tTbe journal of ftbe /Ibueic Hcabem^ tffoa&ras.
A QUARTERLY
DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC.
Vol. U] THE 1ST QUARTER, 1931. [No.-I Vb
THE JOURNAL COMMITTEE. Editor. Mr. T. V. Subba Row, b.a., b.l. Editorial Committee. „ Vidwan T iger Varadachariar. ■ „ M. S. Ramaswamy Aiyar. „ P. S. Sundaram Aiyar. „ Pandit S. Subramanya Sastri. „ T. L. Venkatarama Aiyar, b.a., b.l. Manager. „ K. S. Viswanatha Sastri, b.a., b.l.
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Special positions and special rates on application. 5% discount for cash u-ith order. THE 1ST QUARTER, 1931 Contents. Page. Editorial ...... 1 The Flute and its Theory.—By M.R.Ry. V. Appa Rao Pantulu Garu, m.a .l.t., Madras. 2 Folk Song in the Ussr,—contributed from Moscow ... 7 Srutis in Carnatic Music and the Technique of V iolin P lay.—By Mr. C. Subrah- manya Ayyar ... 10 T he Soul of South Indian Music—R aga Bhava.—By Mr. G. V. Narayanaswamy Iyer, B.A., L.T., Madras ... 15 T he A rt of Sri Tyagaraja Swami.—By Sangeeta Bhushana Brahmasri Nemam Nataraja Bhagavatar 18 V enkatamakhim and his twelve notes.—By Pandit S. Subrahmanya Sastri, Tanjore... 82 Svaramelakalanidhi, (Coned.)—By Mr. M. S. Ramaswami Aiyar, B.A.B.L., L.T. Madura. 29 Sangita Sudha.—Sanskrit (continued) 34 P urandaradas.—(in Tamil). By Brahmasri Bhagavatar Soundararaja Aiyangar ... 45 H arikeertana V imarsa.—(in Tamil), By Gayana Patu, Eeertana Patu, Srimati C. Saraswati Bai 30 T he Late Govindaswamy Pillai of T richy.—A Great South Indian Violinist Appreciations : (In English, Tamil and Telugu) 58 The Madras Music Conference 1930 67 Papers read at the Madras Music Conference, 1930 ... 73 Books Received ^ Foreign Periodicals » Indian Periodicals ., Reviews ,= In Memoriam. 75 Notes and Comments. 77 Members of the Advisory Expert Committee 1931 79 Patrons and Members of the Executive Committee 1931 80
Xlst of portraits. Facing Page, The Madras Music Conference 1930. H.H. The Junior Maharanee of Travancore on the opening day. 1 The V iolin Competition.—Miss. V.N. Tulasi Bai. 10 The V eena Competition.—Miss. Bhavani Swaminathan, M.A.L.T. 28 The Late Govindaswamy Pillai of Trichy 58 The Madras Music Conference 1930. The President, Vidwans and Officebearers of the Academy. 67
XLhc Journal Of Ube /Ibustc Hcabemip /Ibabras.
A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC.
VOL. II.] THE FIRST QUARTER 1931. [NO. 1. £Mtorial N entering upon the second year of Regarding the nature of the subjects I our career we offer our hearty good dealt with in the Journal, our endea wishes to all our readers. We cannot vour will always be, as it has always help saying on this occasion, that the been, not only to concentrate upon topics support which has so far been accorded which are eminently practical, but also to us, is anything but encouraging. to bring to light the treasures of the Though we are proud to note that there classic literature of the past, in the'full are a few distinguished persons and belief that a study thereof, will purify institutions on the list of our subscribers, and enrich the living music of the pre the total number of subscribers is far sent. It is, indeed, not for us to short ot our expectations. No venture speak of our achievements. There is at can be carried on for any considerable any rate, no other periodical with the length of time, if there is no prospect of same scope and. aims. If our readers, its becoming self supporting. This as then, are convinced that we have a pur pect looks a little tragic particularly pose to serve and a mission to fulfill, it is when most of the work except printing up to them to co-operate with us in is all done for love. The Academy in obtaining a larger support. the years to come, with its programme Our sincere thanks are due to the of extended activities may not find it Vidwans who were good enough to easy to render financial aid to the Jour contribute articles to the Journal. To nal. In the absence of adequate public single out names were invidious. We support, the task therefore of con trust that others who have till now stood tinuing the Journal, keeping up at the aloof, will join hands with us for the bet same time the level of its tone as hereto terment of an art which has done not a fore, will become increasingly difficult. little to sooth and elevate mankind. THE FLUTE AND ITS THEORY.* BY
M.R.Ry. V. APPA RAO P a NTULU G a RU, M.A., L.T. Additional Professor of Physics, The Presidency College, Madras,
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’fff’TT^^RPrj; g h -w Music is the most soul-stirring of the Madras public by the daily broad-casting arts. It has an irresistible charm for all of music at the Triplicane Beach. Music beings high or low. In India, in particular, has been introduced into the curricula of it has been,for time immemorial, associat studies of the University of Madras and ed with religion and religious devotion or thus it has more than re-gained its lost Bhakti. It had formed and still continues position. to form, to a smaller degree, a part of the Musical instruments may be broadly daily routine of life. divided into three different groups:—(1) Music was very much patronised by the String instruments, (2) Wind instruments, aristocracy of the land till very recently, and (3) Percussion instruments—Tata, Su- and there has been a lull. Interest in Mu shira, Avanaddha and Ghana. In India sic has now been very much revived by the all the three varieties have been developed effort of the public at large. Music Aca to perfection and the outstanding instru demies and Sabhas have been formed and ments of the three groups in order, are the I take this opportunity of expressing, on Veena, the Flute and the Mridanga. All behalf of the public, our thankfulness to the these instruments in some form or other Music Academy, which has been giving a were known from very ancient times. strong impetus towards the advancement History records their existence from 2700 of Indian Music. Standing behind the B.C. the time of the first Dynasty of the Ripon buildings, I feel it my duty to Emperors of Egypt. Coming to India, the acknowledge the help rendered in this direc earliest reference to Yeenaisto be found tion by the Corporation and the immense in Yajurveda Brahmana and the Flute is benefit that is being conferred on the mentioned in the Puranas. These instru- 'From a Lecture delivered by the author at the i. The ancient Egyptian paintings in the Cairo Music Conference of 1930—held under the auspices Museum. Musical concert with harp, flute and dan of the Music Academy—on the day of its opening by cers. 2850 B.C. (2700 B.C.) H. H. The Junior Maharani of Travanoore. ii. Sarabha Sastri’s Flute. The lecturer profusely illustrated his remarks by iii. Illustration of sound waves. throwing a number o f slides on the screen among iv. Progressive waves—Stationary waves. which, mention may be made of the following :— y. Closed and open pipes, THE FLUTE AND ITS THEORY 3 meats have been very much improved from ment will be explained below. This pecu- time to time. The introduction of “ Jivali” sliar quality of the flute-note gives the flute into the Veena is one of the marvellous an expression of its own. “ The poignant achievements in practical music. The rich expressiveness of the stringed instruments ness of the sound is by that means very much is in great contrast to the gentleness of the improved as the suppression of notes having flute-note” . Berlioz says, " If it were re the plucked point as a node, is avoided. quired to give a sad air, an accent of deso- The flute was known to India chiefly as an lation and of humility and resignation at accompaniment to music but it was brought the same time, the feeble sounds of the flute’s recently into the fore-front by that great middle register would certainly produce the Master-artist the late lamented Sarabha desired effect.” On the other hand, on Sastrigal of Kumbakonam. The Mridanga account of its pure and light quality of tone, had attained