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The Doctrine of Shruti in Indian Music

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The Doctrine of Shruti in Indian Music The Doctrine of Shruti in Indian Music Dr. Vinod Vidwans Professor and Chair School of Fine and Performing Arts FLAME University Pune, India ©Dr. Vinod Vidwans, 2016 Monograph No.: FUM-2016-002 Title: The Doctrine of Shruti in Indian Music First Edition: January 26, 2016 ISBN: 978-81-929251-4-1 Published by: FLAME University, Pune Campus Address: Gat No. 1270, Lavale Off Pune-Bangalore Highway Pune- 412115, India Mailing address: 401, Phoenix Complex Bund Garden Road Opp. Residency Club Pune 411001, India E-mail: [email protected] Website: www.flame.edu.in All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the author. Author: Dr. Vinod Vidwans, FLAME University, Pune E-mail - [email protected] [email protected] Website: http://www.computationalmusic.com/ Dedicated to Bharatmuni -The proponent of Shruti-Nidarshanam or Sarana-Chatushtaya experiment which is the first ever systematic exposition of 22 shrutis (microtones) in Indian Music. Acknowledgements I am grateful to FLAME University for publishing this monograph. Especially, I would like to thank Vice Chancellor, Dr. Devi Singh and the members of the Deans’ Committee, Prof. D. S. Rao, Prof. Rajneesh Krishna, and Prof. Santosh Kudtarkar for encouraging the research. I feel fortunate to get such encouragement and support from my colleagues as the concept of shrutis in Indian Classical Music is highly complex. I would like to thank Dr. Kiran Thakur for constantly discussing the progress of the research. It kept me on track and helped me complete it. Finally, my family needs to be mentioned although they are beyond formality. Any research that I have done so far has not escaped the critical eye of my wife Archana. She not only edited the final draft, but also discussed some of the critical research issues and provided some valuable suggestions. I also appreciate my son Vihang’s curiosity about highly technical research topic such as Shruti (microtones) in Indian Music. Dr. Vinod Vidwans Contents From the Vice Chancellor’s Desk ................................................................. i About the Monograph .................................................................................... iii 1. INTRODUCTION ............................................................................................ 1 1.1 A Brief Overview of the Rhetoric on Shruti ....................................... 2 1.2 The Modern Debate ..................................................................................... 5 2. ANCIENT LITERATURE ON SHRUTI ..................................................... 9 3. VEDIC CONCEPT OF SHRUTI/ SWARA .............................................. 13 4. SHRUTI IN NARADIYA SHIKSHA ........................................................... 23 4.1 Definition of Shruti .................................................................................... 26 4.2 Characterizing Shruti ............................................................................... 28 5. SHRUTI IN NATYASHASTRA OF BHARATA ...................................... 43 5.1 Swara Sthapana (Establishing Musical notes) .............................. 46 5.2 Grama Sthapana (Establishing Scales) ............................................. 56 5.3 Pramana Shruti (Establishing Standard Shruti) ........................... 59 5.4 Shruti-Nidarshanam (Demonstrating Microtones) ..................... 62 5.5 Shruti-Nidarshanam on Veena: Demonstrating Shrutis on Veena ....................................................................................................................... 68 6. SHRUTI ACCORDING TO SANGITA RATNAKARA ........................... 71 6.1 Shruti and Swara-Sthapana (Establishing microtones and musical notes on Veena)................................................................................. 72 6.2 Shruti-Nidarshanam According to Sangita Ratnakara .............. 74 6.3 Integrating Shrutis of Naradiya Shiksha into Bharata’s Paradigm ............................................................................................................... 76 7. COMPUTING AND RECONSTRUCTING SHRUTIS .......................... 85 7.1 Music as a Psycho-acoustic phenomenon ....................................... 85 7.2 Simulating Shrutis ...................................................................................... 90 7.3 Comparative Facts: Bharata’s Shrutis and Contemporary Practices ................................................................................................................ 93 8. A COMPREHENSIVE FRAME-WORK .................................................. 99 8.1 `Shruti Punja’ or `Shruti Megha’ Model (A cluster or cloud of microtones) .................................................................................................... 99 8.2 Analysis and Discussion ....................................................................... 114 9. CONCLUSIONS .......................................................................................... 123 Appendix ......................................................................................................... 125 Shruti Harmonium Key-Board ................................................................... 125 References ...................................................................................................... 129 From the Vice Chancellor’s Desk I am glad that FLAME University embarked on the second phase of its research publications program with the release of a series of monographs. It is noteworthy that this monograph and few other books are being released for publication within six months after FLAME University came into being. The mission of FLAME University includes offering a platform for research in all fields of learning. We encourage faculty and students to undertake original, theoretical, and applied research that is relevant to society. Our teachers participate in national and international conferences to present their research papers. Our endeavor is to take their research into the public domain so that researchers, scholars and laypersons can benefit from the findings of their studies. This publication is the logical extension of this mission. The present monograph titled `The Doctrine of Shruti in Indian Music’, authored by Dr. Vinod Vidwans demonstrates that FLAME University researchers are keen to take up research on Indian themes and concerns. This monograph tries to throw light on the doctrine of microtones in Indian classical music and their relevance today. My compliments to Dr. Vinod Vidwans for writing this monograph. Dr. Devi Singh January 26, 2016 I II About the Monograph Monograph is an extended essay dedicated to a single topic. It gives comprehensive information about the topic in terms of the significance of the topic in the context of particular field, historical or evolutionary development of the topic, technical and updated information and finally the future prospects. This monograph is dedicated to the single topic of `shruti’ (microtone) in Indian music. Although it does not discuss the concept of shruti from evolutionary point of view and historical perspective in strict sense, it does not shy away from it either. Focus is more on conceptual understanding of all the relevant issues related to shruti and their significance and relevance in today’s context while historicity is secondary. The doctrine of shruti in Indian music has been discussed and debated for at least two thousand years. The debate has become livelier during last two centuries after Western musicologists such as William Jones started taking keen interest in it. For almost last two decades the topic is being studied using scientific and technological tools. It is interesting to see that the topic of shruti in Indian music is highly revered and respected but still remained an enigma for practicing musicians, scholars and musicologists. This monograph is written for Indian musicologists, researchers, scholars of Indian music, and Information Technology (IT) professionals who have strong inclination towards Indian music. The implied readership is highly diverse and well-informed about Indian music. It is certain that this monograph is not for a beginner in Indian music. The theoretical concepts discussed in this monograph are highly complex and require deeper level understanding of Indian music. The discussion involves conceptual analysis and at times rigorous technical analysis. The author of this monograph does not distinguish between Hindustani music or Carnatic music. At certain fundamental level all Indian music is one: Samavedic, Dhrupad, Hindustani, Carnatic, Rabindra Sangita, Spiritual music, popular and folk music. The doctrine of shruti is valid for all categories and varieties of Indian music. For centuries shrutis are considered as an enigma in Indian music. Researchers attempted to demystify the enigma by interpreting three seminal texts on Indian music, namely: Naradiya Shiksha, Bharata’s Natyashastra and Sangita Ratnakara of Sharangadeva. However, none of these attempts led to conclusive and convincing understanding of shruti. With thorough scrutiny of the original text from the above-mentioned III three treatises, this monograph comes up with a conclusive proof for equal temperament twenty two shruti paradigm of Bharata.
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