reference to the context of the music and its sahitya have a bearing on appreciation. This enhances or impedes the appreciation to a larger or smaller extent. Some performers place a fixed gaze and gaping eyes on a corner of the hall and never turn and look at listeners even occasionally. In such a situation the rendering fails to give its maximum effect. 7. Acquired dexterity of manipulation 5. Another factor which contributes to appreciation is the acquired dexterity of manipulation and reflexes or sound tracks stored in the conscious and sub*conscious levels of the listener which when being re-impressed, create a titillation, pleasure and enjoyment. This is the reason why in music the greater the training and practice the greater the appreciation and enjoyment. 8. Symmetry o f graces and Gamakas creeted by Gharanas and traditions 6) The practice and production of various graces, types of Gamakas and sound inflexions in their proper context and 80 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVII symmetry of structure enhance the quality and appreciation of music. This is the reason why various Gharanas and Sampra- dayas or traditions have been created and enjoyed by people. While speaking of tradition and Gharanas I may refer to “orthodoxy” versus progressive modernity. For example some would appreciate and others would condemn some compositions of Tyagaraja sung in a slightly different way from those sung by the Saint or his pupils 9. Rhythm, Laya and Tala 7) Another significant constituent of appreciation is the Tala and Laya. This Laya is a strong feature of Carnatic music and when combined with rests, accents and double time or fast Laya, even slow music assumes enjoyable qualities. This is why Tanas and fast Laya, Arohi and Avarohi combinations called “Sapat” Tanas become enjoyable. Rythmatic devices like anudrutam etc. in combination with syncopation or omission of an element, in addition to Rythmatic beginnings of notes also lend colour and pleasing effect. 10. Agreed co-operation. Duets or Jugalbandi An agreed co-operation between the singer and the accom paniments in which the former creates a tension and the latter relieve it, is a great source of appeal. For example the Jugalbandi and duets. 11. Bolthan 8) Another constituent of appreciation is Bol-Than, Niraval and Solfa or Sargam singing. The theory of this appreciation is the presumption that the performer must have reached a high standard of practice and learning. This is an intellectual pleasure in which South Indian Carnatic music is specially admirable and envied by Hindustani musicians. 12. Induced tension and release ; surprise 9) The next important constituent and requisite of appre ciation and appeal is an element of induced tension, release and surprise and also avoidance of staleness, monotony and undue repetitions in the rendering. This element of surprise in the course of a rendering cleverly interspersed between musical PTS. I-IV] APPRECIATION AND APPBAL OF MUSIC 81 phrases by appropriate srutis lends a psychological twist or turn of expectation and fulfilment at every instant and increases appreciation. Curiosity, newness & evolution of tastes and fashions 13. Newness and Curiosity 10) Modern living has created a new phase in art appre ciation, namely newness. This is why people rush to hear new music and new Ragas and enjoy them even without their having any other merit. 14. Changing fash ion. Another factor which influences, regulates and controls appreciation is the changing fashion. Music is never a stagnant force. It is ever changing and is always on the move like a flowing stream. Likewise the tastes, fashions and norms of appreciation are also changing from generation to generation both among the masses and the classes, vis-a-vis the advance of science and scientific gadgets like the Tape recorder and Television. Processed music of the above kind becomes stale in course of time; because there is no mind or intelligence behind it. However the prevailing fashion is leaning more towards instrumental music. Vocalists must therefore take note and improve their music to wean the listeners away from processed music. The change of fashion is in the appreciation by the masses of orchestras of large volumes of sound inflections. This can also be done in Indian music by choir singing of men and women possessing different volumes, timbre and ranges of voices. This requires experimentation. There is thus a great future for our music in the harmonic field as also in the melodic structure. My concern here however is to increase appreciation of the masses as well as the classes. While the more learned ones amongst the experts here may not be benefited so much owing to a greater knowledge and experience they possess, the less learned ones outside may at least be benefited by a knowledge of the essentials of appreciation; for knowledge always contributes to appreciation and happiness. To sum up, appreciation of music is induced by the following: 1. Sympathy and understanding. 2. Elimination of impedi ments. 3. Discrimination between good and not-so-good points, 11 82 THB JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVII 4. Correct pitch or meend. 5. Modulation. 6. Sequence of swara rendering or personal element. 7. Acquired dexterity. 8. Symmetry of gamakas. 9. Rhythm, Laya and Tala. 10. Bolthan, Pallavi. 11. Induced Tension and release. 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Qtdiusmiu e n ip iw ^ u e n ir ^ &rr t Qjirm^uGurraisir ^(rrj&rrjrir/fte&i—iLfGLD, “$l&i@rr6br <5r uQf>uj<30 Q & iribLj G evQ ujih fLpdstr&(&) fB6Q6d & ) eurriaQ^ ^iruLSI(B^ 6T6orgu eSl&rrLbujTLb Q&iuprrw fBirQL^iEi^ih eSljb^edmL; &rQ^iuiueoTUb. 11 Qpiu^v^^^ Q&rribGugj ? ” 6T6br^pu GiurrffiaafS pjb&tr ^ i L ] r r G 6U f£ < s & i& (8) G isiribp ibll&i v / E i t B p Qpw ^iLfirGoj^Qfiih 2ul-6ptl9 jdibfS &G'35ir!srfl& Q G p sb r. uiLisbr zr fbuu_6d!rib. ^ u u l ^ G i u ^ -liiA S fS ^irrru j& b A a (stal'd ibgogo Qps&jnuShso ®_63OT60)ld eB&tsnjrmrih crebrp&i QrQswevfleo, fBLbga &iej8!fS'StBlisbr £5&&]sijr5]'$$str ^irrrujiriL®) efil&^jr6unb “In the case of the Tambura, it has been shown that there are thirteen different tones in the physical spectrum ...MThe frequencies produced by the tambura-string may be considered as a densely ordered set; that is, no change point can be found between one tone and another (And then) There is the transition from one level of the mind to another. ” jpjGrs&LDfr&s r£)ji)&rr&i ^iQn&ihiSGn&ihgii Guiriu&Qarrafar is^ LLG^jSjSQj &fr “ The ‘depth mind* as one would call it in contrast to the surface mind is fundamentally different from surface perception ...... Only when our surface mind is quite awake with rational tension at its highest is our eye sharply focused on the real things around us and strives to perceive as pregnant and simple a gestalt as possible. But when we turn our eye inwards, as in play, art, day-dreaming) or in the deep dreams of our sleep, and the mental J. C. Deva, in “Tonal Structure of Tambura” (Journal of the Music Academy, Vol. XXVII) 2. Ehrenzweig, in “The Psycho-analysis of Artistic Vision and Hearing” (Routledge & Kegan Paul, 1953.) ' S£ THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVI} energy is drained from the surface of the mind into its depth, then our vision loses its sharp and well defined edge, the forms perceived become more fluid and intermingle and separate in a continuous flux.” $j6U)pGiLJ ibix&i iflGvfi&Grfiebr ufr6G)®fi,u3ffD Q&rr6br@j) SS soSG goG hj ®_iuirihp &?fo)iuggiiuQjiis or p u (B Q p g i g t g s t u pirih. {gjisp gB^I QG q p G ld 'jyiBp &atsla6rr J^in.ij^Qebr p ® jr . g ^ s v p i L j i b prrG&nq. tuenCoGrr Q ^ gstq^ go 5TTf Grsbrp ^ixrr^l rilSso Grp u ® Q p g i. jsliurrairirggrr (9j/fi/uL3($iib G lltt^ s^ rBSso (gfi&iGoj Grsbrjpj Qardr& reoirib. gBqjjUL-i, GlGujpjuupp tensor BS sOuS gtsA g jt ^p j (bud&i iR g^ <356/7 <336337-(8 Q & IT Gft 6GT SL-&T3T 6U)LD6E§oTT fBoS GST G LOTTED p$ G Q L^p&&®fofliurrLb63(fTjaa G o u g h t (Bub. G ld@s) l L® GiL&up&wiw 6f>(TTjQjjrrr68r Trigant Burrow GrGbruGuir, tbgBgjt in G ^ p p o u ^TTGrd^hrp^Gsr piBGupujrrsar Freud - ear ffisifcujir, «^@)6b j^gdgo)it GT^irppeurr, ugo 6i/0a^>®«6rr GB& ^trGsr Qp /5p<£ir®)j&i3uJ tfiiGapujTLDrrGTT ^Burrow, in “The Neurosis of Man” (Routledge and Qiurr&'S^Gur GtBrr&aib ®_<£»/ej© (U)^a]fnij fBtrfsGm Q~.6dQa tBTpjsonp iL'MiSfS Qaijpjib ^ ieuG^^sujtlditost ggjon&u- uuSl/b^iLfii) Q& . 1. jrrrs-pirGir ir&$£l &w@pih ( ^ j^ iG gu ®_ppib &rr®v$ifuj #ihi9 rptriu<£ atfo) &£i$jSib). 2 . GiVQjjrsYVfSrrQsr fflfSib. ( <3t 3 . &om ^0-Q i/p ^jsn/ban/DU iS h f i p g i , ^jansn Qjij^vi&uuQth Qir,&ni— &$3fT Qp6®/dG>iu efilGafi&na, &rrGar<5Fanut a&Co&ifl g p l& (9 j UIU lB& 3T 6U)L£)lL]tb 3r @ 15 f£l IT (LpLD OrdjSLKSflQ^ ^ ^ a i l Q l U l h GrajruoO)15 ^a sri/s (^LonrirervsvmS srsbrjn psrSla Q l d q o ^s eSI 6fT <55 S 0$ 0 <35 S 0 ’ IT I “When Plato says that the art shall care for the bodies and souls of your citizens, and that only things that are sane and free, and not any shameful things unbecoming free men, are to be made, it is as much as to say that the artist in whatever medium must be a free man; not meaning thereby an ‘emancipated artist’ in the vulgar sense of one having no obligation or commitment of any kind, but a man emancipated from the despotism of the sale sman. If the artist is to represent the eternal realities, he must have known them as they are* ” ®[B/58soru-isir6rr errB^s^ fSmneSlqfj&a Qpi^iuir^i. G>j56$aj)LU lu&fSjSanLDjSfSGuqjjib Q /s&flefilGDsoirgiJ iDirahrL-asrQir prrefHanuj [Brris^&Q&asr /nasrQ ir gggdopldoj QjrsbrQ/naforariRsorGljr ^jr&&($jrr($ijB®Jrrbj-air(Bjr uiLHBjsairQjr {^jtr'&&u9&)6QaD& uiri^.aff(*ir &(fKoiuir Q&ui9ajr(ojr trajr^piib) PTS. I-IV] SASTRA AND TRADITION 95 rBrBpeump^Georr r r ^ r ^ u &6bnDLDiruj r r p d m Qeuemisf. cbw €nrr u rr(B ib j£) jb&mlgmli Geuem i^u QurbQ^ernkf. pruuS m /5l jrsrSppremi^-iSssrn pm nnupm p ^jipriGp peBp premia, rrrsenesr pfSGmrr ^em i^-^jeiim jTrrGijib u&g&iLiriLi rribcksr Geuemis^ GLna6U6^6mrLDG0)L-[5@fr6K)Tlp.-L9isbrLI GinsmF @en>/dljulL(B mmrhpiGur^emie. pr Q [BrirpQFjih ^ ld l / 0 Q/u) ggjm & pp tBrQi—tEiGs enrrem ib G ureo S iS rib p i iBt-.ibp iLarebr&err f5rQl—!ElG<3S euremb urrppi armih uriy. ^ly-tu isrerr Gur&Gr eresrjpuih u r(S eu rm . .^eSl piu r r p^ inr& jS fSLpSso 6rQ g u L ]-(y > 6d(r jnw 3 it it sfivm 1 # r §*T3it ^ t ^ u RrR ?r^t ^ ^ 1 htih: stt^s ^ 11 5TS5 if ^ «T*5 ^ ^ I «Je5 if ^ fR if 3CT5T if ^ V* if *Tf3T if ^ 11 m if ^ JPT* if ^ I ^ n I qr?TT^ I 3?!^ |t |t II (ot&jt^ urr(B gSr^#® ) ^ISCITLD SUIT, 6®UlUtr,” 6TSJT^)J 60) LJ) & gjl &§E(&j'3F6D ^ i —toomb &— 6T6iyrg)i urr(BQJrr6v r . #TS. I-IV] SASTRA AND TRADITION 97 U6$6Wr ^L-WfTLLir? 6r6sroir ^uGorrtb gxjitM& it eS&fOrr ^L^GOirib anuGrdtru (ourru.GOirib Gr&nLp&t&jih 60)U6Wrru (2urri—WirLL-QjrriBj(t>arr (6rBsrvir) &tr&ir (oGD&rr araswfssyil&ir sirCo# &&ib ? u tr& pa n pp fS&r&fl ^ a n Q u 6uiptB “^ Q p rr (3i—6Siurr unrrr/S^iurr? ep(ojr G)&=i^.ii9 go arppdasr Qjan&u LjeUfcurassGrrl orppflsjr Gp/n^pi&nub 1” (oi—6Sluj/ru urrfTfS^iurr GTfgjgcksr Qibitp$vri&l(TJ)&(&jgi uirrr ffip^lujir surr <35fT&BILlfTSOT QlBQj&th <35 «jy^£-/0«0 ^amruGudasr iBiLLjCoGuirih”. j£60)auj & $iu ^atrrkfSiEi&GiGrr i3ani^ GsdsOLuiranrBpunrg LDGorrfs&i (SujrtrasrrBfgLLir&liu ^GOijnsuCSgo)® [bld6o>ld QajrftOajTGUGOGOGiJ/r ? ^U3ir 4 ^ Y. Satyanarayana, Vijayawada. Dance was used as a medium of entertainment and enlighten ment because this form transcended all barriers of language, region or culture. On solemn occasions like weddings, child birth or grand reception, pure dance was presented for amusement. Vivaha-prasava-avaha-pramoda-abhyudayadishu Vinoda-karanam cheti nrittametat pravartitam Among the innumerable variations of dance themes, the most sublime and sacred was the recital dedicated to Gods. Such dance was based on song and interpreted in pure Nritta move ments. This was called Tandava according to Bharata. “ Devena chapi samproktah tandus tandava-purvakam Gita-prayogamfiSritya nrittametat pravartyathm Prayena tandava-vidhih Deva - stutyaSrayo bhavet” Those dances which are not devoted to this ritual of propi tiating Gods and which do not have any spiritual motive are considered to be of inferior grade. In the ritual dances that were performed in the temples, the very opening dance is called “Pushpanjali”. This dance of invocation is performed by the danseuse either in a stationary positionf facing the principal deity of the temple or by going round the temple in pradakshina. In the latter form the dancer holds flowers on both her hands held like a cup. This can also be performed on the stage specially got up in the Mantap facing the Lord in the temple. For this, the dancer stands in a stand still position making a parallelogram with her bent-legs and keeps her glance still on the flowers she holds in her hands. She then goes on singing songs in praise of the Lord. These songs are either set to a particular time pattern or sung in Raga elaboration without any time beat. This “ Pushpanjali ** or offering of flowers PTS. I-IV ] PUSHPANJALI 99 in both hands is usually performed as a first item in any dance recital. This tradition was taken up by the Tanjore Quartette and the “ Alarippu” of the present day Bharata Natya may be said to have evolved from this. This “ Alarippu” which is known by several other names in the north like Addi or Mohara, is a choreographical presentation without any textual sahitya in the form of song. This performed is to the Jatis on Mridangam sound set to a time circle of three or four Avarttas with numerous Jatis in permutations and combinations of infinte variety. The speed of the Jatis and their Matras varies in a set pattern and provides immense scope for interpreting the same through pure dance movements in sym metrical juxtaposition of the eyes, hands and feet. After the “ Alarippu” in this style, choornikas are rendered in praise of the particular deity of the temple. These are usually sung in either Raga “ Nata” or “ Arabhi’\ After the vocal recital of the verses of invocation, there is a medley of instrumental music composed suitably for the occasion. In this “ Vadya Brinda ” several wind instruments like Mridangam, Tavul, Pakhwaj, Udukku, etc. are employed. Wind instruments like the Flute, Mukha-veena or the Pillasahnai play the basic melody accom panied by the stringed instrument. In some temples even the conch, cymbals or the Brahmatala along with the temple bells are used. All this provides tala “ Melaprapti” or the proper tuning in of the instruments for the ritual dauce. This is followed by “ Addi ” or “ Attimai ” which the danceuse presents through the movement of her head, eyes, neck and hands in beautiful ‘ mudras. ’ This is also known as “ Kanthabharanam ”. The Hindustani variation is called “ Mohara In South India, this movement of the various links is called “ Mei-Todai Mangalam During the 19th century the performance of Pushpanjali dances took two different forms, one in the North and the other in the South. The “ Pushpanjali ” dance was described by the Mudumbi School belonging to Vizayanagaram. In the book Bharatabhidhana Darpanam, Sri Mudumbi describes Pushpanjali in the following verses. .*. , *. y M »TT5f f a f f 3T3Tfa 3T%?r t*T 100 THE JOURNAL OF THB MADRAS MUSIC ACADEMY [VOL. XXXVli jt mf^wcsgjT m t^pfrjg 33- JTi^S aft^rfrr %% t* rtteg 3 t n t g j f a f c g g erf% ^ 3 1 JTfe 3ri55 %r frsg 3nf^prfafo 3T^gwf^5 3TT3m^riJraif^r 3* ^ g*i i jtt R$g+i g<*g 3*TOfa*T wfl g^fagflW r ^ %f% * ^ 3 ^ 3 3 i In this verse, it is said that the Kunda flowers and Punnaga flowers are offered to the presiding deity. After the invocation of Gods, the dancer offers the “mulla” flowers to the ruling king This ceremony is accompanied by a graceful detour of the dancer in well planned steps to the time beat of Mridangam. ^ g ? T ?TTc5fT^ JT*gJT sfrqrr, f ^ N g g J n srg %g jtt m m ^ U lT f?r JEcfNgcTt *T*TTO *NFTT jRw^i^JTT^rgs ;Tcr% *r^r%^ i After the propitiation of Gods, the dancer is said to offer flowers to the ruling prince by way of good wishes. She should stand on the right side of the stage and look at him with her right eye, exchanging glances expressive of good luck. If she does this it is said that the king will be blessed with fortune. TO JTTWH ^TJT vnm § ^ fsrfafSr jt% % ^ JTR*ff w f t & t 1 PTS. I-IV ] PUSHPANJALI 101 On her right foot she presents the Jati of “Jhanjhanuta” and then “ Tata kundarikita” sabdas; on her left foot she shows the “Dhin dhimita” sabdas in a systematic manner, showing all the varieties of the Nritta patterns. 