a unique position in our mu the flute is very well suited to music of the sic performances. A very ingenious me gayest character, “ Sweet and tender music thod of loading the drum-head transforms is best rendered with the flute” , and at the the unharmonic overtones into a series of same time it is most potent in invoking the harmonics. It is thus a matter of pride that loftiest emotions of human nature. No ndi&n genius had been responsible for the wonder, therefore, it adorned the hands of raising of the musical value of these three Lord Sri Krishna. May His blessings be groups of instruments to the highest level. upon the Academy I The second of these namely the flute is I will now try to give here an idea of the . the subject for the evening. The flute is physical principles underlying the flute, the simplest among musical instruments. Before doing so, I shall give you some intro Though simple and cheap it is exquisite in ductory ideas regarding the production aud quality and the art of flute-playing has propagation of sound in general. Bodies in been developed to a considerable com a state of rapid vibration emit sound. A plexity, to be able to express the Various sounding body vibrates to and fro, about shades Of music. The agility and the abi its position of rest. Hence it alternately lity that can be displayed in the art of pushes and pulls back the medium in cont flute-playing are marvellous. Flute can be act with it. Rapid pulses of compression adapted to all kinds of music and is parti and rarefaction are alternately produced in cularly useful.in fast music. The musical the medium, ordinarily air. These pulses possibilities of the flute are immense. The travel in all directions with a definite velo note given out by the flute, particularly city (v), which is 1100 feet per sec. in air. when sounded softly, is the simplest com As sound travels in air we have regions pared with those given by other musical of compression and rarefaction at equal instruments. The significance of this state distances apart. The distances between vi. Different modes of vibration possible. note at the mouth-bole of the flute and the pontrol vii. A number of slides illustrating the Impor whioh the body of the flute has upon it. tance of the quality of music. xi. How the various notes of the 'Hari Eambhoji' viii. Acoustic speotrum of the flute^note explaln-Raga are produced by a flute and the calculations of i iDg the different note qualities. ihe mouth and Anger hole corrections. ix. The effect of opening the holes with fingers. xii. Slides to Illustrate the Mathematical Theory x. Slides Illustrating the production of the edge- of the Flute and the practioe thoreof. 4 THE JOURNAL OF THE MUSIC ACADEMY consecutive compressions or rarefactions tude does not coincide with the open end are called wave-lengths(l). The number but is slightly above it. The excess of of compressions that pass any fixed point length is 0'6 times the radius of the bore of in the medium is also the number of pulses a cylindrical tube. The note given by a that pass the point per second, and this is tube open at one end only, differs from the called the (vibration) frequency (n) of the note given by a tube open at both ends. sounding body; v = n l gives the relation What this difference is due to will be between the three quantities. considered in some detail. A column of Different points in the medium have air, in a cylindrical tube open at one end different degrees of compression and rare only, can vibrate as a whole and the sound faction. The condition of the points is given out has the lowest possible frequency. sometimes better understood by noting It is possible fcr the column of air to their displacement, due to compression and vibrate in 3, 5, 7 etc., equal parts and the rarefaction, from their position of rest. The corresponding sounds have frequencies graphical representation of the displace 3, 5, 7 etc. times that of the fundamental ments of the different points takes the fami i. e., the lowest frequency possible. If n is liar form of a simple progressive wave. the frequency of the fundamental, 3n, 5n, In, etc., are the frequencies of the other notes and they are called the higher harmonics. One point must be made clear. When such a Displacements to the right are represented column of air is vibrating fundamentally iJA, by lengths below the horizontal and those the whole length as one, it is found to to the left by lengths above the horizontal; vibrate simultaneously also in the other Hence a point of maximum compression possible forms i.e., it is found also to vibrate* Corresporlds to the point 0 , on the left of in 3, 5, 7 etc., equal parts. So it is clear which, particles are displaced to the right that along the fundamental note, the higher and On the right of which, particles are harmonics are also present and the sensa displaced to the left. A similar considera tion produced is not due to the simple vib tion holds for a point of rarefaction R. ration, the fundamental alone. Anyhow the Places of no displacement are called nodes loudness of the various harmonics decre and the points midway between consecu ases rapidly with their number, i.e. the note tive nodes are points of maximum displace 3n is less loud than the note n, 5n is less ment and are called antinodes. loud than 3n and so on. So the predominant A wave is progressive and unlimited in note is thefundaraental. But the simulta an endless medium. In a limited medium neous presence of the higher partials gives like a column of air closed at one end and a different quality to the note; This quality open at the other, the wave is li mited by this of a note given by any sounding body is thus length, being reflected successively at the determined by the particular harmonio- two ends. Two wave trains move in oppo that are attending on the fundamental. It site directions and a steady state of is this quality of a note that gives it a vibration is set up. The open end is an character of its own. It is on account of antinode and the closed end is a node. If these different qualities of notes, that we are a tube is open at both ends, each end is an able to distinguish the notes given out by antinode. The point of maximum ampli different musical instruments, even when THE FLUTE AlTD ITS THEORY 5 the fundamental note is the same. The because the vibrating air column, from the quality of various human voices is different centre of the mouth hole to the end of the and that is why we are able to distinguish tube, is the longest. If the hole next to the one voice from the other. open end is not closed, the vibrating length In the case of a column of air open at of the air column decreases and the note both ends, along with the fundamental n given rises in frequency. Thus by opening all the harmonics 2n, 3n, 4n, 5n, etc., are the finger holes in order, the notes given out present, their loudness decreasing quickly rise in frequency. in the order. Thus it is clear that the What is it that is really happening when accompanying harmonics are more nume a note is produced on a flute ? The answer rous in this case than in the case of a tube to this simple question is, however, not a open at one end only. Hence the sound simple one. To understand therefore the given out by a column of air open at both production of the different notes by the ends is richer in harmonics and hence is flute, it is convenient to discuss the matter said to be richer in quality. in two stages viz (i) the origin of the Various apparatuses were devised to study sound and (ii) its maintainance. the music! quality of sounds given out by different musical instruments. It is not (i) Edgetones. possible to mention all the results of such By blowing a steady jet of air through a study. It may be stated that the a slit formed by the two lips, against the notes of a plucked string are very rich in top edge of the mouthhole of the flute, sound quality, whereas the notes of a bowed is produced more or lessen the way in Btring