'TT^ncrg* g j g JTlf^ fifewr t^ r g ^n^trf^Tg m qistg JTrfe i This was the type of “Pushpanjali” found in vogue through out the northern districts of Andhra Pradesh. A slightly different form of this performance was available in the Southern estates of Andhra: Venkatagiri and Karvetinagaram. The Sabhqranjani of Venkatagiri describes this dance in these terms. f^g*n an qt^m^g ifem anfer TOifig’r f f^ri^g f ftfcpr %% *rftm ftfcr gwTT^5 I The dancer comes to the centre of the stage and holds the Pataka hasta pose and she then stretches her hands on both side* like the wings of a big Garuda bird. She stands straight for a while and looks at the ruler with her right eye- She places her toe of the right foot on the heel of the left foot and stretches across in a delightful jingling step, so that the jingle of the bells on her feet can be heard in a sonorous manner. After doing this thrice, she stands in the front and salutes: that is “Pushpanjali”. Push panjali according to the tradition of the Tanjore School is slightly different. Pushpanjali literarally means an offering of flowers with cupped hands. qrf^T: fagrar: 5t^%: f f % : - q-jfor: fr'fssr: wfcT: ffcT S^feT: eft genrtofo aftrfa: i Any offering of flowers with devotion to God or to any venerable person is called Pushpanjali. Its variation may be 102 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVli identified as the “Alarippu” of the Tanjore style. or^f^g is the showering of flowers on the audience. Pushpanjali is of two kinds: (1) Purna Pushpanjali which is an all round presentation with song, music, dance and Jatis. The second one is (2) Laghu Pushpanjali or only the flower offering with mere salutation. The one in the Tanjore style is also known as the Lasya Pushpanjali. Unlike the opening dance in a dance drama performed with Nandi, this is a combination of the Marga and Desi styles and is a blend of the classical and the folk styles of presentations. Different variations of gatis like Lavaka, Taittari etc. are the very life-giving processes of this Laghu Pushpanjali. This came into vogue in Tanjore in the court of Yijaya Raghava Nayaka, as early as 1680. The Purna Pushpanjali it used in the Nandi at the beginning of the stage drama. This has 22 important “Angas” or parts, the first 12 items comprising the Purva Ranga. The invocation has four variations and Nandi also can be presented in seven different styles such as Trigati, Prarochanachari, Mahachari, etc. Nandi before the curtain rises takes place behind the curtain, in which (1) Devata Keertana, invocation of the God in song (2) Kala-pata-vibhajani, division of time. (3) An orchestra of stringed and feet instruments (Tantr. Bandba Vadya Melana) (4) Paani Vibhaga (division for the hand gestures) (5) Ojahkarana, presenting the spirit of the drama (6) Vadya Vritti (instrumental harmonj') (7) Atodya Ranjana- entertainment with music (8) Alapana Kriya (Raga variation) (9) Rangasthali Patra Pravesha-(Introduction of the characters). All these are performed by the Sutradhara in the stage-drama and the Nattuvanar in a dance recital. Alarippu with the Jatis like cit fecfT are popular. “ dfarfT fafrcRT W — cTcrff ” , This is performed with the movements of the head, neck, hands, legs, feet and heels with Bhramana, Kampana and Kuttita movements. They are also presented in Lagadima, Alagadima and Halabhidha styles with fixed or variable limb movements. Some derive the word Halarippu from Halabhidha but this does d o n a t e d b y . e«t.60HUi n sn u u w Its. I-IV] PUSHPANJALI 103 not seem to be proper as Alarjppu has a different connotation. The purpose of Pushpanjali or the flower offering is described in a Sloka I- %TT5TT 5TT3PT ^fcTT^f ?^r«Tf?T =* I ^TT«rt trf^r ii arc^% tT f^T * r ganwfiwrsndta. II In order to remove obstacles, and in order to protect the the people from the ravages of nature, in order to satisfy the Gods and invoke their grace on the audience so that they may enjoy all prosperity, in order to wish the well-being of the hero or the ruling prince, and to give adequate safety to ajl the participants, Pushpanjali is performed as an initiation to all the skills taught by the Teacher and for their fulfilment. In the Pushpanjali dance, the performer stands in the pose of Talapushpa K arana; the priest of the temple brings the flowers and tendrils of Tulasi and places them in her hands. She sings the Choornika in praise of Lord Vishnu : d fsr! 1 In one of such compositions the ragas were enumerated and sometimes even the rich variety of flowers and fruits. One such composition is the Venkatesvara Gadya, in praise of Lord Venkatesvara of Tirupati. After the Choornika the usual Jati of Alarippu is started. farfcSig CPU fafife d f ^ r fctTrftfr f W M I « To the accompaniment of Mridangam repeating these Sabdas, Pushpanjali is offered, salutation given and the dancer bows to the Mridangam and the Guru. After that there is Alapanam performed on the wind instruments like the flute and the Mukha Veena. Then the Addi or Mela Prapti is performed along with Mohanam. Then the Nandi Nritya is shown. If it is a Saiva io4 TUB JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVli God, the Vritta is the Bhujanga P^nyata. If the God is Vishnu, Bhramara Nritya in Brahmatala is performed. This is followed by Vinayaka Stuti or Kavutwam or Kaustubha. The seven variations of Lasya Nrityaare performed in succession. They are known as Sapta Lasya: Suddha, Desi, Perani Prenkhana, Dandalasya, Kundali and Kalasa. There is evidence to show that all these varieties of dances were performed in the Court of Vijayaraghava Nayaka who was a great patron of dancing. During this time the present type of Bharata Natya recital or “Chadir” took a concrete shape. Even the names of the many dancers specialising in these dance-forms are detailed in the manuscripts of Natakas available in the Sarasvati Mahal Library, Tanjore. In the Pushpanjali Nritya the main piece is devoted to the Ishta Devata and after the presiding deity, all the eight Dikpalakas are invoked. They are Indra, Agni, Yama, Nirruti, Varuna, Vayu, Kubera and Ishana. In propitiating these Gods, Ayata, Avahita, Aswakranta, Modita, Vinivritta, Aindra, Chandika- Stanakas are used. These are symbolic forms of ritual poses. Even the flowers appopriate to each God and Goddess are mentioned. For Siva-Parvati, flowers plucked from trees should be used (W). Lakshmi and Mahavishnu, flowers taken from creepers should be used (**n). Sarasvati and Brahma, flowers taken from water like the lilies and the lotuses are indicated. For the Dikpalakas, different types of flowers are indicated. For each one of the devatas : Indra-Mandara, Parijata, Bilwa Patra, etc. Agni-Bandhuka, Champaka, Kadamba flowers Yama-Indeevara, Tapindha, Kurunda Nirruti-Karaveera, Japakusunaa, Silindhra Varuna-Kalhara, Kumuda f Vayu-Mallika, Jati, Jamantti Kubera-Lotus with thousand petals, Golden lotus, Kumuda. Ishana-Naktamal, Dronapushpa, Dutura, Mallika and Maruvakka. PTS. I-IV ] PUSHPANJALI 105 After propitiating all the eight Dikpalakas, the dancer takes a pradakshina in the temple. If it is in a fixed stage or Nritya Mantapa, she performs three rounds, showing the steps of the song-melody without words- This is performed in three speeds with the variation of foot work to suit each movement. Even in the present day recitals of Bharata Natyam, Pushpanjali is an important item which is used by the dancer to make her bow to the audience in the first instance. This dance ritual existed in ancient times in almost all the various temples of the South. Even today, the Pushpanjali is recited in the Tiruttani Temple in the Madras State. There are texts written in praise of Lord Vishnu, Lord Siva and Devi Parvati or Lakshmi, according to the custom of the temple that is chosen. Dr. V5 Raghavan recently composed one such song in Sanskrit in the form of “sabda” in praise of the presiding Devi at the Mylapore Temple- Kalpakambika. Vou will now hear a rendering of this by Kumari Srirangam Gopalaratnam. The tradition of Pushpanjali dance is fast disappearing and it has fallen into bad hands of novices and new entrants whose approach has been elementary and crude. I wish this is revised and presented in the traditional form whenever a dance recital or a dance drama is performed. In recent times, even the beginners or novices deem it as a great achievement if they are able to make their bow in this first item of Alarippu. This is done in a haphazard manner with a mechanical drill of dance exercises in the top speed and a sudden deliberate stampede of delicate feet on the floor without any regard for the symmetral beauty and systematic skill of the foot work. 1 wish more attention is devoted to this aspect of presenting the traditional dance form with a proper beginning and a proper ending in a masterly and skilful manner. The beginning is always the taste of what is going to be offered and should be able to introduce the artist in the proper perspective with a preview of all the potentialities and the promises latent in the artist. 14 THE IMPORTANCE OE 10 k KAKU IN MUSIC By Thakore Jai Dev Singh, Varanasi m V'-' v„f fin4 *51 flWfl The appeal of music lies in aesthetic beauty and emotional expression. If both are missing, music becomes just noise. One significant word for emotional expression is Kaku. It occurs both in dramatic and musical literature. Bharata has a whole chapter on Kaku in NatyaSastra. Sarngadeva also mentions it in connexion with sthayas. The aim of this paper is to show the importance of Kaku in music. Its function in drama is well known. What is the meaning of Kaku ? AmarakoSa says :— 35Tf>: fepri f^Frd w. I The meaning of this definition is that the word Kaku is of feminine gender; it connotes modulation of voice under the influence of sorrow, fear and other emotions. The word Kaku is derived from the root * Kak The root * Kak * connotes flexibi lity of voice and warmth of emotion, “ Wherever there is change or modulation of voice suggestive of some signification other than what is apparent on the surface, we have Kaku. Sarngadeva in his Sangita-ratnakara speaks of Yantra-Kaku, the specific quality or timbre of particular musical instruments, Ksetra-Kaku, the particular quality of the individual human voice, Svara-kaku, indicating diminution or increase of srutis in a particular note, Anya-raga-Kaku, indicating that a raga has taken the chayQ of another raga etc. But more than all this, Kaku is a modulation of voice that expresses a particular emotion. Even among the animals who do not use words, the sound changes under the stress of a particular emotion. Mark the mewing of the cat, when she is hungry, or angry or when she has lost her young one. Each time the intonation of the mewing changes expressing directly the emotion felt. There is a peculiar power in sound to express an emotion directly by a slight inflection, or modulation of the voice. The modulation of voice is known as Kaku. Amara in his KoSa rightly defines it as PTS. I-IV] THE IMPORTANCE OF KAKU IN MUSIC 107 Take such a simple word as ‘ no*. It is just a term of negation and no more. But mark how by intoning it differently it comes to connote negation with different emotion. Even so in music, the modulation of the voice gives expression to different kinds of emotion. First of all we would like to examine what factors contribute emotional expression in music. Bharata, in the 17th Chapter of his NatyaSastra, mentions certain factors in connexion with pathya or dramatic dialogues and recitatives which are expressive of various emotions. He mentions the sadalahkaras— the following six alahkarcls in this context: 1. Ucca 2. Dlpta 3. Mandra 4. NIca 5. Druta 6. Vilambita. Ucca and dlpta refer to high and higher tones and mandra and nica refer to lower and lower tones. He says in the context of pathya that an ucca or high tone is used in drama for a rejoinder and for expressing surprise etc., dlpta or higher tone ii used to express anger, pride etc. Mandra or low tone is used to express doubt, anxiety, helplessness, despondency etc., and nica or lower tone is used to express the condition of illness, fatigue, fear etc. Druta refers to fast tempo, and vilambita to slow tempo. He says, in the context of pathya again, that druta or fast tempo is used to express bashfulness, sexual passion, fear etc. Vilambita or slow tempo expresses Angara, envy, anxiety, surprise etc. These sadalahkaras can be applied, mutatis mutandis, to musical tones also. Of the six alankaras referred to above, four namely ucca and dlpta — high and higher, and mandra and nica - low and lower, refer to intensity of tone, and druta and vilambita fast and slow, refer to tempo. In music, mandra and nlcat low and lower, tone would express reflectiveness, anxiety, surprise, gravity etc. Take, for instance, the following song in Darabarl Kanada raga:— 3T*nr J; 1 % fcsra %2. This means “I am in great perplexity, O Lord, as to how I am to propitiate thee/” Now see how mandra and nica tones give expression to reflectiveness, anxiety, perplexity etc. 108 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [ VOL. XXXVII Ucca and dlpta tones would give expression to high intensity of a particular feeling, painfulness, evocative appeal etc. depending upon the complication of other factors. Take, for instance, the following song in Bhlmapalasf raga:- ^TcTTsft JTJTOtfJT & ^ JUT* % 5R 1 “Why do you tease me in vain, O Manamohana? The women folk of the entire town are talking about it.” The phrase ^T 3?t in ucca or high tone expresses pain fulness, helplessness etc. Now let us consider the effect of tempo. Vilambita or slow tempo expresses anxious reflectiveness, musing, pondering, sorrow, despondency, nirveda cintn. Take the following song in VagiSvarl raga. *TcT f^n ^ snci I “ Alas 1 to what a pass am I reduced. My dear one does not mind about me in the least.” The anxiety and despondency express ed in this song can be brought out only in a slow tempo. If it is sung in a fast tempo, it will totally spoil the sentiment of the song. A song in Vipralambha SrngSra should be sung in slow tempo ; a song in samyoga SrngQra should be sung in medium or fast tempo. Take the following in Jaunpuri raga : ffe r 'ftcTH USnfccW 5TT% I “ The meeting has taken place with my dear one in the morning. The instrument madilara is being played to express the joy of this meeting.” It is only a medium tempo that will bring out the joy of this samyoga Srngara. While slow tempo expresses meditativeness, anxiety, sorrow, despondency, medium or fast tempo expresses joy, hilarity, buoyancy of spirit. Take the following song in Bhairavi raga which is akin to Hanumat-todi raga of Karnatic music. A few boys are enjoying boat-rowing, and they sing : ^ sit ^ i “Move on, my boat, on one side of the river,** PTS.I-IV] THE IMPORTANCE OF KAKU IN MUSIC 109 Sung only in a medium or fast tempo, this will bring out the hilarity that the boys are feeling. If it is sung in a slow tempo, it will totally spoil the sentiment of the song. The examples of intensity of tone and tempo have been given separately for the sake of illustrating the effect of each. In actual practice, the intensity of tone and tempo produce a combined effect. Bharata also mentions Sadangani - six limbs of Kaku in con nexion with pathya which are helpful in giving expression to various emotions. They are the following:— 1. Viccheda 2. Anubandha 3. Arpatja 4. Visarga 5. Dipana, 6. PraSamana. r 4> These can also be applied, mutatis mutandis, to musical expression. Let us take these up one by one. 1. Viccheda - Bharata says “Vicchedo nama viramakrtah”. Viccheda is pause after words or phrases according to sense. Viccheda can be very significant if it is properly applied in music. Sometimes a pause is more expressive than a host of notes. Take the following song: 3T5T “Now, O Lord, such a long time has passed calling out thy name.” Mark the pause after STt eft (or now). This little pause like a comma in a poem expresses the impatience, helplessness, the feeling of uncertainty in a long delay etc. 2. After viccheda, we may take up anubandha which is, so to speak, the contrary of viccheda. Anubandha means continuity, continuous enunciation of separate words if they belong together in sense. In music anubandha would mean continuous enunciation of notes which go naturally together in the framework of a raga. Take a raga like De3a. While sa re ma pa ni sa may be enunciated separately, ni sa re ni or ni s& re ni dha pa cannot be enunciated separately ; a hiatus among these notes which form one melodic phrase would mar the emotional effect of raga, UO THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVII Abhinavagupta very rightly considers viccheda and anubandha together and says, “ “Listen to my appeal, O darling, thou prince of Braja.’* lam singing i.e. ‘listen’. The main rasa is Karunya or pathos. You will notice how with varying Kaku or modulation of voice, different shades of the same emotion are brought out. It will thus be clear that Kaku is of supreme importance in giving expression to emotion in music. It is a pity that most of our musicians have forgotten the use of Kaku. THE CULTURE OF MUSIC IN EGYPT By Swami Prajnanananda, Calcutta. It is said that the civilization of Egypt is the gift of the Nile. Strabo and other historians believed that “Egypt had once been under the waters of the Mediterranean, and that its deserts had been the bottom of the sea.” Such also happened to some of the most ancient civilized countries of the world. Civilization and culture gradually evolved and were developed in different lands in different ages. Or it can be said that the advancement of civili zation brings with it the spread of culture. In the history of Egypt, we find that with the advancement of civilization, different ingredients of culture, education, science, mathematics, astronomy, anatomy, physiology, medicine, surgery, hygiene, together with philosophy, psychology and fine arts like sculpture, painting, architecture and music, were gradually developed among the peoples of Egypt. While discussing about the art of music of Egypt in the book, Our Oriental Heritage (1935) of the Story of Civilization Series, Prof. Will Durant has said: “And when their day's work was done they refreshed themselves with music softly played on lutes, harps, sistrums, flutes and lyres. Temples and palaces had orchestras and choirs, and on the Pharaoh’s staff was a ‘superintendent of singing’ who organised players and musicians for the entertainment of the king. There is no trace of musical notation in Egypt, but this may be merely a lacuna in the remains. Snefrunofr and Re mery-Ptah were the Carusos and De Reszkes for their day, and across the curtains we hear their boasts that they fulfil every wish of the king by their beautiful singing” (p. 192). Their lute was made by stretching a few strings along a narrow sounding-board; and the sistrum was a group of small discs shaken on wires. Similarly fine decorative designs of architecture and fine motif of sculpture evolved in the field of art of Egypt. Now, to discuss about the music and musical system of the people of Egypt it can be said that in the beginning of the eighteenth dynasty, 1500-2000 B.C., Egypt was just recovering from her five hundred years of bondage, and must already have reached a wonderful stale of development. The people of Egypt ill THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVII gradually refined their taste of music, and they began to culture music and musical instruments. It is seen in the mural painting and sculptures in the tomb of the Egyptians that the musical instruments depicted in them were played together, and accompanied the voice. Mr. Macdowell has stated in the Critical and Historical Essays (1912) that Athenaeus, who lived at the end of the second and biginning of the third century A. D., speaks of orchestras of six hundred in Ptolemy Philadelphus’s time (300 B.C.) and says that three hundred of the players were harpers, in which number he probably includes players on other stringed instruments, such as lutes and lyres. It is, therefore, to be inferred that the other three hundred played wind and percussion instruments. This is an additional reason for conjecturing that they used chords in in their music; for six hundred players, not to count the singers, would hardly play entirely in unison or in octaves (pp. 44-45). It is said that music had a twofold influence on man in ancient Egypt: one brought about by a purely physical sensation, and another created or sustained by a power known as heka or hika, which was something like, and yet different from, what we understand by spell. Dr. Farmer has given a graphic description of music and its influence upon the art-loving peoples of Egypt in his History of Arabian Music. While speaking of the religious services in the temples in ancient Egypt, Clement of Alexandria has said : “First comes the singer, hearing one of the symbols of music, for they say that he must learn two of the books of Hermes, the one comprising the hymns of gods, the second the regulation for the king’s life” (vide The New Oxford History of Musict vol. I, 1957, p. 259). Dr. Farmer informs us that when the New Kingdom arose in c. 1570 B.C., the female temple musicians began to make their appearance. Under the old and middle Kingdoms, the court musicians held the high positions, and were considered as ‘near relations’ of the King. But yet the temple music consisted of much more than chanting, jingling, rattling and drumming. Now, if we read the pages of the history of the world, we shall find that temple music was in existence almost among all the civilized nations of the world. In India, temple music was considered as a very sacred and aristrocratic one. Some scholasr PTS. lV-l) THE CULTURE OF MUSIC IN EGYPT ll3 consider classical dhrupad-gana as the temple music. But that is not correct, as it was mainly cultured by the efficient artists of the 15th-17th century in the Royal Darbars, and still now it is recognised as the classical top-class music. In India, the temple music used to be cultured and still is in practice in the sacred temples of Maharastra, Brindavan, Mathura, and other places of India. In South India, almost in all the temples, temple music cum bhajans and kirtans are in practice. In ancient Rome, Chaldia, Mesopotamia, Greece and Egypt, temple music was considered as the sacred one. Specially in Egypt, music in different temples continued to be of the utmost importance even throughout the Greek and Roman periods, and indeed in every representation of religious life and practice, music and musical instruments used to play an important part. Plato*£ service for the promotion of music among the Greeks was immense. James Baikie has said: “Plato, on the other hand, ascribes a very high antiquity and a very noble character to the sacred music of the Egyptians, whose rules concerning it were, according to him, most rigid, only certain kinds being allowed by Government” (cf. The Encyclopaedia o f Religion and Ethics, vol. IX, 1917, p. 23). This fact has been confirmed by the historian Strabo. Strabo has said that “the children of the Egyptians were taught letters, the songs appointed by law, and certain kinds of music, established by Government, to the exclusion of every other.” Further he is of opinion that vocal and instrumental music was usually admitted in the worship of the gods, specially at the commencement of the services, except in the temple of Osiris, where neither singers and players on the flute or the lyre were allowed to perform (cf. The Encyclopaedia of Religion and Ethics, vol. IX, p. 33). The Egyptians used to introduce music and musical instruments in unison, as has been said before, and from this it is understood that the Egyptian musicians and players of musical instruments were accustomed to the science of harmony. They had also attained to considerable skill in the building up of the harmonic effects. Mr- James Baikie has said in this connection that the opposite view has been frequently expressed, but the testimony of the monuments seems conclusive on the point. Prof. Carl Engel has given some representations of bas- reliefs which prove the performances of the Egyptian orchestras 114 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [vOLy XXXVli always in unison. The instrumental accompaniment to the singing of men and women, consisting of a lyre, the prototypes of which are preserved in the Berlin and Leyden Museums, was a harp and a double pipe. The representation of a flute-concert ‘‘has been depicted in one of the tombs in the Pyramids of Gizeh, and dates according to Leosius, fron the Fifth Dynasty. It must, therefore, be earlier than 2000 B.C.”. Prof. Engel has further said that there are in the history of music few facts so remarkable and suggestive as the existence of an instrument of the guitar kind 4000 years ago, evidencing a stage of musical progress in Egypt which some nations of the present time have not yet attained (vide The Music o f the Most Ancient Nations, 1864, p. 243). Regarding the art of dancing among the Egyptians, Prof. Engel has thrown some light. He has said that they evidently were very fond of the art of dancing. The dances of the Egyptians “ iwere not always restricted to slow and graceful attitudes, which, as we have seen, generally characterise the dances of Eastern nations ;.... From the representations it is evident that various dances were in use, differing considerably in character, according to the class of persons by whom they are performed and the occasions on which they were admitted. Sometimes both sexes joined in the dance; sometimes, specially in spirited and vehement dances, only men engaged, bouncing about in wonderful order, without the assistance of music, or perhaps to the rhythmical sounds produced by the clapping of hands and snapping the fingers. Again to some occasions, only women, highly clad, danced to the sounds of soft instruments before a party of admiring spectators” (vide The Music of the Most Ancient Nations, p. 256). These restrictions of dance and music are found also in ancient India, as Bharata of the Nntyainstra fame has mentioned them in the NS. for men and women, regarding their dance and music. Prof. Engel has given further informations about dance and musio of the Egyptian people, while they used to engage them in some festivals. He has mentioned the name of the historian Herodotus (born in 484 B. C.) who has related that among the several festivals, celebrated by the Egyptians during the year in different towns in honour of their gods, one of the most impor tant festivals was held in the city of Bubastis for the worship of Diana. On that occasion “men and women embark togetherTn PTS. I-IV] THE CULTURE OF MUSIC IN EGYPT 115 great numbers. During the voyage, some of the women beat upon small drums, while some of the men play on the flute. The rest of the people, of both sexes, sing, clapping their hands together at the same time ” (cf. The Music o f the Most Ancient Nationst 1864, p. 220). The origin of music in Egypt is generally ascribed to divinity —“ sometimes to the goddess Isis, but more particularly to a god Thoth or Tehuti Similar idea is found in other ancient civilized countries like Rome, Mesopotamia, Greece, India, etc. In India, the people generally believe that music originated from God Mahadeva and Goddess Parvati, or from Vi§nu and Laksml. But this conception is purely a mythico-philosophical one, and it evolved in India in the Pauranic age. The concept of origin of music from the gods or goddess evolved in Egypt, when ideas of religion and philosophy were ripe among the Egyptian nation. However, it is evident from the stone monuments and sculptures that the singers of ancient Egypt used to keep rhythm and tempo of songs by clapping of hands as well as rhythm and tempo of dances by the beating of the feet* In fact, says Prof. Baikie, this habit or system is found among the singers and dancers of all the ancient countries of the world, and “ this simple method of marking time is so inseparable in the Egyptian mind from the idea of music that the word ' to sing’ is written in all periods by the hieroglyphic, sign of hand.” The blind performers were found sometimes mentioned in the monuments and sculptures, and from a representation of Telel Amarna it is found that a blind harper was keeping rhythm with the clapping of his hands. All kinds of music in Egypt were known by hy which meant primarily ‘joy ’ or ‘ gladness *. A musician was known by a Semitic word sem-a (Hebrew sama, Arabic sama=music), as by other names. The male musician was a familiar figure in the art-remains from the 4th dynasty (twenty-sixth century B.C.) Besides, there were the female musicians, “ who swarmed into social life soon after the rise of the 18th dynasty (c. 1570 B.C.). Dr. Farmer says: “ A most intimate scene is revealed during the 18th dynasty in a bird’s eye view of a palatial academy of music with harps, kithara, and pandoras, crowding out the furniture of the apartments. Here we espy these ‘ singing girls’, being instructed in the vocal and instrumental arts” (cf. The New Oxford History of Music, vol. I, p. 268). 116 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVII Regarding the harp and its strings of different lengths, as used in Egypt, Dr. Farmer has said that the gradual development of the sound chest of the harp showed early recognition of the prin ciple that loudness equated with amplitude. The adoption of a taut skin, later parchment, as the belly of the sound-chest of the harp and pandour, revealed the taste of the Egyptians for what we should term a banjo-timbre. The strings of different lengths on their harps were the natural outcome of the adoption in primitive times of the bow-harp, which we know existed in Mesopotamia and Egypt in the third millennium B.C. Obviously these peoples must have recognised that the length of a string, other things being equal, determined the pitch of the sound, a principle which Pythogoras is said to have introduced into Greece. Yet Helmholtz once remarked that * if, as is possible, his (Pythagoras’) know ledge was partly derived from Egyptian priests’ it is impossible to conjecture in what remote antiquity this law was first known.* We have seen, from the above dates, that this principle was recognised by both Mesopotamia and Egypt at least two millennia before the dawn of Greek civilization, and it was in these lands that Pythagoras had studied both mathematics and musical theory (cf. The New Oxford History of Music, vol. I, p. 275). Therefore it is clear that the Egyptians had a fair knowledge of theory and science of music, having mathematical and astrono mical accuracy, before Pythagoras discovered and preached them in the land of Greece. In the history of ancient music, some of the greatest names of the musicologists and musicians of Alexan dria and Egypt are worth mentioning in this connection. Amon gst them the names of Ctesibius of Alexandria (246-221 B. C.), Claudias Ptolomy of Canopus (127-151 A. D.), Hero of Alezandria (150 A. D.) and A,themaens Naucratis (180-230 A.D.) can be mentioned. Various kinds of musical instruments were in practice in the land of Egypt, and they were mainly divided into three categories, stringed instruments, wind instruments and instruments of per cussion. In India, the musical instruments have been divided into four classes, and in other ancient countries, they have been divided either into three or four classes. In Egypt, the harp, lute, guitar, lyre, etc. belonged to the class of stringed instruments. The trumpet, flute, etc. were the wind-instruments. In the time of cjd PTS. I-IV] THB CULTURE OF MUSIC IN EGYPT 117 Empire, there were two sorts in use, one of extraordinary length- four or five feet, and anther of seven to fifteen inches. In the time of New Empire, double pipe of * V’ shape was in practice. A very simple straight trumpet of about eigteen inches in length was used in the battle of Ramessu II. The flutes of wood and ivory, and the horns of bone were in use. The instruments of percussion were known as drums of different sizes. The cymbal, castanch, tambourani, sistrum etc. were also in practice. The sistrum was used in the most solemn religious services, and ** was frequently carried by women of the most exalted rank. ” angpv olrii e-moo bsif e««o has M tU Wit * tPn ~RflD»£ I'O .lOiinsc: sin uagfiit t o t Ik 3) km b s y 816*1 vim f Bi d -m i a s n m till-) rnvwimmoM M mdi mw& mmjqM *1 -md mi ■aim. ommrb&d we* ud,i (M.A ad syjb tetmztsi To isMma mm i%»©dfi8 feft* afil yd befiot&t'&m odt !