are not so rich. Those of a flute which soqnd is produced by blowing when gently blown are the simplest in into a key-hole. This sound is called an quality, with almost no trace of an edge-tone. The frequency of the note accompanying harmonic, Even, other depends on the velocity of the jet of air and. wise, the second harmonic (2w) alone, is just increases with it. As the velocity is slowly prominent and on the whole the flute note increased the frequency of the edge-tone is is very simple in quality when compared also slowly increased, The frequency to those given by other musical instruments. of the edge-tone is also controlled by It is on acQOunt of this peculiar quality of the distance between the lips and the of the flute note, that sweet, tender and sad top edge of the mouth hole. This is music can be rendered so well by the flute. why we often find a flute-player adjust In the case of a flute, we have a tube open ing that distance, in producing small at both ends, which is the same as saying, changes in frequency or of pitch. From 'w e have an air column open or free at both this it would appear as if the frequency of ends. The mouth hole is the open end on one the edge-note and therefore of the flute note, side. Starting somewhere near the middle of also increases as the velocity of the jet of the tube we have generally eight finger holes, air is increased. This, as every one more or less equally spaced and almost of knows is not the case. Though the velo the same diameter. Everyone is familiar city of blowing is gradually increased, the with what is called fingering. When all frequency of the flute note remains steady the eight fingerholes are closed the flute and when the velocity reaches a particular gives the lowest note when gently blown, value, the frequency of the flute-note 6 THE JOURNAL OF THE MUSIC ACADEMY suddenly jumps to the octave i.e. frequency the jump to the octave occurs and then the v suddenly changes to 2n. Why then flute is said to be ‘ overblown’. This is how should the edge-note rise in frequency and the higher notes of the musical tcale are not tbe flute-note? Can it be so ? How is produced in the flute. that possible ? (ii) Edge-tone Maintainance. Sarabha Sastriar’s Flute. It is in answering these queries we I was extremely fortunate in procuring have to consider the effect of the body a flute used by the late Sarabha Sastriar of of the flute i.e, of the air column from Kumbakonam, through the courtesy of his the mouth-hole to the nearest finger hole elder brother M. R. Ry., Rao Saheb T. V. open. It is the effect or reaction of this Sivakumara Sastriar and his nephew Mr. column of air that is responsible for the K. S. Viswanatha Sastri, Advocate, High maintainance of the flute-note as heard. Court.* With the help of Miss Lalita, a- If there were only the edge of the mouth- Senior Honours student who can play on the hole, with a jet of air blowing against it and flute, I was able to fix up the scale of music if there were no air column next to it, the when the notes were played in succession. frequency of the edge-tone does increase The accompanying diagram will make it gradually with the velocity of the jet. This clear what notes were produced and how. was experimentally demonstrated. But here in the flute we have a column of air next to ^ Sa « • • • the edge, which acts as a dragon the sound Ri o • • • impulses caused by blowing against the edge. Ga o • • o The air, surrounding the edge and produ Ma o • o o cing the edge-tone, is said to be coupled with ~ Pa o o o o Pa the air-column of the flute. The mass of this -v • Dhao • • • o o o o Dha column of air is considerably greater than • • o o o o o Ni o that producing the edge-tone. In a coupled ? i 0 53 system, it is a law that the more massive is Sa o • 0 o o o o o Sa 3 the dominant. Therefore the column of air Ri o o 0 o o o o o asserts itself and refuses to yield to all the ! Ga o o 0 0 0 0 o o o impulses given by the edge-tone. The ^ Ma o o column of air dances in tune only to such Notes ranging within two ootaves were edge-tone-frequencies that are natural to it. thus produced. Sa belongs to the lower The frequencies natural to a column of air open at both ends are as stated above, the octave. Sa belongs to the next or middle fundamental (n), the octave (2re), the twelfth octave and Sa belongs to the higher octave. (3n) etc. So when the edge-tone agrees in In the top row all the finger holes are frequency to the fundamental of the column closed and the mouth-hole is partly closed of air in the flute, we hear that note (n). by the lip. In the last but one row all the When the velocity of blowing is increased holes are open, the mouth hole as well as and the frequency of the edge-tone rises, all the finger holes. the column of air refuses to respond to any frequency other than n until the frequency * The present Hon. Jt. Secretary of the Academy of the edge-tone reaches 2n. This is how and the Manager of this valuable Journal. FOLK SONG IN THE tfSSR 7 Harikambhoji Mela. mouth-hole correction + finger hole correc The ratios of the frequencies as obtained tions. Taking two observations at random, experimentally with the help of a Sono m and / were calculated, these values meter or Monochord, indicate clearly were applied in the other observations that the scalo of musical notes is the made and the ratios of the vibrat one corresponding to Harikambhoji Raga. ing lengths were also calculated, in those According to the simple formula v=nl cases. The calculated and observed ratios given above, since v is constant for the were found to agree. Thus the validity of the air in the flute, n must vary inversely method of obtaining the mouth-hole and as the length of the vibrating column finger-hole corrections was experimentally of air. The point corresponding to an established. anti-node is not mechanically fixed at the centre of the hole which forms the The Mathematical Theory of the flute boundary of the column, as was already was not attempted for a long time. But mentioned in the case of the open end recently the Theory of Alternating Current of the tube. With a number of finger Electricity in its present-day practical holes, one by the side of the other, it is not applications in Telephony, has given, a possible to apply the same law viz. adding start in the working out of the mathe 0‘6 R which holds in the case of a single and matical theory of the flute. Some work wide open end. Hence the finger hole and has been done and the agreement bet the mouth hole are to have some other ween theory and practice is not yet very corrections which are peculiar to them. satisfactory. To subject the agility of the These are oalled m and f and have been fingering of the flute player, to exact calculated empirically. The rule employed mathematical analysis, is really a task was that the total lengths of the vibrating air and perhaps we shall have to wait lon(£ columns, were inversely as the frequencies before we can expect a rigorous and accu of the notes produced. The total length rate mathematical analysis of the theory of = actual length of the air column, + the flute. FOLK SONG IN THE USSR. Contributed from Moscow ,* Russian folk art was accessible in the brought about a desire for cultural indepen past only to a limited circle of amateurs, dence. Each people discovered in itself in learned ethnographs and poorly attended creative power; the powerful genial artist museums. Of all, it received the least atten awoke in the people. A. great fountain tion but was valued by its creators—the spurted from the source of the national folk various nationalities. The building of new songs, which, it seemed, had been complete social forms, new life and culture which ly exhausted. The folk music of the people, commenced after the October Revolution the most emotional of the arts and so also affected the art of the peoples. The closely interwoven with daily life, came to independence of the national minorities life from untouched dead