•© tiogaon s^ii li&ffs 9vi$ ot tom mModo isd od ,ote fignejtM ham njmwMI- ira»d bad aoafq lisrit bna ougosv T© t o o ©ao§ bad yadjMf .lanadgdaj navig icd sd m tafcnifiidto aagisj? witsqoq m iuM sdJ fd jzeolm emgsJK koCl sdi lo gsamdz^jkl. td i lid bsbsaotn* ©rfw .jfctSL A oitum no iiow a baeoqnioo oei# bud ,fii£V«»faolJ sniJX i-oriJnt t£w2fo*& ®dj' ni bediiiduq lew Jf .rmymabtfdt) siizm Z ©d3 baffao bslkmsos aglow od) to mm li Jf «oga wot & m m Z ImtnoiiO filrgnfig show UKMoat eiri goitfow ni ,evsbrgrneJ2 yd • ?*' fig-all ummO .t/£0aydbjBM ! m t f m w f r n t »d-s*wv # I5W ! WMRjn£1* frimfK F^T:? » rfW $ dp p WHY AND HOW THE SUDDHA SCALE OF THE NORTHERN SYSTEM OF OUR MUSIC DIFFERS FROM m l THAT OF THE SOUTH *iocf ©tft *»IBR tttVimi wl* By Prof. G.HT SVTitt H. Ranade,****** .V j Poona-> JET, iii.it, tlUhTUVQwm There is ample evidence in old Sanskrit works on music to show that most of the ancient Ragas had become defunct long before the 13th century A.D. and new ones had come into vogue and had become equally popular. Sarngadeva names them as • (Adhuna)-Prasiddha ’ meaning Ragas which were famous in his time (1175-1247 A.D.) The Sangitopanishat-sara of Sudha- kalasa (1323-1349 A. D.) also remarks in the same manner. Parsvadeva, (early 14th century) mentions the names of 101 Ragas current in his time but chooses to give the Lakshanas only of the well-known Ragas among them. It appears from the Manasollasa of King Someswara (1131 A.D.) that these new Ragas had come into vogue even in his day, and although as a matter of respect for the older traditions, he has enumerated the names of the Ragas mentioned by sages like Bharata and Matanga etc, he has chosen not to give their Lahshanas, as they had gone out of vogue and their place had been taken by the Desi or popular Ragas of his time, so he has given the Lakshanas of the Desi Ragas alone. King Jagadekamalla, (1138-1150 A. D.), who succeeded his father King Somesvara, had also composed a work on music called the Sangita Chudamani. It was published in the Gaekwar Oriental Series a few years ago. It is one of the works consulted by Sarngadeva, in writing his famous work Sangita Ratnakara. In that work he (Jagadekamalla) refers to the Madhyama Grama Raga as : iT^rfTRro^TfHcTT I ^TTcTT II m S f^ c r II t*TS. I-IV ] SUDDHA SCALE OF NORTH A N D SOUTH 119 Parsvadeva quotes these verses word for word in his Sangita Samaya Sara but as usual does not mention his source. Now from these verses, it appears that the instrumentalists of the time, Veena as well as Flute players, used to tune their instruments first to the scale of the Madhyamadi Grama-Raga, and then to test the accuracy of their tuning used to play some little piece in the Raga Madhyamadi, and later on changed over to the Raga of their choice, or to one proposed by their listeners or patrons. sM h ^From the facts given above I am led to conclude that the Adhuna Prasiddha Ragas of Sarngadeva had come into vogue even from the days of King Someswara and that the standard scale of reference of this period was the Madhyama-Grama-Raga scale and not the Shadja-Grama one. In ancient works we do not come across a term like ‘Suddha scale.’ There were only two basic scales instead, the Sa-Grama scale or the Ma-Grama scale. The derived scales were called Murchhanas belonging to the respective Gramas, but were not considered as independent scales or Melas as we do at present. t „I; X • u swdnold oxii nit ofm r Now our music is essentially vocal, and instruments only imitate the voice, which however can negotiate notes only from the middle octave easily and with more or less effort some further notes below or above the middle octave. This basic or funadamental note of the middle register is thus of a fixed frequency, slightly variable from person to person. The basic note therefore always serves as the fundamental or reference note for all vocal music, and is commonly known as Sa or the Shadja. The Shadja Grama and tbe Madhyama Grama basic notes between them serve as the key notes for scales for both the male and female voices respectively. w I > £ ’ > J 332 3d I J 38 3W $.0 O W 3 XI 8 ul &£ These basic notes of vocal music are of fixed pitch, but it is not so with instrumental music. For each new Murchhana the basic note goes one step higher or lower, and thus its pitch Changes and yet eaGh such note is called Sa or Shadja, clearly a misnomer. Thus each Murcchana scale ushered into our popular language a new Shadja, every time changing its pitch, and it resulted in making new people believe that they were quite independent Sa for them, but the assignment of the term Shadja 120 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVII to the first note of the Murcchana brought into vogue the habit of comparing each new scale with the grama or parent modes themselves. Thus the parent modes came to be called Suddha scales to distinguish them from the Murcchana or Vikrita scales, according to the changed practice. In like manner the first note of the Madhyama Grama viz. Ma eame to be renamed as Shadja for that scale. So all such faulty terminologies gave rise to the belief that there was but one Grama functioning in our music, and that as such, there could and must be one Suddha scale, the parent scale, of the Shadja Grama. Once you come to forget the Ma-grama scale and wronghy call the Shadja-grama scale as the Suddha scale you even, tually deny the possibility of another Grama-scale to exist in its own right in our music system, and with an equally rightful claim to call its (Grama or) basic scale as the Suddha scale. Thus just as there are two Gramas, there have been and ought to have been two basic or Suddha scales. It is this second basic scale viz. the Ma-Grama scale which acts the role of the Suddha scale for the Northern branch of our music system. The Sangitopanishat Sara of Sudha-kalasha specifically mentions this as scale of reference (verse 70, Sangitopanishatsara, G- O. Series, p. 62) with Sruti-intervals as given by the verse:— s° 'O f§r3rfara;:3i%«f *ktt: ii *<> n 'a. N3 s» Now Ma is the first note functioning for the Ma-Grama, and writing the scale with the Sruti intervals as specified in the verse above we get the following scale. 4 Ma 3 Pa 4 Dha 2 Ni 4 Sa 3 3 Re 2 Ga 4 MS. Naming Ma as the new Shadja, we get the scale : 4 Sa 3 Ri 4 Ga -2 Ma 4 Pa 3 Dha 2 Ni 4 Sa. This is but our modern Bilaval scale, and its Nishad is Komal or fiat, which is a distinctive feature of all and any variety of Bilaval of the Northern system. Pt. Bhatkhande’s Bilaval scale insists on the use of both Nishads, and his Ri is of 4 Srutis. But according to modern theories of consonances and dissonances, a difference of 3 or 5 vibrations on the lower or higher side of the mean PTS. I-IV] SUDDHA SCALE OF NORTH AND SOUTH freque&cy, makes no difference in practical music. So no room is left in practical music for arguing over the point in a pedagogic manner. So the riddle, why and how the North possesses another Suddha scale of its own, at once different but equally legitimate, gets automatically solved and the veil of mystery over it is lifted in quite a cogent manner. ii n — G. O. Series p. 62. *t% t: *htt gfasnftfen: II II forfe W n w &&% I * ^ stat n \\\ u — JTHHtefa. G. O. Series THE NECESSITY OF PROPER CONNOTATION OF' THE MEANING OF TECHNICAL TERMS OF OUR MUSIC By Prof. G. H. Ranade, Poona. In my article on the Paradox of the Srutis published in the Madras Music Academy’s Journal a few years back, I had based my argument about the variations a note with Gamaka undergoes on the results of modern acoustic research conducted in the U. S. A. by such scientists as Dr. Fletcher, S. S. Stevens and others, and had shown how completely the definition of Gamaka as given by Parsvadeva of the early 13th century A. D. agrees with their findings. Parsvadeva defines Gamaka as: sun \ The other well-known but earlier definition as given by Sarnga deva in his Sangita Ratnakara defines Gamaka as: But I had my own doubts and difficulties about this definition as to the true connotation of the word Kampa (srpt:) which confronts one at the very outset. Kampa, as understood in common parlance, means a shake or shudder, but in no way mean* a regular vibratory movement, as in musical notes. So this meaning of the word Kampa does not hold good in effecting agreement between the two difinition*. We have therefore to seek for it through old works on music and Vedic intonation in particular. The word Kampa occurs in the context of the finger technique employed in flute-playing. Thus Parsvadeva mentions this technique in the following verse: * 0r ?) gwr * i (Verse 127, 4th Adhikarana.) at J?T&. I-IVj PROPER CONNOTATION OF TECHNICAL TERMS ' 123 I . , v > < v- '-wi - I . . a .. • .. Thus when the finger is completely lifted away from a hole, the flute gives a full open note, and if it is placed over the hole so as to cover half of it aid to leave the other half open, it gives the minor form of the note (with the hole fully open). There is a third way of the finger-movement and it consists in moving it up and down without lifting it away fully or closing or even touching the hole at all. A movement of this type produces a note intermediate between the full note and its lower or minor form. It is named as Kampamana (TOrpr). The meaning of the word Kampa as used by Sarngadeva in his definition of Gamaka, if taken in this sense agrees with the interpretation of Gamaka as given by Parsvadeva. Sarngadeva gives the definition of the Sthaya Vahani (TOft) in the following-verse. V* TOT ^3 TO* % II W II verse 152, page 182, Adyar Edn. meaning that in this Sthaya, notes undergoing a Gamaka move up and down like the waves of flowing water. Simhabhupala comments on this verse by saying that notes with Gamaka bend down like persons bending down when carrying heavy loads (over their heads.) “ zpTT *rPCT3>TTO: ^ T O f * ^ : II Here Kampa means bending or deviation from the true position. The term Kampa, like the terms Udatta, Anudatta and Svarita etc., has been borrowed in music originally from Vedic recitation. Udatta means high, Anudatta means low and Svarita means the natural mean-tone level. In music Udatta has been linked up with Gandhara and Nishada and Anudatta with Rishabha and Dhaivata, while Shadja, Madhyama and Panchama are said to be Svarita. Although the terms happen to be the same in them both, their connotation is widely different and belongs to differing epochs of time. The musical connotation is much later and not necessarily in agreement with that in the Vedic recitation of the early days. 124 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVH Kampa in Vedic recitation occurs in connection with the Prachaya, and means elongating the vowel-sound of the syllable over three Matras (or in rare cases, more) as in the case of a Pluta, with this difference that whereas in Pluta the tone-level of the vowel-sound is held firmly at the same level, in Kampa the vowel-sound deviates from its pitch over the middle of it. In other words, this deviation is nothing but a bend or swerve from the true pitch-level. If this meaning of the term Kampa is accepted, Sarnga- deva’s definition of Gamaka at once agrees with that as given by Parsvadeva. treflf adam aO•'* ditw haol WS0 hqm£jS 9TM0 xmM sr*?t t0 7 .amllzo ss m t SflMKg'liHS w m m sfewWO? d md t otb Biheyg bn a ulhibag wol tftaofs t , „igid e m sm nUBhW bl'iMll Q93) V SSd VtfMlM M saot-aoom IbwIeu odt Lrta sddfidaLH dJiw jt-tobftaJk btu K bm Bi&dhmD dim qu 1 im & Mi.. dmiBri ha a am &< ,&[b o M sliriw m ssrnfcz odl ad ®J eseqsd am* l&uoriilA Kirtav^ sd e l el btif; ■J/.m^Hib vlabiw Jonnoo ifodi «rfjod m odi ifouM’ si aoufi*onaoy laokwcu mil to sdoocje gn’ialitb zkijiV oril at tMj dtm Msmst Vih 5 323 3$ I IOC ImZ T»tSl iii ih s o ©iii lo aok fills©* THE AUTHENTICITY OF SOME OF THE SVATI TIRUNAL KRITIS . . ^ \ & 5 By S. Venkitasubramonia Iyer, Trbandrum The remarkable revival of interest in the music of Svati Tirunal Maharaja during the past two and a half decades consequent on the establishment of a Music Academy in his name in Trivandrum and the publication of his songs in proper notation by eminent masters of music, has served a good deal towards the popularisation of these valuable compositions. But a close exami- - nation raises doubts as to whether all the pieces that pass in the name of Svati Tirunal are really his. There are three criteria for' deciding a composition to be Svati Tirunal’s: (1) The presence of his mudra Padma (or its synonym)-nabha, (2) currency in the Padmanabhaswami temple or the Navaratrimandapa, and (3) internal evidence relating to language, style and theme. The first is a well-known thing but it should be noted that there are a few of his songs without this mudra and some of them are among the most popular like ‘Pahi Parvatanandini’ in Arabhi and ‘Pahi Tarakshupttralaya’ in Anandabhairavi. These were perhaps composed before the idea of having a distinct signature for his compositions dawned upon him. The second is an absolute criterion since only the songs of the Maharaja are used by the singers as well as the pipers both during the daily routine and during the festivals in the Padmana bhaswami temple and in the Navaratrimandapa. But his compositions are not these alone since the Padas, Tillanas etc. are mostly excluded from this group. The third is mainly a corroborative criterion. It is now well known that the compositions of the Maharaja were influenced to a large extent, particularly in the formative period of his musical activity, by the kirtanas of Margadarsi Sesha Ayyangar, whose compositions are unfortunately conspicuous by their absence in our concerts in spite of his being a margadarsi for modern Karnatic music. These kirtanas served as models to him and taking them as lakshya he has also deduced the principles relating to alliteration and rhyme which are so essential to the 126 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVli sahitya for its musical quality, and put them down in a small tract named Muhanaprasantyaprasa-vyavastha. His own composi tions bristle with these embellishments. It is no wonder, therefore that some of the compositions of the Maharaja resemble those of Sesha Ayyangar in structure and even in content and that in a collection of his songs a few of the latter also find a place by mistake. The Kirtana * Jaya sugunalaya ’ in Balahari-Adi found in C. Chidambara Vadhyar’s Swati Tirunal Kritikal is a clear instance. This is cited with extracts as Sesha Ayyangar’s by Swati Tirunal himself in the work mentioned above. Another is the heavy piece * Yojaya padanalinena* in Kalyani-Adi found in the same publication. This is a summary of the Ramayana and contains seven long charanas in addition to the Pallavi and Anupallavi. Not only is the mudra ‘ Padmanabha ’ not present, but the mudra * Kosala * of Sesha Ayyangar does occur in it. Unlike the genuine Ramayana-sara-kirtana of Svati Tirunal *Bhavayami Raghuramam‘ in which in each of the six charanas the events of one kanda of the original are briefly given, the narrative is not suitably divided and the song as a whole suffers by contrast. A characteristic device of his called ‘antaruktV in the Muhana- prasadi vyavastha, by which one or more syllables in a word are separated and prolonged in order that the rest may rhyme with the corresponding syllables in the previous avarta, is seen even in the P a l l a a t o T ■ #wr ■ % fort i Irayimman Tampi was a renowned poet and composer in the court of Svati Tirunal. Some of his compositions are modelled on the Maharaja’s and in several of them the word ‘Padmanabha’ occurs. This has led to some confusion. Songs like ‘Bhogindra- sayinam* which are popularly known as Svati Tirunal’s are given as Tampi’s in some manuscripts. Similarly some songs of Tamp^ now pass for Svati Tirunal’s. The Kirtana *Seve syananduresvara' in Kalyani-Adi given in Semmangudi Srinivasa Iyer’s * Svati Tirunal Kriti MalaV is an example. On examination it can be seen that this song has the same dhatu as the Navaratri-kirtana *Pahi mam SrivagisvarV in the same Raga and Tala. I understand on reliable authority that in a collection of the songs of trayimman Tampi published from Trivandrum about a hundred years ago this kriti is seen, though I could not see that publication PTS. t-IV ] AUTHENTICITY OF SOME !