archives, exciting ’ Specially composed for and publication permitted by Mr, M. S, Ramaswami Aiyar, B.A., B.L., L.T. 6 THE JOURNAL OF THE MUSIC ACADEMY the. thought and emotions. This was great choruses with soloists, the orchestras of ly aided by the fact that musio plays a national instruments, the balalaika and great role in the celebration of proletarian harmonium. The former melancholy melo holidays and became a component part of dious village-song has given way to the every demonstration, meeting and congress. popular “ tshactushka,” a rapidly sung It has been energetically cultivated in couplet very often composed from city waltz workers’ clubs and by the end of 1928 there motives, polkas or pure peasant songs. The were over 10,000 musical circles and about text is of four line rhymes, composed as 30,000 such ciroles in the villages. they go along, with absorbing, merry tunes. The propaganda of this form of vocal com There is a general tendency noted to position is successfully carried on by the collect, register and immediately turn over able Leningrad chorus under the direction to the masses, the musical wealth stored up of Klimov. for centuries, to reflect the joy of freedom and deliverance in new songs and also the The process of collection, propaganda and new construction of life, and to compose reworking of the musical wealth is most in new symphonic, chamber, opera and ballet tensively found in the Ukraine. There is the music on the basis of the old musical splendid chorus the “ Dumka” , well known oulture. in Western Europe and in Kiev is found an ensemble of singers, restored from the 17th Museum collections, song albums and century, who play the many stringed stylish reworking for the " few,” are no “ kobze.” longer observed anywhere. The song has A large group of youthful oomposers in again become the “ truth” of life, as it was picturesquely defined by an old peasant Harkov and Kiev are continuously furnish ing from the material of folk songs, operas, woman of the Novgorod district. ballets ” chamber compositions, and sym An examination of several points on the colorful ethnographic map of the Ussr gives phonies. The symphony of Leo Revutzky is especially noteworthy. A similar process, an interesting picture. slightly less forceful is found in White The White Russian people who dis Russia, in the capital Minsk. There too tinctly lost the characteristics of their state choruses with cymbal accompaniment “ Bound picture” in the cities, have never have been organised. theless commenced partially to restore their rich musical wealth which remained Of unquestionable novelty in the world of with the peasantry. The exchange of song musical culture, is the rebirth of the materials between city and village is very national music of the Soviet East, especially typical in the RSFSR today. Such compo of nationalities which prior to our era had a sers as the well known symphonist Andrei finely developed, melody culture—the Arabs Pasbenko, Leningrad, Lobachev, Buglai, and Persians. The English Musical Expert, Davidenko, Koval and many others in Henry George Farmer (see “ The Journal of Moscow, gladly make use of White Russian the Royal Asiatic Society of Great Britain song material and form, for their mass and Ireland, 1925 No. I.), points out the revolutionary songs and instrumental great influence of Arabian music, both in compositions. The workers of the theory and practice, on European music bet cities have become very fond of peasant ween the V III*11 and XIBh centuries. The FOLK SONG IN THE U^SE 9 monumental work of the Soviet learned The musical culture of Georgia (capital- musicians Uspensky and Belaev confirms Tiflis) and Armenia (capital-Erivan) grow this (“ Turkmen Music — Research and on a large European scale but with unchan Registration of 115 Songs ”). The Arabian ged ties with folk song. In Tiflis, the and Persian colorful music has been pre Georgian Opera has developed splendidly served in even greater purity of complex (well-known works of Arakishviki, Pali- melodies and rhythms by the Azerbaijan ashvili), the conservatories are graduating Turks. The latter have now organised well trained young musicians, the Tiflis their own Opera at Baku, have conserva Radio Station is propagating music by tories, but have not departed from the broadcasting and there are several village original of their musical art—folk song. choruses in Tiflis which collect and re-work The great work of Zataevich, who collec songs. The well known blind Armenian ted 1000 songs of Kirghiz (Kazaks) is of composer Nicolai Tirgranov is still at work inestimable value. He is shortly to issue and the gifted composer Stsendarov, pupil 700 additional registrations and has pre of Rimsky Korshkov, recently died leaving pared about 70 poetic forte piano reworkings his opera, “ Almast ” and an orohestral re of Kirgiz melodies. A study of the one- working of Armenian folk music. Gifted voice melodies of the Kirgiz, Turkmen and Armenian youths have already come to Azerbaijan Turks, clearly speaks of the fact take the place of the old workers. Recent that this is not a primitive but highly ly the Armenian State Musical Publishing developed melody art, an art which was House issued a number of vocal and lost to the European composers at the instrumental numbers of the Romances of beginning of our century. These Eastern Melikian, Tergevondian, Zakarian (songs of national composers not only teach labor), and Stetsanian, Chaohanurina, a technique of virtuousity and melody Barchudarian. All these are genuine j composition but also how to entrench music Armenian musicians with European tech in the very depths of life and how new nique and great natural gifts. musical methods can express human ex periences. The Kirgiz, for example, sing The national minorities do not lag behind at the most serious business meetings, in the temp of musical development. The they establish a betrayer by a special Chuvash, Tatars, Lower Volga and Crimean song; their funeral songs are a clear peoples, the Bahkirs already sing their own major, and separations are portrayed in songs, have music notes, musical schools dance rythms. The Turkmen—Uspensky and choruses. The Tatars in Kazan have relates—listened to theirsingers, in a small formed an opera theatre. The songs of crowded hut, standing from six in the even Dagestan have also been collected (a musi ing until two at night. Their attitude to cal school was recently opened here) as music is reflected in their saying: “ Singers have the songs of the Chechensti, Cherkessi hasten on galloping horses to a happy Abchasi (Caucasus); the Abchas songs with people; to an unhappy people the Tsar their peculiar three voioes as the Georgian comes with soldiers.'* One Turkman singer songs, have been reworked for the orchestra refused his honorarium for singing with by a young musician Kovachem. Many of the words, “ I Sing—This is my gift to the the songs of the Yakuts and Buriat Mongo people.” lians (Siberia) have been registered by the 3 10 THE JOURNAL OF THE MUSIC ACADEMY enthusiastic cultural workers Salmont and The time is not far distant when there will Subbotini. be sound music, sound photography of the peoples of the Ussr on gramaphone records It is impossible to mention in so short an (many are already so registered) and with article all the accomplishments in the field the development of the tone film, there will discussed. be sound pictures. It will then be possible In conclusion it is necessary to point out to listen to the songs and instruments of the development of musical culture of the different nationalities and witness the separate nationalities is not an isolated dances and games- of the peoples of the phenomenon. .We observe a continuous USSR. This will furnish material not exchange by means of visits of national only interesting for cinema pictures but choruses,, instrument players, opera valuable scientific material for the ethno troupes, exchange of music notes. Radio, grapher, linguist, musician and social and there are radio stations in all the worker. It will replace the costly expedi Republics of the Union, carries the songs tion and will be a speech-book of live of the nationalities'over the entire Union. national creativeness. SRUTIS IN CARNATIC MUSIC AND THE TECHNIQUE OF VIOLIN PLAY. BY Mr. O. Subrahmanya A yyar. Govt. Examiner of Railway Accounts, M. S. M. Ry. . In my lecture before the Madras Music The recent Musical Conference held in Academy on 22nd December 1928, summa the Xmas week of 1930, confirmed the pro rising the" views expressed by me in a ceedings of the Expert Committee,which met series of five weekly articles in the Literary in the Easter of the same year and has fairly Supplement to the “ Hindu,” dated the 31st corroborated the views then propounded by October, 7th, 14tb, 21st and 28th November me. It has been held by the Conference 1928 (published later in 1929 as a booklet), that for our music, 22 srutis are sufficient I laid stress on the important variation of for all practical purposes and their frequ a comma (frequency ratio of 81/80) in the encies are 1, (256/243, 16/15), (10/9, 9/8), harmonic notes existing in our Carnatio (32/27,6/5), (5/4,81/64), (4/3,27/20), (45/32, Music, pointed out that this variation led to 64/45), 3/2 (128/81,8/5), (5/3, 27/16), (16/9, the twenty two srutis as classically under 9/5), (15/8, 243/128). The distinguishing stood on the Sa Pa and JSa Ma basis, and letters of these srutis given in the Conference emphasised then the necessity for correla are S, i?i R2 As G± G2 G3 G\, M\ M% M3 M^, tion (by our musicians and artists) of these P, D1D2 D3Di, Ni N2 N3 Ni. It will be srutis with definite ragas. I then mentioned noticed that the relation in relative frequ the characteristic srutis which to my mind encies,between the srutis within brackets, is created the Bhava of the following ragas viz. a comma (81/80). The President of the Sruti Sankarabharana, Kambhoji, Bhairavi, Todi, section of the Conference of Easter 1929, Kalyani, Kharaharapriya and Mayamalava however, mentioned, that not only notes Gawlq, 25/24, 25/16 and 48/25 (as I observed prev|- THE VIOLIN COMPETITION. (1st Nov. 1930.) Miss. V. N. TULASI BAI. (Winner of the First Prize.) SRU1T8 IN CARNATIC MUSIC AND THE TECHNIQUE OF VIOLIN PLAY l i ously), but also other notes of this series by the drawing of the bow on the 36/25, 25/18 and 32/25 enter into our musical string, with the left finger pressing the compositions. string on the finger board, at the* proper For the benefit of the lay reader, the notes place, without any Gamaka. 1 termed harmonic may thus be specified:— The only notes I have so far heard in (a) The harmonic notes obtained on a Sa Suddhamadhyama ragas elongated without string have the relative frequencies Gamaka, and from which Raga Vistara or (being the inverse of the vibrating expansion is done, have the frequencies portion of the string, open string 1, 9/8 6/5, 5/4, 4/3, 3/2, 5/3, 16/9, 15/8 i.e. S. being 1) of 25/24, 16/15, 10/9, 9/8, 6/5, Ri- GV G3. Mx. P, D3. Ni, N3. The two har 5/4, 4/3 3/2, 5/3 and 2 obtained by monic notes 16/15 and 8/5 (J?2and'£>a) should damping 1/25, 1/16, 1/10, 1/9,1/6,1/5, be capable of elongation, but I have not 1/4,1/3, 2/5 and of the string observed them elongated to even 6 madras respectively. (See numerator of of time. The other srutis are all in Gamaka frequency ratio except for 5/3). to my knowledge, and the following illus (b) Similarly, the harmonic . notes trations are given to show liovv they are obtained on a Pa string by damping actually produced in playing music. the same aliquot parts are 25/16, Anybody playing Carnatic Music on 8/5, 5/3, 27/16, 9/5, 15/8 (2,9/4, 5/2, 3). the Violin will be aware that the tuning of The notes in brackets are only one the four strings is done Sa Pa, Sa Pa i.e. first octave higher than certain notes and fifth, first and fifth respectively in already obtained oil Sa string. English terminology, the English G string (c) Similarly, the harmonic notes ob being used for the Adhara Sruti, or funda tained by a Ma 4/3 string,, if we mental note Sa, the two strings to the right have it on our Veena Or Violin, being one octave higher than the two would be 25/18, 64/45, 40/27, 3/2, corresponding strings on the left. The 8/5, 5/3, 1G/9, (2. 20/9, 8/3). fingering is done with the fingers of the left hand, of course, by right-handed persons. Note. The fraction 2/5 is just one “ node” or point of division higher When the left hand does not move up, than 1/5, which gives Ga 5/4 on the the index finger produces generally, on the Sa string, and hence the note 5/3 open Sa string Ri, the middle finger Ga, the will be in concord with Sa. The ring finger Ma, and the little finger Pa. I actual harmonic notes, which we play the violin generally, as above, Ri use, will be mentioned later. representing Ri R3 Rj Ri, and Ga respre- My idea in this article is to illustrate senting Gt -£?a G3 Gt, and Ma representing how these srutis of our music are produced Mi Mi M3 Mi. Occasionally the middle in actual Violin play. As far as its technique finger steps to Pa (3/2) on the Sa string, and then the index finger plays Ma and the ring has been understood by me, I may state that the real test for harmonic notes, as finger Dha. evinced in good classical compositions, is Similarly, on the open Pa string, the that they (the harmonic notes) are elongated. index finger plays Dha. the middle finger Ni, when necessary, for a decent interval, and the ring finger Sa, and little finger Ri. say 6 madras of time or more, clean, As on the Sa string, when occasion* lly 12 THE JOURNAL OF THE MUSIC ACADEMY going up to a higher octave on the Pa string, ii. In Kambhoji, a janya raga in Mela 28 the index finger gets up to Sa, the middle (Sa Ri Ga Ma Pa Dha Sa[Sa Ni Dha finger is used for Ri, the ring finger for Pa Ma GaRi Sa), the characteristic Ga, and the little finger for Ma. notes are Ga 5/4 and Dha 5/3. These With this preamble, I turn now to the two are elongated without Gamaka ragas. I do not propose to deal at first with to a considerable extent in raga Mayamalava Gowla Raga, though it is expansion. Again Ri\s[GaRifin this taught first, but prefer to leave it to the raga also, as in Sankarabharana. In last for a discussion of its technique. musical pieces Dha is also elonga Note. In what follows, if a comma (,) is ted without Gamaka, vide “ Bhakta given after a note placed within/ /, it denotes Para” in the Charanam of “ Evari- an elongation of the said note by one matra mata ” composed by Tyagaiyar. of time, and a dash over the notes denotes /Ri, Ma Ga Sa{ is a characteristic half time for each note. ending where jRi,[ is in Gamaka, i. Take Sankarabharana (Mela 29); probably Ra. the Bhava of this raga is correctly iii. In “ Ritigowla,” a janya raga in produced when Ga is 5/4 and Ni is Kharaharapriya (Mela 22), the char 15/8 ; these two srutis are elongated acteristic Ga and Ni are 6/5 and without Gamaka and are indeed 16/9 respectively. They are elong graceful notes being harmonic ated without Gamaka and give notes, whereas the is played as sweetness and the correct Bhava. Ga Ri and Dha is played as Ni Dha, This can be seen in the Ata Tala that is to say, Ga and Ni are Varna composed in this raga. touched by the middle finger iv. In Kharaharapriya raga (Mela before the index finger steps to 22), Ri is i ?4 (9/8). This can be Ri (9/8) and Dha (27/16) respective elongated without Gamaka and is ly. It is thus that the correct Bhava played in consonance with the of these notes in the raga is pro open Pa string on the left. duced. For instance, when we play/ Sa Dha, Pa) the index finger v. In Surati, a janya raga in Harika- mbhoji(Mela, 28), the characteristic produces Dha, but the Dha does not Ni is 16/9, and is elongated without reach below up to 5/3 but stops a little higher at 27/16; and as a Gamaka. matter of fact, the higher Sa is again vi. In Hanumattodi (Mela 8), the Ga produced after Dha i.e.