$VATI TIRUNAL KRITlS 12 7 myself. The story is also told that once the Navaratri festival coincided with the Aipasi Utsavam in the Padmanabhaswami Temple, as it sometimes happens, and on the second day of the Navaratri when Tampi was accompanying the Maharaja from the Mandapa to the temple, his mind was reverberating with the melody of that day’s Navaratrikirtana ‘Pahi mam Srivagisvari* and as soon as he reached the temple he sang this (Seve syanandu- resvara’ in the same varnamettu to the delightful surprise of bis patron. We do not know to what extent we can give credence to such plausible anecdotes, but the fact cannot be gainsaid that the court musicians of Svati Tirunal sometimes did compose alternative sahityas to some of the varnamettus devised by him as can be seen from the alternative sahityas of the Tanjore Quartette (Vadivelu and his brothers) for some of his Varnas and Svarajatis. The manipravala padas *Saradavidhuvadanan* in Sankara- bharana - Adi and (Manasi madanatapam* in Surati*Adi seen in Chidambara Vadhyar’s publication also appear to be composi tions of Irayimman Tampi, judged from their theme. In the first a lady narrates to her friend the details of the happy time she had in the night with her lover in rather too frank and outspoken a manner; in the second a lover narrates to his sweetheart his sufferings due to love and implores her to give him her company. Both these are devoid of the Padmanabha-mudra and there is no indication at all that the lover is Lord Padmanabha. The dignity which characterises the Maharaja’s compositions in general including the Padas, is lacking in these. It is difficult to believe that Svati Tirunal who was leading a very pious life of prayer and detachment and has repeatedly declared that music which is not devoted to the praise of God is absolutely of no avail: rftfr 5§re stfw w to T fift srtfl ottot i and that only devotional music should be listened toi dft ^ iqijjt aft m h \ would have devoted his muse to the exhibition of profane passion. On the contrary, there are several such songs which 128 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVII are indisputably of Tampi’s authorship like his very popular ‘Prananathan enikku nalkiya’ in Kamboji-Adi. The large number of musicians who came from Tanjore and settled at the court of Svati Tirunal, among whom were disciples of Tyagaraja and Dikshitar, must have brought with them a stock of songs current in their place and these must have gained popularity in Trivandrum also, and it is likely that some of these were later on mistaken to be the Maharaja’s. The Kirtanas ‘Paramabhadrakara’ in Dvijavanti-Adi and ‘Kripakataksham kartum* in Mohanam-Jhampa are instances. Both these are addressed to Pancbanadesvara, obviously the deity at Tiruvayyar, and are bereft of the Padmanabhamudra; both are long compositions and their form, theme and style indicate a common authorship for them but that this author is different from Svati Tirunal. It is also not likely that the Maharaja composed a song in praise of a deity at such a far off place with which he had no direct contact. The varna ‘Ha hanta vanchitaham' in Dhanyasi-Adi is another example. This is addressed to Brihadisvara, the deity at Tanjore, and it too has no Padmanabha-mudra. It has an alternative Telugu sahitya ‘Sami napai* by the Tanjore Quartette just as there are such sahityas for many of Svati Tiruaal’s varnas, but that does not necessarily mean that this varna is his. May be that the original is by one in the Quartette and the duplicate byr another or some one else in the court. The varna ‘Pavana suguna’ in Anandabhairavi-Adi occurring in Muthayya Bhagavatar’s Maharaja Svati Tirunal kritikal also deserves attention. It has got a sahitya in which the Pallavi ends in the middle of a compound word which continues into the Anupallavi. p. guft- A-P. It is difficult to believe that Svati Tirunal, with his perfect mastery over music and Sanskrit, would hayo composed such a technically defective sahitya for his varna. It may also be noted that this sahitya is the same as that for the second charana of his well known Bihag Kirtana ‘Smarajdnaka subhacarita* the portion upto nayana constituting the former half and the rest the latter. Whether the dffiatu in this varna is his or not we cannot say for certain. PTS, I-IV] AUTHENTICITY OF SOME SVATI TIRUNAL KRITIS 129 It may be pointed out that none of the compositions about which doubt has been expressed above as to the authorship of Svati Tirupal, is sung in the Padmanabhasvami temple. Also they are not found in Ranganatha Iyer’s Balamritam which is the first edition of Svati Tirunal’s songs in notation as sung by the Palace musicians. But certain compositions about which such a doubt can be raised are being sung there even today and on that account alone they have to be considered as his genuine composi tions. Two such instances are the famous Atatala varnas *Chalamela’ in Sankarabharana and *Sarasijanabha,' in Kamboji which are given as Vadivelu's or Ponnayya’s in publications containing the compositions of the Tanjore Quartette like the *Peruvudatyan PerisaV probably in view of the fact that these brothers have supplied duplicate sahityas to these Varnas. Attention may also be drawn to the fact that some of the songs as they are sung now are in ragas different from those which we find in manuscripts, and to that extent their musical content is altered. The raga of the kirtana, ‘Bhogindra-sayinam purukusala - dayinam' is found in a manuscript as Dhanyasi while it is now being sung in Kuntalavarali. There are people who claim to have heard it sung in Dhanyasi itself and in a pattern different from what .we find for it now. Incidentally it may be stated that this is modelled on Sesha Ayyangar’s * Srirangasayinam sakalasubhadayinatri. The piece ‘Smarati nu mam sadayam’ from the Kuchelopakhyana is being sung at least for the past fifty years in Bihag-Adi although in the manuscripts and printed editions it is indicated as to be rendered in Madhyamavati-Bilandi. Ranganatha Iyer who has published the Kuchelopakhyana in notation with an exposition in Malayalam, gives an explanation that the Kuchelopakhyana was to be performed either in two days or in a single day and in the former case the first day’s portion ended with this song and so it was to be rendered in Madhyamavati which is a fitting melody for concluding, and in the latter case it was to be in Bihag. This may be true but it is not clear why such a short story should take two days for its performance. Moreover this song is the third in the work and certainly not in the middle. It is more likely that the change was made by some musician who found the song more beautiful when rendered in a raga different from its original. We are 17 130 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVli aware how the ragas of many of the songs in Arunachala Kavi’s Ramanataka have changed in recent times. We see now a prominent musician rendering in Yadukulakamboji the well known Sriraga kirtana of Irayimtnan Tampi *Karuna cheyvan entu* on tKd deity of Guruvayoor. The Ramayana-kirtana ‘Bhavayani Raghuramatri is in Saveri- Adi. But now it is rendered as a Ragamalika in Rupaka taia beginning with Saveri. The credit of giving it the form of a ragamalika of exquisite beauty and bringing it to great prominence from its position of comprative obscurity, goes to Vidvan Semmangudi Srinivasa Iyer. Just as Tiruvottiyur Tyagayyar shaped Tirthanarayana Svami’s ‘Jaya Jaya Gokulapala’ into a ragamalika, Semmangudi has shaped Svati Tirunal’s ‘Bhavayami’ and endowed it with superior elegance and charm. psiient« fe&tpsatiWf Mr Itffobsftnaax a i ofqoeq -m jftsrfT .ifejcvaiafj n a,I bus "HmKH M gtffed at . :til t e w f o * M>'B $01 ni Iff-} rfjtw Jtf A0«3$ddi odl bagfeitdJf^ a il $«§s$$ ■m Ij-zv &h a?, ' % .-T/jq m noftiac-q&a W av-rh ;wV*3 &I t$tt& dm sd ©I » a t ■jsoiliqe tfv&b $■%$££gl& iCit] C«. Hal* »I i. .£ f . . sa >4 v i a#w & ©« has sno3 aid) diiwr hsbtto io l n zi doidw me ' tail a: eb?1 , o?-KI ni :______• __ PERCEPTION THEORIES OF SANKARA AND RAMANUJA IN RELATION TO MATHEMATICAL AND MUSICAL CONCEPTS By G. N. Ramabhadran, New Delhi The burden of the song in this article is that the ‘ sruti * and the ‘svara’ have measureable attributes and operational meanings can be assigned to them, by which a system-ideal can be constructed for the interrelationship of ragas and scales. The validity for such a procedure lies in direct experience of the psychophysics of such system-ideals of sounds. If such experiences are not common, the charge should be laid at the <• doors of the masters of music themselves who have been looking upon every one of their sugary ragas as veritable Trisankus, with no connections anywhere else in the realm of music, and never learnt or taught their pupils to look for the interrelationship between sounds that constitutes our musical system. # # # # # Sankara in the 8th century propounded the metaphysical system of monism or advaita. Ramanuja, coming three centuries later, was unable to accept unqualified monism and so constructed the metaphysical system designated Visistadvaita, or special theory of monism. -nn-v-n ** vino But, what have these great religious seers to do with musicology? It is not such an inappropriate question as it sounds. For, whatever system of philosophy they elucidated, the starting point was a consideration of the nature of knowledge and detailing what in their view was the perceptual processes of the human mind and their applicability to the realization of the Brahman* These considerations of perceptual processes naturally also concern vision and sound; our Acharyas were great drashtarah (seers) as well as srotris (hearers); and nadopasana is one great way of reaching the Brahman. Actually, Sankara rebelled against the confusion that a degenerate non-theistic Buddhism fostered. But his necessity to speak of Maya or Illusion- made people accuse him of being 132 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [ VOL. XXXVII a Buddhist in disguise, probably people then could not grasp the explanation he gave on how limitations of human perception made true states unknowable; but in the older terminology his Maya looked very much like the non-material phenomenological explanation that Buddhism gave to life. But with modern terminology and modern examples it is far easier for us to understand him. Now, human perceptual faculties may be deficient in speed and simultaneity, range, selectivity, fidelity etc. Let us take the co'mmonly quoted example concerning speed and lack of simultaneity of observation in atomic physics, as given in the popular “ The strange story of the quantum” by Hoffmann. In fig, (1) letiABCDEbe cork floats on a tank whose in-and out-let pumps are worked at varying speeds, so that the water level go^f up and down. If the tank is huge enough that the observer cannot see all the floats simultaneously but must go from one to another in order to see their positions, then the up and down motion of the floats appears to him as a progressive wave motion. So Sankara would say that as our senses are limited by attributes such as range, speed, etc. etc., the reality of the up and down movement is never realized but only the illusion of the progressive movement. Since the Brahman is the embodiment of perfection unlimited by attributes, only an “ illusion ** of the Brahman can be perceived by the senses. Therefore, to Sankara, Brahman is only “ not-this” and ‘‘not-that ”. The musical analogy is that the flow of melody-raga could be understood but the up and down movements in the sruti of the notes cannot be known. There is the added difficulty whereas the floats ABC move equally up or down, the sruti fluctuations in the notes may not be equal; in fact, we cannot say whether they are equal or not. The attitude that sruti changes are not measureable would appear valid for the following reasons ( (1) Sound is a constantly moving entity but it require* time to recognize the pitch. The problem is analogous to that in mechanics that the velocity and location of any moving objec$ cannot be known simultaneously. One can ask if the questions are mutually restrictive by the rule, that if Df is the difference in pitch and Dt the time allowed for measurement, then DfxDt ^ l; and (2) each sound stimulus such as a musical note lasts only for a t»TS. I-IV] PERCEPTION THEORIES ANt) MUSICAL CONCEPTS 43^ limited time, and the band width or spectrum of frequencies which the ear can hear is finite, and these two are mutually restrictive. (A more detailed information theory study of these point* is omitted from this version of this article). This situation is only a specific case of the general principle that all measurements are restricted by three entities: (a) the absolute “real” value of tbe thing measured; (b) the closeness with which the measuring instruments can actually approach this value in indications ; and (c) the closeness with which the indicated value can be cognized. Therefore, all measurements are by nature “ approximate” except otherwise by chance. But here, Ramanuja would step in and say that this does not affect the validity of the system ideal constructed from such measurements, nor its utility. For, according to Ramanuja, there is no consciousness without an object for conscience, either some physical matter perceived by the senses, or an idea or thought derived from sensory data, or just emotion, or the object of conscionsness may only be the “ self”. In the example of cork floats, suppose if now the pumps work at different rates, the level would go up and down in a different sequence; then the “illusion’’ is of a different progressive move for the positions of the floats ABC...... Therefore, for every type of progressive wave seen, there is a particular type of up and down movement of the floats paired to it; no doubt, when the level does not move at all, the progressive wave reduces to a straight line. This would of course be inferential knowledge from sensory data, but should be as valid, according to Ramanuja, as direct knowledge of ‘reality* despite possibility of mistaken sensory perception. If one doubts such inferential knowledge, it would be impossible to honour what is entirely revelatory knowledge of the Brahman, not amenable to substantiation by logic. Analogously in music, we should come to the conclusion that by a study of the ragas the movement in the srutis can be inferred by mensuration of svara points and a theory construction for the system arrived at. Initially, any such inferential knowledge or theory construct may be a “pictorial” representation of what the process is consi dered ought to be; but as further data accumulate, it may be necessary to abandon the pictorial concept and resort to a purely ideological concept. Such a process has happened in physics where 134 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVII the pictorial theories of atomic structure of Rutherford and Bohr, and even de Broglie, gave place to the purely mathematical idea of Heisenberg. ] ijsikioh A) The difference between Sankara and Ramanuja is parallel to that between the mathematicians Kronecker and Weierstrass. Kronecker considered, as did Pythagoras of yore, that only the ‘god given’ integers 1,2,3,...exist, and all others imaginary edifices out of them. Weierstrass however stated that anything is a ‘number’ whose existence is indicated when a construction of finite steps be given or proved to be possible to reach the value denoted by the number. The IT as a decimal is an interminable 3.1415926535 but readily attainable geometrically in the ratio of circumference to the radius. Similarly \ / 2 is an indeterminate number. In the musical octave, \ / 2 represents the pratimadhyama range where any note is its own inverse...a bewildering range and considered the no-man’s land between the poorvanga and uttaranga beginning with Sa and its immediate odd (i.e. third) harmonic