—the ring and Ni are Sadharana Gandhara and finger touches the Pa string, before Kaisiki Nishada respectively. But the note Pa is played on the open they are really [Ma Gal and ISa Nil string i.e. there is a Gamaka, when since the ring finger touches Ma the sruti 27/16 is desired to be and Sa respectively before the produced. Again, when we play middle finger touches Ga and Ni, /Pa Dha,Palthe Dha is 27/16 produ that is, these notes when elongated ced by a Gamaka, or a small move are in Gamaka in this raga gener ment from 5/3 upwards,and then the ally. Ri Ga Ma are 16/15, 6/5, 4/3 music drops to the subsequent Pa and Dha Ni Sa are 8/5,9/5 and 2 on SfeUTIS IN CARNATIC MUSIC AND THE TECHNIQUE OF VIOLIN PLAY 13 ascent. This is how Svaravali and iSa Ni Sa Nil but the middle Alankara are taught in this raga. finger on the Pa string, which But the srutis 16/9 and 32/27 are produces Ni, does not drop down also largely used, the drop of a to 15/8 position. comma even in 16/15 and 8/5 are x. In Atana, though stated as a janya noticeable, and'the South Indian raga of Sankarabharana, the Ga is ear seems to take more delight in not 5/4, and has long ago been drop i?i Gi and Dj. Ni in this raga. ped out. The Ga is always in vii. In Saveri, ajanya raga of Mapa- Gamaka nowadays, even in many of malava Gowla (Mela 15), the chara the songs of Tyagaiyar dropping to cteristic Dha is 128/81, D± (a comma 6/5 or below. All the four Nis, flatter than 8/5). This note (128/81) Ni Na N3 Ni are in use. IV4 is in is reached by a small upward move Gamaka when in descent for e.g. the ment from 25/16 on the Pa string 1st A j in Sa Ni Dha, Ni, Sa. In and not from Pa as may be consi jSa Ni Pal the Ni is 9/5, but in IDha, dered by some. So also Ri, when Ni Saj Dha is 27/16 and Ni is 15/8. In in Gamaka, is 256/243 Ri and is IDha Ni Ni Sa Sa Rij Ni is 16/9 and produced by an upward movement Dha is 5/3. The Ga is played in the from the note 25/24. higher octave as IRi Ma Ri Mai. In IDha, Pal the Dha is even 16/9 in viii. Similarly in Gowla, the characte some cases. ristic Ri is 256/243 or Rj. This is also produced by a small movement up xi. In Begada, when the special Ma wards from the note 25/24. (27/20) i. e. a comma sharper than 4/3, elongated as it is in descent, is ix. In Kalyani, the characteristic Ga used, it is reached from Pa. The and ./Ware a comma sharper than middle finger steps to Pa (3/2) and 5/4, and 15/8 respectively, and are the said finger plays [Pa Ma Pa Ma/ really 81/64 and 243/128. Only then in half time in the slide i. e. in is the correct Bhava of the raga Gamaka. Of course, the finger does indicated. These notes are pro not drop below, to the position 4/3. duced in the following manner: Ga is produced by a light upward m ove- xii. In Bhairavi (Mela 20), the charac ment from 5/4 (G3) position where teristic Ga is 32/27 but if it is as Ni is dropped from Sa. This elongated, it is reached either from movement regarding Ga can be Ri (9/8) or from M 4/3 downwards, noticed when playing even the and in the latter case it is produced earliest taught Gitam in the raga e.g, as Ri, Ma Ga. No doubt the middle jDha Dha Dha Ga Ga Ga,l the first finger drops to a position below 6/5. Dha and Ga are 5/6 and 5/4 respec The characteristic Ni is 16/19 (vide tively and the upward Gamaka is Ma Ni Dha P a ); and the Dha is noticeable to obtain the other two also generally 128/81, which is not notes raising ttie notes to the pitch elongated except in Gamaka. 27/32 and 81/64 respectively. When xiii. In Arabhi, & janya raga of Sanka Ni is elongated, it is heard as rabharana, while playing the Ma 14 THE JOURNAL OF THE MUSIC ACADEMY Ga Riand Sa Ni Dha in descent, one descent, Mg Ga Ri Sa and Sa N i feels that Ga and Ni are close to Dha Pa) the Ri and Dha are 25/24 Ma and Sa respectively, the middle 25/16 respectively. finger being very close to the ring- xvii. In Nata (Mela 36), I feel that finger in both cases. They are not the position of Ga is higher than elongated at all (lest the Raga Bhava that of Kalyani Ga and so also Ni should deteriorate), nor are Ma Ga than that of Kalyani Ni. They seem iGa Ri and Sa'Ni Ni Dha played. to be 32/25 and 48/25 respectively. xiv. In Kedara Goivla (a janya raga in The Ri in this raga is dropped from Harikambhoji, Mela 28) when we play Ma and is 32/27, and as the raga is iPa Ni, Sal the elongated Ni is now sung, the descent Ma Ri is played as /Sa Ni Sa Nil and the Ni very common. If the notes Ga and reaches up to 9/5 only and not below Ni were properly understood, the up to 16/9, though when we play Sa confusion or mixing up of the Bha Ni Dha Pa, the Ni reaches 16/9- va of this raga in “ Sringaralahari ” , Similarly, in Dhanyasi (janya in (a musical composition in Raga Mela 8), in fPa Ni, Sal Ni is played Nilatnbari) as now sung, would not with Gamaka up to 9/5 only, but in have arisen. IPa Ni Ni Sal 9/5 is played clean, xviii. In Begada, the Ni has become flat but it is just a double touch at the in elongation when weplay/lW„DAa correct point. Similarly also, the Pa Dha Ma, Pal; the /2V»„/ descends as same Gamaka is noticeable in iSa Ni Sa Ni Sa Nil up to 9/5 only, Madhyamavati, {Sa Ri Ma Pa Ni Sa but Sa has to. be touched last, Sa Ni Pa Ma Ri Sa) where I Pa Ni, before Dha is played. Otherwise Sal combination occurs. the Kambhoji Bhava will creep in. xv. In SudJha Saveri, a janya raga in In Kambhoji, Ni is 16/9 generally Mela 28 or 29, (Sa Ri Ma Pa Dha Sal hut occasionally the svaraslDha Ni, Sa Dha Pa Ma Ri Sa) as also in DhaI are played so as to produce Maihyamavati, a janya in Khara- the effect iDha Sa Ni Sa Dhal. harapriya (Sa Ri Ma Pa Ni Sal Sa xix. Regarding M3 and M i: —The Ni Pa Ma Ri Sa), the Ri in descent Prqtimadhyamas to my ear seem is R3 and it is clearly seen to be in to be in Gamaka when in elonga Gamaka from Ma 4/3 or there is tion, and I do not propose to discuss Gamaka from R3 to Ri when the the other important Pratimadhyama music drops to Sa. ragas in this article but reserve xvi. Mayamalava Gowla (Mela 15). In them for another. this raga, Ri is 16/15 and Ga is xx. To summarise, the harmonic notes really Ma Ga ; similarly Dha is 8/5 that are played in elongation with and Ni is really Sa Ni. This out Gamaka, in the Suddhamadhy- Gamaka from Sa and Ma leads one ama ragas are 1, 9/8, 6/5, 5/4, 4/3, to doubt if Ga and Ni are 5/4 an d 3/2, 5/3, 16/9, 15/8 derived from 15/8. They seem really sharper Shadja and Suddha Madhyama, Sa, than 5/4 and 15/8 respectively. In Ma (4/3) only, except for 9/8 and 15/8 THE SOUL OF SOUTH INDIAN MUSIC—RAGA BHAVA 1 ? derived from Pa. The eleven behoves every learned musioia n other discussed srutis 256/243,10/9, and skilled player, ini order to pre 3 2/27, 81/64, 27/20, 45/32, 64/45, vent admixture of foreign musio 128/81, 27/16, 9/5 and 2*3/128 are (Hindustani or English) into our all in Gamaka, associated in actual music,to publish a detailed informa play with some harmonic note re tion as to which Svaras are elongat ferred to above (including 25/24 and ed clean without Gamaka, and which 25/16). with Gamaka, in the various ragas I made bold to write this article re and musical compositions, as such garding the technique of violin play, information would, in my opi because in a private performance nion, lead to a correct expression of of mine, before certain talented and the Raga Bhava. Lastly, I would skilled musicians, I was assured add that my article should not be that the little that I played in each misunderstood as stating that I raga was true in pitch and correct propose to disclaim all the 22 and in Raga Bhava. I am confident more srutis, and that I adhere to therefore, that this article would the 12 Svaraschanas. Nay, the certainly bring some light to extra srutis are in actual practice, amateurs groping in the dark and the efforts made to reach them (like myself), and help them so that they may appear graceful in the production of Raga and musical, have been indicated Bhava on instruments. It therefore in this article. THE SOUL OF SOUTH INDIAN MUSIC-RAGA BHAVA. BY Mr. G.V. NARAYANASWAMY IYER, B.A..L.T. Member of the Faculty of Fine Arts, The University of Madras. It is a truism to say that Music has be tellectual and emotional effects happily come one of the common-places of modern blended. If a piece of music is not elevat life even as the air we breathe. With the ing or inspiring, it should at least be sooth advent of the broadcasting service, music ing. But, if when a song is being rendered, has come to be mechanised and several one is taken to a region of chaos and mysti varieties of it, good, indifferent and bad, fication, ii< which technique is abused, the are catered to the public. sooner one flees away from it, the better. Good music is the expression of the lofty Music being one of the few unalloyed joys soul, the trained intellect and disciplined of life and a great humanizer, we-should •^notions. One, who listens to it is carried always aim at a high ideal. o^it of oneself into a region of beauty and The soul of South Indian music is its Sublimity, wherein one finds both its in wonderful Raga Bhava, melody-sweep or •from a lecture delivered under the auspices of the Academy, 16 THE JOURNAL OP THE MUSIC ACADEMY feoundity. The quality of a song or any Sastry and Kshetriyar, which are full of piece of music is judged only by this Raga Bhava. But for their monumental standard. A student of music should note compositions, we could not find, as we do the two factors of melody viz., time (rhythm) to-day a large variety of melody-types. and pitch. Rhythm is form in music But the average musician of the present which gives it life. The student should day, falls short of our ideals as regards see the rythmic design as clearly as the Raga Bhava, as he belongs rather to the design in pitch. Every svara should be in type of prodigies, than to that of finished its place, in rhythm, as well as, in pitch. A products. Music is in great request every piece of good music can be compared to a where now. The broadcasting service is fine work of tapestry, the beauty of which, very active and large demands are made for depends not so much upon the quantity of the musical talents of the public. So it is thread or the brightness of colours, as upon no wonder a musically inclined young man every thread being in its right place. learns a few songs in a Summer School of The Raga Bhava of a song rendered by an Music and rushes to the Radio, receives his artist depends much upon his ideals and pittance of five rupees, and inflicts his equipment. An ideal artist considers his music on the beach audience, vitiating the art more as a devotion than as a financial public taste, as much as he can. I yield to makeshift. He realises the truth of “ Art none in my appreciation of the attempts for life’s sake and life for art’s sake ” , He made by the Corporation authorities to knows that a real talent rather than a mere spread the knowledge of music among the inclination is necessary for the making of people in all possible ways. I would only the musician. He gets himself trained by remind them of the importance of quality a master-artist, who recognises the indivi in fine arts, in preference to quantity. duality of his disciple, his natural gifts and limitations. The master impresses on his I shall now point out the ways in which disciple the importance of quality, in pre Raga Bhava is marred by our present day ference to quantity in music, as well as the musicians resorting to some undesirable importance of the great classics that live on practices. In the first place when a Raga for ever in preference to the ephemeral is improvised or elaborated they deviate light-music, which lives the life of a butter from the time honoured classical style and fly. A vocalist is taught to realise that spoil the purity of the Raga. They aspire relaxation with a controlled breath, is the after some kind of novelty and they intro basis of all good tone production. An duce accidentals. They ignore the impor instrumentalist learns that the closer the tance of Murchanas and Jeeva Svaras of acquaintance he has with his instrument, Ragas. The ideal artist who lives only for the better justice he is able to do to Raga art’s sake, devotes all his time to it and Bhava in the rendering of a song. Above elaborates a Raga like Kharaharapriya or all, the missionary of beauty should always Poorna Chandrika in an inimitably masterly keep his body healthy and his soul pure. manner, strictly following the old Carpatic The materials on which the master draws style and considerably improving upon thl- for the development of his pupil’s musical past. He never*destroys the old founda talents, are the compositions of master tions but builds a new and finer edifice upon minds like Tyagaraja, Dikshitar, Syama them, He does not blend the Carnal’ f THE SOUL OF SOUTH INDIAN MUSIC -BAG A BHAVA 17 and Hindustani types of Music to play to But now with solitary exceptions, the pre the gallery. sent day musician is very eager to resort to gymnastics in Svaras, devoid of Raga But the average present day artist, who Bhava, which work up the minds of the has not got a fine imagination to draw upon, audience to an emotional climax in rhythm resorts to the Sruti Bheda process, which without soothing or elevating them. This goes more to mystify an audience than to kind of Tala Vinyasa is nothing but muti please them. Very many of his listners go lation of music. No doubt ignorance of away with the impression that it is a technique is a great handicap to an artist, novelty worth acquiring. They cannot but to develop it as an end in itself, is ,a realise that the soul of the Raga is dead. monstrosity. Technique, like money should In the second place, in rendering a song be judiciously used. It must always be an artist’s individuality is seen. If two kept in the back-ground. Its effect must be musicians render the same song a marked seen from the way in which a part of a difference is noticed from the way justice song is elaborated with an enhancement is accorded to Raga Bhava. One does the of the Raga Bhava. fullest justice to it, while the other repeats it in a mere mechanical parrot-like fashion. Thus we see that multifarious are the The form is there, the melody is there; how factors that go to make or mar the Bhava of much of his own personality is impressed a Raga. Above all, an artist should never upon it, is seen from his introduction of forget the importance of proper articula many beautiful musical phrases, variety in tion and phrasing of words and Svaras. unity and intricacies in rhythm, with life. For, we often see many ludicrous man Thirdly, a few musicians set much store nerisms in the pronounciation of musical by the great speed or quick pace at whioh sounds, which greatly detract from the they render a song. 'It may indicate some grace and Bhava of a Raga. skill in the manipulation of the voice, or In conclusion, I thank the authorities of the mastery over an instrument, but this it the Music Academy, Madras, for having does only at the expense of Raga Bhava. given me this opportunity of speaking on A golden mean in which perfect justice can the subject of '“Raga Bhava". I congra be rendered to all the Jeeva Svaras of a tulate them on the success that has at Raga, should be the standard pace. The tended their efforts to improve the condi pace is settled by the Bhava which the tion of South Indian Music and make a song expresses. So unless one knows clear request, that they will be pleased to take ly the meaning of the song sung or played records of Kshetriyar’s Padams which are one is sure to spoil it. so replete with Raga Bhava, and of the very Fourthly, in singing Pallavies and Sva- exquisite and taking improvisations that rams, musicians of the last generation master artists render unto Ragas like Poor- always had the Raga Bhava in their minds. vachandrika. THE ART OF SRI TYAGARAJA SWAMI. BY S a n g e e t a B h d s h a n a B r a h m a s r i N e m a m N a t a r a j a B h a g a v a t a r , a v l * Samasthana Vidwan of the Sringeri