i.e. Pa. Our ancient music generally avoided it except perhaps for a Pantuvarali/Karaavardhani, Poorvikalyani, Varali or Kalyani, till we come to the quite modern Tyagaraja. § Yet as a pure ‘number’ \/2, like T . is easily attainable geometrically— the hypotenuse of a right angled triangle of unit sides. But a purely arithmetical process for attaining s / l involves the concepts of limits, continuity and convergence, and an operationai definition o f‘number’. Suppose we extract the square root of 2 as we did in school carrying the computation to a large number of decimal places, leading to a sequence of rational numbers, 1, 1.4, 1.41, 1.412,.... as approximations to \/2 • (To quote from Dr. Bell), “ This illustrates what is meant by a convergent sequence of numbers ; the rationals 1, 1.4, 1.41, constitute the sequence and give us even closer approximations to the irrational number which we call V 2 , and which we conceive of as having been defined by the convergent series o f rationals, this definition being in the sense that a method has been indicated (the usual school one) of calculating any particular member o f the sequence in a finite number o f steps. Although it is impossible actually to exhibit the whole sequence, as it does not stop at any finite number of terms, nevertheless we regard the process for constructing any member of the sequence as a sufficiently clear conception of the whole sequence as a single definite object w* RTS. I-IV] PERCEPTION THEORIES AND MUSICAL CONCEPTS 135 can reason about. Doing so, we have a workable method of using s/2 and similarly any irrational number in mathematical analysis.” A convenient computational process for determining the extent of the microtone (adharasruti), ekasruti, and svara is progressive harmonic-shifting and overtone-tallying at the shifted points. Such procedure can give an insight into the nature of aesthetic effect of the tones, even as the different hues and wave lengths of the rainbow colours, however continuous they appear to be, and the svara Pa occupied the same place in tonal perception as yellow occupies in colour vision. Such procedure can also give a frame-work to which any particular tone can be referred, such as the tonal structure of the taihboora, and to locate the indefinable greys in tone to which no dominant wavelength can be ascribed. The attribution of colours and speoific rasas to svaras, types of gamakas and ragas is logical- based analogies of perceptual processes in vision and audition. By these processes the structure and the psychophysics of our music becomes known..^ w a»dm tc n-crijqemsq Ramanuja was very clear about what he asserted: it is saguna- brahma or jeevatma that inferential knowledge * of sensory perception reaches; all sensory perception involves in the final analysis, measureable attributes; but it is revelatory knowledge and a conscience of a different order that is important in the realisation of the nirguna-brahma or Paramatma. Where Ramanuja and Sankara agreed therefore was in distinguishing between the pairs, growth-and-decay and creation-and-annihilation. The first is amenable to sensory perception, where the law of superposition applies, i.e. when linearity of relationship between ^ause and effect obtains, however complicated and involved the relationship may be. In creation and annihilation however, the coming out of ‘something’ from nothingness, and the vanishing of something into nothingness, are non-linear processes where the idea of continuity breaks down and no amount of infinitely small steps can fill the gap. Such are the transition from one ‘pitch* (sruti) to another in the tonal continuum or the transition from consonant to vowel configuration etc, 13 6 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVII In the discussion of the nature of s/2 quoted above, the words “what we call \/2 ” have importance. For whenever anyone, this author included, asserts that the scientific mind abhors meta physical mystifications, the distrust was on ‘mystifications’; no one, not even a scientist, can avoid the metaphysical assumptions implicit in his concepts, methods and experiments. But more often than not, whenever people discuss such intricate problems as continuity and infinity, there is postulational confusion...not to mention confusion between such practical concepts as of field and force, cause and effect, or vibrations and waves of knowledge and experience, and between knowing and knower. To quote an example, from Dedekind himself,—“ the assumption that a line has this property (i.e. continuity defined by the existence of rea, numbers) is no more than an axiom by which the line is conceivedl in our thinking, to possess continuity.” It is postulational confusion that made Dodgson (Lewis Carrol) write a very serious monograph asserting that no convergent series can ever reach the finite value of summation, obtained by calculus for it. This confusion would deny the continuity of the general ideas derived from knowledge of individual facts such as In the perception of sound when the auditory alerting impulse vanishes and a slow declining effect lingers and is reinforced by the aucceeding alerting impulses; basis of which is the justification for sampling techniques as well. Coming to practical music—what distinguishes one “svara” from another apart from pitch? Gandhara, or Nishada, for example? Since music is a highly organised system of sounds for direct aesthetic communication, I would say a “svara” is defined by the “commitment” which the mind has to specified psychic states on hearing that “svara”. In this I rely on the analogy of perception of colour. No doubt we may not know exactly where blue starts and green ends in the rainbow, but we can know the ‘green* and ‘blue’ and even distinguish bluish-green from greenish-blue, and the indefinite greys in between. And there are several ways of locating the spectral lines to definite colour sensations. Similarly any system which derives these ‘pitch-lines* for the svaras in such a way tallying them to the hearing mechanisms of the ear, and the willed feedback direction to vocal production in music, and on the systemic level, explain the basic facts of concordance and its framework in ragas, and make a PTS. I-IV] PBRCBPTION THEORIES AND MUSICAL CONCBPTS 13 1 Westerner enjoy music without raga more heartily—then, such theoretical, mathematical or even merely arithmetical systems and ideals have a reality and sense which cannot be quibbled away by talks in paradoxes, or by inaccuracies and tolerances in measure ment and achievement; their validity is proved by deeper experience of music directly. As Sankara said, it is unreasonable to assign to words meanings other than direct and literal; and the metaphorical, allegorical or imagery constructions are to be allowed only to experiences beyond the senses, or where literal meanings are inappropriate. When we talk of ‘infinite’ quantity we have first to consider if what is meant is merely innumerable or non-numerable, such as the case with “sruti” and the hearing mechanism, and any other meaning can be considered only if a process for enumeration or mensuration cannot be applied. In the field of perception the validity of any statement lies in not merely that it states a fact or an action but that it leads to a valid experience. The experience of the universality of the laws of consonances, tbnal shifts and psychophysics of sounds is there for anyone without bigotry to experience both in Indian and Western music. m \ * * -asft w-oM —iifs t p) asaukisJ. iMm. CONFUSED TRADITIONS IN INDIAN MUSICOLOGY By Prof, R. L. Roy, New Delhi. The history of Indian music necessarily means the history of music we continue today as practical exponents of the art. And in the art of music we have two clear ways of thinking: the pedagogically thought out exercises and grammar; and secondly the aesthetic evolution of the art through certain principles quite outside the scope of pedagogical methods. Our confusion in the historical interpretation of the Sastras begins with the interpretation of art-history through text book methods the details of which the Sastras outline, as a general rule, intending to establish the methods of teaching. These confusions in detail are too many to be discussed here; we may take only the fundamental errors of understanding. The starting point is the Natya Sastra of Bharata which clearly gives the rules of accompaniment or orchestration for songs. The Jati-lakshanas of Bharata were not given as techniques of Dhruva-gana but as the grammar of the instrumental music for accompaniment. The three main techniques were called Tattva, Anugata and Ogha. In the Tattva technique the metre, punctuations, rhythm and even the syllabus were imitated on the veena. In the Anugata the song was followed presumably with respect to the tune of the song. And in Ogha the instrumentalist played in fast tempo as he pleased, regardless of the purpose of the song. It is more than obvious therefore that the techniques of playing the instruments were complementary to the songs. The Jati-lakshanas were elaborately described for this purpose. It was not the foundation of vocal music even as it existed in the dance-drama. Now the Jati-lakshanas of Bharata are the same as the Ragalapa-lakshana of Sarngadeva. Thus Bharata’s ten Lakshanas of Jati:— Grahamsau mandra-tarauca nyaso’panyasa eva cha PTS. MV] CONFUSED TRADITIONS IN INDIAN MUSICOLOGY 139 Alpatvam cha bahutvam cha shadavauduvite tatha. And Sarngadeva : ‘ Grahamsa mandra taranam nyasapanysayos tatha Alpatvasya bahutvasya shadavauduvayorapi Abhivyaktir yatra drishtah sa ragalapa uchyate As the Jati-lakshanas developed on instrumental music out lined in the N. S. it is reasonable to observe that the Ragalapa of Ratnakara was meant for instrumental music also and that again not for solo players on instruments but those forming an orchestra or ‘vrindam’. As the Ratnakara may be regarded as detailed amplification of the Natya Sastra it is a reasonable inference that the entire system was orchestration music, something like ‘ programme ’ music of the West which concerns extra-musical ideas to be expressed through such as the stibject of a poem or scenes or themes of a drama. We on the contrary are concerned with absolute music in* our vocal music, particularly so in the Hindustani system where music, as is well known, does not express or convey any extra-musical idea. Even when there is a song the verbal content and meaning is neglected. When the music does express the verbal implications of the song it becomes Thumri or light classical. It ceases to be Raga music. And in vocal Ragalapa only syllables are used. On close observation again it will be found that each of the above ten Lakshanas are meant for the instrument. Graha is the beginning of a song which the accompanist had to know in advance for accompaniment of particular songs. Mandra-tara is also an instrumental technique indicating a range of movement. Repetition of a single note or Bahutva is not a vocal technique. The voice stays or endures on a note, its repetition had to be an instrumental technique because a note does not endure on a stringed instrument. Nyasa is the ending note or final note of a song; it had to be emphasised on the accompanying instrument. Lastly Shadava and Audava indicate modes which contrasted well with the songs. Tunes are meandering and twisted, Murchhana and Jati concern straight passages. The instrumental technique becomes even more obvious in the application of Alankaras. Bharata mentions the same alankaras later illustrated by Matanga and Sarngadeva wh6 illustrate 140 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVli Prasannadi as Sa-sa-Sa which means the tonic notes an «ctave apart. Prasannanta is sa-Sa-sa and such different combinations of the two notes an octave apart cannot possibly be a technique of vocal music. And why on earth these minutely different but simple combinations of notes an octave apart should have about half-a-dozen different names? The only answer is pedagogical exercise for classes. Without such minutely differentiated names class work could not possibly be conducted. Then again, technique clearly appears- to be harp-technique where one string gave one note. The two strings were evidently plucked in rapid succession. Or an open string was plucked and then its middle point touched and plucked, and again the open string plucked, the result would be Sa-sa-Sa. This would be a rather ridiculous technique for the voice. Now, referring back to the N. S. we find from the use of fingers that the techniques belong indisputably to the harp. Thus Bharata’s Vyanjana Dhatus particularly indicate that the Veenas were harps: (Translation by Mr. M. M. Ghosh) *‘Kalai £ Touching a string simultaneously with the .D!eum ag&Jt sd tWDthahabs. niowo tx 1 e v r - c . f^ -c - o r .• T< '*#■'' 1 r < BQ £ f OT> , •' • : 'J L f Tala: Touching a string with the left thumb after sttii MriPressing.it with the,iright one. 9^^ Nishkotita : Striking with the left thumb only. Unmrsta: Striking with the left fore-finger (Pradesini) *r Repha: One single stroke with all the fingers of the hand. Avamrsta : Three strokes low down (in the string) with the little finger and thumb of the right hand. Puspa: One stroke with the little finger and the thumb. Anusvanita: The stroke being lower (in the string than) in the Tala (described above). (XXIX. 63 ff.) Thus Kala and Tala could never be strokes on the lute type of veena now in use both in the North and South India where there is no scope for using the thumbs on the string. Ifhe repeated use of the thumb (not only one thumb but two thumbs) clearly indicates that these techniques were for the harp. PTS. i-IV] CONFUSED TRADITIONS IN INDIAN MUSICOLOGY 141 Then the thumb and tbe little finger, and of all the fingers used simultaneously or in immediate succession denote their use on the harp. On the lute type of veena or similar instruments like Sitar and Sarode the- is no use of the thumb while the little finger is without application on the playing strings and rarely in a rhythm forming technique. Striking low or high on the string again shows that one kind of harp, perhaps the Chitra, was vertical. ~tQ aniimai an oil asm aoafa sno )A .ritnug ? . The above techniques described in the N. S. may be compared with Greek techniques on the harp or lyre, the lyre probably having horizontal strings instead of the vertical ones on the harp or Kithara, noting the name Chitra of Bharata equating with Kithara or Cythara of Greece and similar names in later Europe like Chitarrah, Chrotta, in Ireland and England and later Rote. The techniques as described by Curt Sachs in his History of Instruments are similar to those described by Bharata : “The manner of plucking was almost similar with the lyra and the Kithara.” According to his description the right hand scratched all the strings while the fingers of the left hand were stretched along the strings. We cannot go into great detail here but the techniques of ancient Greece continue in modern Japan (on the Koto or long Zither, and note the phonetic similarity of Chitra and Zither). The strings were dampened alter scratching them with a plectrum. Bharata’s Chitra however was played by the fingers and the Vipanchi by the Kona or plectrum. In ancient China the Zither was called 'Chinh.* ffijf 3ill 70 qmd arft no ciod yllhnblve zew list erfT Now, the stopping or dampening of strings in a series of seven would naturally give the six-note (shadava) and five-note audava modes. Moreover, and this is most important, there is no monographic evidence in India about the use of thumbs on harps. But techniques of the thumb are clearly depicted in a procession (Elam 650 B. C.) on a stone relief. The Tamil dictionary again describes types of fingering on the Yal, in which touching a vibrating string at its middle point is indicated, which suggests the Alankara called Prasannandi described by Sarngadeva in Sangita Ratnakara. In North India the Svaramandala seems to be the only and a minor instrument, having a semblance to the harp. The lute very much like a Sarode is depicted in an Ajanta painting behind the Buddha. In any case however it is clear that 142 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVli the Shadava-Audava modal system was not a development of the vocal music line but an intrumental accompaniment line which has been later imposed on our vocal Raga music of the obsolete music type. It would take a fair sized volume to discuss the use of instruments in the Natya Sastra in relation to programme music. The South Indian works mention the Yal quite a few times indicating that this harp type of instrument was quite common in the ancient South. At one place it mentions running of the fore finger on the strings. The Yal had seven strings or its multiples and the bard was called ‘Master of seven strings.’ Bharata’s Chitra had seven strings and the names of different kinds of Cheeriyal, e.g. Chakota-yal of South India, are similar names. It is also observed by some authorities that out of four kinds of Yal one called Makara-yal was imported from Greece (Yavana). But the harp was not an indigenous instrument of Greece, all harp - type instruments were imported. Perhaps the harp techniques developed earliest in ancient Mesopotamia, but even in Greece the harp and lyre were accompanying instruments for instrumental music only. In India Bharata’s techniques should have been used with the Yal. But we must note in this connection the very large technical vocabulary used in the Natya Sastra indicating that they were already millenniums old when the Natya Sastra was compiled in the third or fourth century A. D. South Indian musicologists should make comparative study of details found in old Tamil sources regarding the Yal and the Veenas in the Natya Sastra. The Jati system was evidently born on the harp or the Yal because the ideas of Langhana, Alpatva, Bahutva etc. are not vocal techniques but harp techniques. And as the harp techniques probably developed on the Yal of the South various technical terms of Bharata continue in Karnatak Music. The Jati system of Shadava and Audava Ragas had a naturally spontaneous growth on the harp with seven strings. When one of them was stopped it gave a Shadava, and an Audava when two were stopped. The very idea of eliminating notes from a maximum number of seven notes does not belong to the voice, it is obviously ah idea developed on the parallel strings of the harp where each string gave a note. And the South Indian Gamakas so clearly distinct from North Indian Gamakas, appear to have come from the harp embellishments, like Pravesa and Nigraha. a PTS. i-ivj CONFUSED TRADITIONS IN INDIAN MUSICOLOGY 143 The establishment of the Jati system in Karnatak music is due to Venkatamakbin’s definition of Ragas because his Raga Lakshanas are the same: Graha, Amsa etc. as prescribed by Bharata and Sarngadeva :* in other words techniques of instrumental accompaniment. And after Bhatkhande’s partial adoption of these terms there is a queer contradiction between Theory and Practice of Hindustani Music. Originally the song had a Graha, quite naturally; now the Raga is expected to have it even though different songs in a Raga have different Grahas. To make confusion worse confounded now we have laid down rules of Aroha-Avaroha not mentioned by old authorities in their Jati or Raga Lakshanas. And there is not one Raga in the Hindustani system which can be proved to have any straight Aroha-Avaroha. And a vakra-aroha-avaroha cannot be called a rule at all. The idea however stagnates thematic elaboration or Raganga-vistar. And the Southern system is imprisoned by the rule that a Raga should not use more than seven notes except perhaps in a surreptitious manner in the Gamakas. It is not usually noticed that Hindustani Ragas cannot be understood from the modal point of view because almost all Ragas use more than seven notes. Thus the Bilawals like Alhaiya, Yamani; other Ragas like Kedar,. Kamode, Hameer, Chhayanat, Goudsarang, Yaman-Kaiyan, Kaphi, Khamaj, Bahar, Adana, Bihag, Bihagdra, Nat Bihag, Desh, Jayjaiwanti, Gara, Gaud Mallar, Mianki Mallar, Mirabaiki Mallar, Purvi, not to speak of such complex Ragas like Khat, Vasant-Bahar, Bhairava-Bahar etc., only a few Ragas could be ascribed to pentatonic modes like Bhupali, Madhmad Sarang. But even these are non-modal because in the same modes of Bhupali we have Deshkara and Jayat Kalyan, which are distinguished by idioms. Bhupali uses idioms of Kalyan, Deshkarof the Bilawals. The notes are identical Sa Re Ga Pa Dha Sa. In this mode Karnatak music has only one Raga Mohanam, no other could be accommodated in the same mode or Jati. Thus the North Indian Ragas should not be called Jati-Ragas, they are actually Dhvani-Ragas whose evolution has been by the elaboration of tunes (Dhvani or Dhun), according to the well known definition; a tune elaborated by Svara-varna and popularly pleasing. \ 1 4 4 t h e Jo u r n a l o f fH E m a d r a s m U s j 6 a c a d e m y ( v o l . x x x v r i I have shown briefly in a paper with demonstration that all Hindustani Ragas are structurally based on Gandhara bhava of intervals of thirds. They dominate the whole system. For instance the Raga Alhaiya Bilawal is dominated by the Gandhara- bhava: ® (Sa-dha) (Ni-pa) (dha-ma) ga (ma-re) (ga-pa) (pa-ni) (dha-sa) where the Gandhara-bhava is given within brackets* All Hindustani Ragas follow this principle without exception. It is interesting to note in this connection that Narada and Nanyadeva did not quite believe that the Gandhara-grama had become obsolete. They observed that popular music or Laukika Ragas were based on the Gandhara Grama. And it would need a large volume to show how every single Raga of the Hindustani system is based on Gandhara-bhava and enjoys great popularity all over India. Thus popular music or Laukika Ragas are not in the category of Folk Music which never needs a complex grammar and a dictionary of idioms. To understand the Ragas one needs to forget the individual notes or modes and acquire the habit of knowing the complete idioms and their relationship. The relationship runs across various modes as for instance a Mallar remains a Mallar in Khamaj Mela (Gaud Mallar), Kaphi Mela (Mianki Mallar) and using ten notes out of the twelve as in Mirabaiki Mallar. But they have the common Mallar-idiom; Ma Re Pa Ni Dha Ni Sa. erf ini M ,'tsMsM iinsiM - Lack of idiomatic understanding has misled many foreign and local writers into the conclusion that Indian music is ultimately based on the Natya Sastra and later writers who proclaimed that Gandhara Grama became obsolete. So we are now in a confusion between the Jati system of Orchestral Drama-music originally based on instruments like the harp which like Buddhism did not flourish on Indian soil, and the Dhvani-system of current Ragas which continues to grow on principles and techniques developed in the vocal music line and solo performance. It will take time to clear up completely this confusion and to give our contemporary music the freedom needed for an evolution through spontaneous emotional expression, as is possible in literature and the other fine arts like painting and sculpture. M ACOUSTICS OF THE AUDITORIUM OF THE MUSIC -ACADEMY, MADRAS ^ M. Pancholy, A. F. Chhapgar and Davinder Singh, National Physical Laboratory, New Delhi. Introduction J • ' Over a period of 40 years the Music Academy has actively and successfully carried out its programme of promoting the study and appreciation of Indian music through lectures, discourses, seminars and recitals by eminent musicians. So far these performances were held in temporary pandals set up for the purpose. The Academy has now acquired an exquisitely designed permanent auditorium where its various activities are carried out. (Plate I) For classical Western Music the science of room acoustics has helped in evolving criteria for such aspects as (a) the volume of the halT suited to different kinds of performances and different audience sizes, (b) the optimum reverberation times for concert halls, music rooms, churches, opera houses and multipurpose auditoria, (c) the need for balance, blend, fullness and definition, (d) the tolerable limits of ambient noise, etc. In these efforts musicians and physicists have jointly contributed to better appreciation of music.1 On the other band, Indian music has been traditionally performed in temples, palace halls or in the open but sufficient attention does not seem to have been given to * the suitability of the acoustical environments required for the performance of different types of music, although some of the ancient texts on the subjects refer to the requirements in general terms. Thus the most ancient text, Rharata’s, Natya sastra, as Dr. V. Raghavan has pointed out, says (II. 24, 84*6) that of all theatres, the medium sized one is desirable as in the larger ones, the speech and song may become indistinct; the play house should be of a cave like shape, free from play of wind, and capable of deep and steady sound-effectr1 : It is therefore, fortunate that, in the building of the Music Academy auditorium, music and acoustics experts have for the first time joined together to try and evolve scientific criteria applicable to listening condi tions for Indian music. 19 146 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVlt In applying concepts of music halls as evolved in the West to performance of Indian music, some basic differences must first be noted. Principally, Western music is dependent on harmony among a large orchestral group using different kinds of musical instruments in the environments of concert halls which have evolved empirically over the years and lately on scientific principles, whereas Indian music which is essentially melodic in nature is generally a solo performance making use of a very limited number of accompanying instruments. Further it appears that the music Vidvans have laid emphasis mainly on the perfection of technique while other aspects, particularly those relating to listening conditions, have not received adequate appreciation. The only examples of good listening conditions to fall back upon happen to be some temple halls or palace halls like Sangita Mahal at Tanjore, but even here the opinion regarding their listening characteristics is divided. Furthermore it is not possible now to assess quantitatively the performance characteristics of the hall in its original form since several altera tions have been introduced in the original design, e.g. a false softboard ceiling has been provided and the water pond reported to be located in the middle of the hall no longer exists. In the building of a modern auditorium devoted to Indian music, therefore, the only recourse left is to use the principles evolved for Western music halls and find out which of these conditions are subjectively accceptable to Indian music performances. A large number of auditoria have been built recently all over the country. The authors have been closely associated in the acoustical design of a number of these halls. Most of these halls are, however, generally of medium size and are intended to be of a multi-purpose nature and hence a compromise had to be effected in their design requirements to accommodate for speech, drama and music. *,3 The auditorium of the Music Academy is, therefore, refreshingly different in that it is fairly large and is intended mainly for musical performances although it is equipped to be used for other purposes also. The following requirements are of importance in the design of a concert hall :— (a) Intimacy. (b) Liveness or reverberation. (c) Warmth or fullness of tone. i :J£v' ,■ m ETS. I-IV] ACOUSTICS OF THE AUDITORIUM OF THE ACADEMY i47 These terms are generally well-known but not uniquely defined and not always used in the same sense. For the purpose of the present discussion they may be broadly defined as follows :— (a) Intimacy is that quality which gives the feeling of closeness between the listener and the player and is one of the most desirable qualities required in a hall. It is mainly dependent upon the early reflections and the ratio of direct to reverberant sound. (b) Liveness is a subjective feeling originating from the reverberant conditions in the hall in the middle and high frequencies. (c) Warmth or fullness of tone is also a subjective feeling produced by richness of reverberation at low frequencies relative to the middle frequencies. In addition to the above features, there are other factors which contribute to the appreciation of music in an auditorium. These are:— (0 Loudness of direct sound. (ii) Loudness of reverberant sound. ®»»(iii) Uniformity of response. (iv) Tonal distortion. (v) Absence of echoes. (vi) Freedom from noise. (i) The sound from the stage travels outwards from the rear of the hall with diminishing intensity and is required to reach the audience, particularly the back rows, at a comfortable listening level. Moreover, the sense of direction of the source of sound is dependent mainly upon the direct sound. It is, therefore, neces sary to restrict the depth of the hall and also to provide suitable reflecting surfaces to throw sound on the rear seats. (ii) The reverberant sound, properly balanced with,the direct sound, gives body to the music and helps in reinforcing the soft passages. This is achieved by suitable design of the hall in terms of reverberation time and by suitable location of reflecting surfaces. G. ’ t t 148 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVII (iii) A desirable feature of a good hall is that the sound intensity should be uniformly distributed over the listening areas without any dead spots or focal points. (iv) The original tonal quality of music can be adversely affected by a lack of proper balance in the tones due to uneven absorption in the hall with respect to frequency and due to modes of oscillations of the hall or of small surfaces within the hall. It can also be affected by an inadequate response of the sound reinforeement system, if any. (v) Delayed echoes arising from reflections from distant surfaces interfere with the definition and have to be avoided. (vi) Ambient noise originating from sources within the hall like fans, ventilating systems, etc. and intruding from sources outside like traffic, etc. cause interference with the performance and also affect the dynamic range of the performance. Design Criteria I ■ t : 4 \ In designing a hall, the starting point is the size of the audie nce which determines the floor area and the volume of the hall. For a given audience, the floor area is fixed at 0.65 to 0.85 m2 (7-9 ft*) from considerations of comfort and economy. The volume of the hall, on the other hand, is determined not only by architec tural and structural requirements but also by acoustical considera tions. The volume per seat of a concert hall is expressed by the relation3 V = 0.562 where N is the number of persons in the audience and V is expressed in m8’. Having fixed the total volume of the hall, the optimum rever beration time can be determined by using the optimum criteria derived by various authorities like Watson, Knudsen and Harris, Bagenal and Wood or by the forumla4, T = 0.147 where T is the reverberation time in seconds. The present theatre was designed to seat over 1500 persons, with additional space for 300 standing persons. It was proposed PTS. I-IV] ACOUSTICS OF THE AUDITORIUM OF THE ACADEMY 149 that the seating space would be in two levels with about 600 seats on the main floor and about 900 seats in tbe balcony, with space behind the last rows of chairs on both floors to accommodate the standing audience. From the above considerations, this audience size would require a volume of the hall of 9670m3 (365000 c. ft.) and reverbe ration time of 1.7 secs, in order to fulfil the criteria of a concert hall according to Western standards. On the other hand, taking into account certain requirements peculiar to Indian conditions, the volume and reverberation time have to be kept at values slightly lower than those calculated above. These conditions are :— / 1. An average audience at an Indian music recital tends to be more noisy than is customary among Western concerts. For example, at one of the open air concerts, the noise from the audi ence was measured as 50 dBA. In order to prevent build-up of this noise in a hall, some absorption has to be provided on nearby surfaces, which tends to lower the reverberation time. 2. For the calculated volume and reveberation time, the audience in the hall provides a major portion of the absorption in the hall. To maintain a high reverberation time, it is, there fore, necessary to minimise the use of any further absorbent material in the hall. In order to compensate for the absorption required to suppress build-up of audience noise without changing the reverberation time it is necessary to have a larger volume tha^a calculated. This leads to increased cost of construction and other practical difficulties. 3. The majority of Indian musical concerts consist of vocal music. The high reverberation time determined on tbe basis of requirements from Western concert halls is likely to reduce the clarity of vocal music. Therefore, a compromise has to be effec ted in the decision of the optimum reverberation time. 4. For this reduced value of reverberation time, if the original volume has to be maintained, the additional absorption required would be very heavy and, apart from increased cost, will lead to a reduced volume density or intensity of sound at the listeners’ area. This is detrimental to delicate tones of instruments like veena, violin or sitar. 150 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [ VOL. XXXVII From all these considerations, it was decided in the present case to reduce the volume to 7800 m8 (275000 c.ft) and to have a reverberation time of 1.4 seconds. This can be compared with some western music halls with volume and reverberation time of this magnitude which have been subjectively judged as good for music. It was also proposed to have good diffusion of sound in the hall. This was to be achieved by reflecting surfaces which would distribute the sound evenly throughout the hall. Having decided upon the basic dimensional requirements of volume of hall and reverberation time, the acoustic requirements were next taken into consideration. These are:— 1. Liveness :— As stated earlier, this is dependent upon the reverberation time at the middle and high frequencies and is derived directly from the reverberation time decided upon. Thus it was planned to keep the reverberation time at the middle and’ high frequencies to about 1.4 secs. 2. Warmth:— By experience, it is known that the reverbera tion time can increase gradually at low frequencies such that at 125 c/s it can be dp to 50% highter than at 500 c/s. The acoustic treatment of the hall was adjusted accordingly. 3. Intimacy :— It is known that intelligibility of speech or definition in music as well as the sense of direction are dependent on the early reflections. If the early reflections fall within about 20 milliseconds of the direct sound, they are, so to say, integrated with the direct sound and improve the quality of music or intelligibility of speech. Reflections coming later than 50 milli seconds are, however, detected as echoes and are deleterious. It is also known that the ratio of direct to reverberant sound should be as large as possible. Since reverberant sound also plays an important part in the appreciation of music, a compromise has to be effected. Thus it was planned to arrange the reflecting surfaces so that the direct sound reaches the largest audience area at the loudest possible intensity is augmented by early reflections from reflecting surfaces close to the source of sound, and the ratio of direct energy to reverberant energy is as high as possible and as uniform as practicable over the entire audience area. fc*TS. I-IV] ACOUSTICS Ofe THB AUDITORlUM OF TUB ACADBMY l$ l 4. Tonal distortion:— Since this arises from modes of oscillations of the hall or of panels within the hall, care was exercised to avoid these possibilities. 5. Uniformity of response '.—This depends on the absence of any dead spots or foci, and care was taken to avoid curved surfaces and deep projections. 6. ^phoes:— Care was taken to see that strong reflections occurring after 50 milliseconds of the direct sound were not received in the listening area. 7. Noise :— According to the Indian Standard Code of Practice for Acoustical Design of Auditoria and Conference Halls ( IS : 25/26-1963 ) the noise level inside an auditorium should be less than 40-45 dBA. The British Standard Code of Practice on Sound Insulation and Noise Reduction, on the other hand, recommends the maximum permisssible noise levels in different octave frequency bands as follows:— Octave band Maximum Permissible Level c/s dB 37-75 5 3 f '^ - Ki ' 75-150 38 150-300 28 300-600 18 600-1200 12 1200-2400 11 2400-4800 10 4500-9600 22 - which amounts to less than 30 dBA. It was, therefore, desired to keep the intruding noise level below'40 dBA. Size, Shape & Construction In order to accommodate the required number of seats and at the same time to restrict the distance of the last row of seats from the stage as much as possible and to provide suitable surfaces for early reflections of sound a wide fan shape was given to the hall (fig. 1). The width of the hall in the rear on the main floor is 39 m. (128 ft.) while that at the rear of the balcony is 45 m. (148 ft.). The width tapers to 25.5 m. (84 ft.) at the stage 152 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVII opening. This arrangement provides for a maximum of 18 m. (59 ft.) from the stage to the last rpw 09 the main floor and 27 m. (88 ft.) to the last row on the balcony, q - j - ^ lo In order to provide early reflections to reinforce the direct [sound from the stage and to project more sound on the rear seats without disturbing echoes, a set of four reflector canopies is provided over the proscenium opening. (Plate II) The stage portion is 24 x 12 m. (80 ft. x 40 ft.) while the acting area is 10.5 m x 9 m. (35 ft. X 30 ft.) with a proscenium ^opening of 18 m. x 6 m. (60 ft. x 20 ft.) There is also an orchestra epirin front of the stage. The hall has a net volume of 7800 rd3 (275,000 ft). a ta f e u u l The balcony soflitt is sloped steeply, as shown in section in fig.l, to allow good distribution of sound below the balcony. _I_ . Surface Treatment 1 »■ w* r- i.v *• j •- " In a hall of this capacity, the absorption due to the audience is a predominant factor. To obtain the desired long reverberation time, it is necessary to keep extra absorption to a minimum. Thus no additional absorption is provided except where it is essential. The front part of the false ceiling which is given a special contour, as shown in section in fig.l, is made °f reflecting material which, together with the reflecting balcony soffit! and side walls, reflects the sound from the stage mainly towards the rear audience area, providing even distribution of sound. To prevent build-up of noise from the audience, the rear part of the ceiling is made partially absorbent by blending reflecting and absorbing surfaces in a chequered pattern (Plate III). A little absorption is also provided in the margins between the false ceiling and the side walls and between the balcony soflitt and the rear wall, to minimise disturbing effect of resonance modes.' •>' 4C % n & 2 \iz 2 % o t: era no b-jtivt-'t-i »c‘-< s t z b o n #n < 1 v/uio til The balcony parapet has been sloped forward to prevent echoes. Below the balcony the rear wall has been inclined forward to prevent echoes and the concavity_ has been countered by providing offset projections of random orientation. The rear wall on the balcony is treated with absorbent material. There is also some absorption provided in tbe orchestra pit. ------ \ \*r<- I- tmk fife' PTS. M vj ACOUSTICS OF THB AUDITORIUM OF THE ACADEMY 153 Reverberation Time jA Table 1 shows the computation of reverberation time. As shown in fig. 2, the reverberation time is expected to vary from 1.3 secs, with full audience to 1.5 secs., for 2/3 audience and 1.75 secs, for 1/3 audience. The measured values of reverberation time in the hall without any audience is also shown in fig. 2. These values represent the mean of several hundreds of obser vations taken in different positions in the hall. The agreement between the measured values and the computed values is fairly good, although at high frequencies the hall is a little more reverberant than expected. This unexpected deviation is a welcome feature since it provides a better tonal balance. Resonance and Echoes On account of the deep non-absorbing ceiling and large width of the hall with reflecting side walls, there was a possibility of echoes. Short, sharp pulses of sound of 20 millisecond duration generated on the stage and picked up in different positions in the hall do not show the presence of any echoes. To test the presence of resonance modes within the hall, a tone of varying frequency was generated on the stage and picked up at different locatioas in the hall. No pronounced mode was detected. Diffusion and Sound Distribution Fig. 3 shows the pattern of sound distribution from a source on the stage. On account of the beaming effect of the loudspeaker used as source and the large width of the hall, the sonnd distribution at the extreme sides appears to be lower than what it would be in practice. At the extreme rear of the balcony, no reading could be taken on account of interference from noise from outside which, at the time of measurement, was comparable t to the signal. On the whole, however, the sound distribution is fairly even throughout the hall. Noise ■ The hall is situated in a normally quiet locality but is close to a road which at times carries heavy vehicular traffic. In the absence of an air-conditioning system (to be installed later) some windows have been provided for ventilation and these allow noise 20 t 1 5 4 THE JOURNAL QE THE MADRAS MUSIC ACADEMY [VOL. XXXVII from the outside to enter the hall, particularly at the rear seats in the balcony. The wall of the foyer is also made up of an ornamental open mesh structure which does not provide a buffer to the noise. On account of these features the noise level inside the hall is fairly high.' At the time of measurement, when the average noise level Outside the building was 60 to 70 phons, the noise level inside the hall was ,40 phons. This noise level did not change much with the air blowers working. In view of the fact that the open' windows would be closed up when regular air- conditioning is started,* the noise level inside would be conside rably lower, particularly at night when the performances are held, at which time the street traffic will also be much less. Sound Reinforcement System The theatre is equipped with a high quality sound reinforce ment system consisting of a set of bass reflex cabinet aqd multi- cellular horn on either side of the stage (Plate II). These louds peakers are fed from amplifiers located in a control booth at the side of the stage'. Tlie microphone points are distributed over the acting area. The 'sound distribution obtained with the system is shown in fig. 4 which can be compared with fig. 3. described b£sn afcala o«b no toicwnsg Subjective Appraisal 5jgS The subjective opinions regarding the performance charac teristics’ of the hall have been elicited from the audience. For musical performances of the instrumental type, the tonal quality and sound intensity are considered excellent throughout the hall. For weak solo instruments like the violin or for weak vocal performers, the sound re-infprcement system provides an unobtrusive yet faithful boost. For dramatic performances, also, the use of the sound reinforcement system provides a com fortable sound level in all positions in the hall. At times, ’dramatic performances have been performed with the microphoL.es switched off without the audience being aware of it and the recep tion in the hall has been as good. This shows that the listening audience is unduly dependent on the sound reinforcement system as also that sometimes actors cannot project their voices without electronic aids. ,, * The hall has been fully air-conditioned since. t PITS. I - I v ] ACOUSTICS OF THE AUDITORIUM OF THE ACADEMY 155 Conclusion ♦ The theatre provides for a seated audience of over .1500 persons with a volume of 5 m8 per person and a seating area of 0*75 m9 per person. The capacity can be increased to about 1800 persons by allowing standing space at the rear. The wide fan shape of the hall brings the audience physically close to the stage while the placement of the reflecting surfaces enhances the acoustical intimacy. The reverberation time with a full audience is estimated to be 1.3 seconds, which is in fairly good agreement with a design optimum of 1.4 seconds. The variation of reverbe ration time with frequency provides the desired liveness and warmth to musical performances. The sound distribution is good throughout. In general, the performance characteristics have turned out to be as planned. The subjective response to performances in the hall indicates that the experiment of applying scientific concepts evolved for Western concert music tp Indian musical requirements has worked well in this instance. The success of this experiment, however, cannot be finally judged from the experience of just one hall, and it is necessary to make Similar comprehensive analytical studies in a very large number of halls having different performance characteristics. Such a study would indicate the optimum parameters under local conditions like reverberation time, amount of diffusion, blend, etc., both from the point of view of the musician and of tfie listener. This the authors hope to do with the cooperation of musicians and music critics in the country. A cknowledgemen ts The authors are grateful to the Music Academy for their keen interest, valuable help and active, continued cooperation in the study. References ” 1. V. Raghavan, Theatre-Architecture in Ancient India Triveni, Madras, IV. 6. 1931. pp. 715-725. 2. Acoustics of the Tagore Theatre, Chandigarh. Ind. Concrete Jour.- 39,474, 1965. 156 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXXVH 3. Acoustics of Ravindra Bharathi, Hyderabad, (Under publication) 4. Acoustique des Salles, F.-H- van den Dungen, Gauthier- Villars et Cie, Paris, 1934. TABLE I MUSIC ACADEMY. MADRAS S. No. Surface Area Material S. ft. 1. Ceiling (a) Front portion 3650 Plaster of Paris including reflectors (b) Middle portion ri 1650 2.5 cm. wood wool (ii) 1650 2.5 cm. wood wool with front surface smoothed by thin layer of plaster. (c) Rear portion 1700 Plaster of Paris 2. Floor 11860 1500 rexine covered uphol stered chairs on cement floor 3. Side Walls 3000 Cement plaster 4. Rear wall (i) 500 Hardboard panelling on tisnil vbtfU m brick wall. m (ii) 1700 Softboard panelling on brick wall 5. Balcony soflitt 3000 Cement plaster with facing of foamed polythene 6. Balcony parapet 3000 Softboard panelling on brick wall Softboard panelling on 1. Orchestra pit 800 brick wall PTS. MV] ACOUSTICS OF THE AUDITORIUM OF THB ACADEMY 157 S. No. Surface Area Material S. ft. 8. Doors 300 Wood frame 9. Windows and glazing 300 2 mm thick giass 5 kgm/m2 10. Covering over aircondi- 850 10 mm hardboard panel tioning duct ling over 5 cm air space 11. Margins between ceiling and side walls (i) Horizontal 575 2. 5 cm mineral wool blan ket behind lO^nm perfora ted hardboard / (ii) Vertical 575 2. 5 cm mineral wool blan ket behind 10 mm. perfor ated hardboard. 12. Stage furnishing, curtain, etc. 13. * Air content 275,000 — s. ft. Frequency (c/s) 125 250 500 1000 2000 4000 Total absorption 5400 5764 5905 6860 7155 7490 14. Additional absorption due to (a) full audience 2370 2990 2990 2370 3560 3560 (b) 2/3 audience 1580 1995 1995 1580 2375 2375 (c) 1/3 audience 790 995 995 790 1185 1185 Expected R. T. with 1. 52 1. 33 1. 30 1. 25 1. 04 1. 00 2/3 audience 1. 72 1. 53 1. 49 1. 38 1. 20 1. 15 1/3 audience 1. 97 1. 79 1. 74 1. 55 1. 40 1. 34 No audience 2. 29 2. 13 2. 08 1. 76 1. 68 1. 48 Measured R. T 2. 38 2. 10 >2f 06 1. 93 1. 86 1. 80 with no audience 160 THE jOORNAt Of THE MADRAS MUSIC ACADEMY [VOL. XXXVII ! REVERBERATION TIME FOR MAUL WITH a FULL a u d i e n c e , d t w o t h ir d s f u l l C ONE THIRD FULL 4 NO AUDIENCE * MEASURED VALUE FOR HALL WITH NO AUDIENCE. m Fig. 2 Reverberation Times at different Frequencies 1PTS. I-IV] ACOUSTICS OF THB AUDITORIUM OF THE MUSIC ACADEMY 1^1 Fig. 3 Sound Distribution in the Auditorium — Source on stage 21 162 THE JOURNAL OE THE MADRAS MUSIC ACADEMY fvOL. 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