Jagadguru Mutt. One of the important characteristics of a promise for its future. It presents Indian Music is its antiquity. The germs of vast possibilities for creative genius. The our music are to be found in the Santa Veda; seventy-two Melakarta Ragas, have exhau and through a continuous process of evolu sted all the possible 1 Sampoorna ’ combina tion which subsisted for centuries these have tions of the five varying or Vikriti notes developed into the various musical systems and the two constant or Prakriti notes of of our country, extant at present. The an octave. The work to be done in the growth of Aryan culture was responsible future is to find out new derivative ragas for the expansion of this elementary form and add to the existing number. Heard of our music as found in the Vedas, and melodies are sweet and we have to give throughout the different periods of Indian shape to those unheard. The creative History, the genius of the people found genius of the future will have to explore a expression in newer and newer forms, whole world of unseen beauty and reveal varying with time and environment. This its charms to our eyes. Besides this, Car- explains the peculiar development of antic Music affords a large scope for further Indian Music and the birth of different elaboration of technique in the field of styles. rhythm also. Time-measure being essential A time-honoured classification makes a to music, by introducing new and suitable distinction between the Margi, the indige variations in it, the effect of music can be nous or traditional style of music, and the heightened to a considerable degree. Desi or the exotic style, which originated The work that has been done in the past from the infusion of foreign culture into the is great. To mention only a few great names, life of the nation. Carnatic Music, is promi masters like Kshetragnya, Syama Sastri, nent among the various schools of Indian Subbaroya Sastri, Dikshitar and the great Music and represents the true Margi style. genius Sri Tyagaraja Swamigal, have made It has maintained its innate purity for quite unique contributions to Carnatic Music. a long period, in spite of tendencies towards The works of each of these several com Desiya admixture, and it possesses a definite posers bear a distinctive stamp of genius individuality developed and preserved by and individuality all their own. The the genius of great masters. As a compli Padams of Kshetragnya, for instance, are in cated and highly developed system, which a style different from the Kirtanas of can be ranked as a science, handed down Syama Sastri, and the vigour and depth of from master to disciple, it has lived on to Syama Sastri’s Kirtanas contrast sharply the present day. with the stately though ponderous move This scientific perfection gives it ment of Dikshitar's compositions. The a unique character and holds forth styles differ according to the originality of * Assisted by his son Mr. N. 8, Ramachandran, B.A, (Hons). THE ART OF 8RI TYAGARAJA SWAMI id the composer and are of varying merit. And the glories of Sri Rama wins beatific bliss. A calm, unbiassed judgment of them will Music has this lofty aim and can fulfil the give the foremost place to Sri Tyagaraja for realisation of the yearnings of the saint; it the delicacy, the richness and the variety does not merely delight the ears. As a of his style. There is a beautiful blend of corollary, he says, that music must not be music and emotion in his song, a refinement misused, which is possible when the divine and magical touch which only a true master element in it is discarded. The knowledge is capable of. His Kirtana is a perfect of music devoid of Bhakti or devotion, is embodiment of melody, imbued with the the reverse of what is right.—“ Sangeeta mighty spirit of his genius. Onanamu Bhakti Vina Sanmargamu- galade ”—in his own words. It is in this The key to the understanding and the cor spirit that he composed his Kirtanas. Every rect interpretation of Sri Tyagaraja’s art lies word that he uttered, and every line in the unravelling of the spirit and motive- of music that he created, came out of power behind his compositions. How did he the genuine feeling of his own heart; the view his art, and what was the inspiration genius that pervaded his art had its birth that gave expression to his genius ? What in the immensity of his love. did his soul yearn for, when he felt the uttermost depths of his heart stir within him His great message of love or Bhakti is and when only an effusion of music could revealed throughout his works ; it is depict his feelings too deep for utterance ? impossible to be unaware of this under What was the source of the power of his current of devotion flowing deep in music which completed the significance of all his songs. Music, the medium of his his words and conveyed more than mere expression, only makes the message that he words could? The answer is,“Love! A Divine delivered, charming as well as impressive. and undying Love for Sri Ramachandra!”. The gospel that he preached is free from The divine ecstasy of this sublime devotion sectarian prejudices and independent of was the motive power that stimulated Sri philosophical systems ; it had its origin in Tyagaraja. He valued his art because emotion, not reason; all its sublimity is that alone could articulate all that he felt only the depth of Love, It finds its way to and longed to convey to the world. Music, the heart of every one and its effect is made in his eyes, had a sacred significance; it sure by the irresistible appeal of his art. was a mysterious power uniting God and A study of the life of Sri Tyagaraja is of Man with a bond of invisible beauty; it considerable value in the understanding gave him the peace that he could not find and appreciation of the evolution of his art. in the world around him, and it helped him For an account of his life we have to to be in tune with the Infinite. depend chiefly upon tradition, and trace the He considered God to be the embodiment development of his art, stage by stage, of Sound and this he expresses in the song according to the tenor of his various “ Nada Tanum.” Music being divine, the Kirtanas. devotee has a very effective means of achi The date of Sri Tyagaraja’s birth is eving his aim. In the Kirtana “ Sangita somewhere about 1758 A. D. He came of Sastragnanamu he says that the a family, humble but reputed for piety knowledge of music when utilised in singing and character. His father, Rama Brahmam 20 THE JOURNAL OF THE MUSIC ACADEMY was a saintly person. The religious at this time. ‘ Endu Dagi Nado’ where had atmosphere of his home was res he hidden himself’?), ‘ Vinava namanavi’ ponsible for the making of young Tyaga- (‘ will you not hear my plaint’ ?) and ‘ Bro- raja’s character. He must have had an chevarevare’ (‘ who will protect me ? ’) are excellent tuition in his own vernacular and only a few of them. Sanskrit at this period, as is evidenced by The next period of his creative activity is the style, characterised by a delicate blend charcterised by a very intense phase of his of Sanskrit and Telugu, that he displayed Bhakti, mingled with humble diffidence in later in his compositions. The early period the genuineness of his devotion. He sub of his youth was spent in the study of jected himself to rigorous self-examination music under Sri Sonti Yenkataramana Das, and helped the progress of his spiritual up a famous musician. He obtained profi- lift by moralising on the world’s experience< oiency in the art with remarkable quick His mature art brought put the various ness, and his originality began to assert moods of his mind, in rich and mellow itself quite early. music. Songs like ‘ Mari Mari Ninne ’, Tradition differs with regard to the first ‘ Vuddanevaru ’, ‘ Chaklcani Raja ’, ‘ Enduku Kirtana that he composed. At this period, Peddala \ ‘ Nayeda Vanchana ’, ' Kaligi he is said to have composed what are called Yunte Kada ’ and ‘ Ni Chittamu ’ are ' The Pancharatua Kirtanas’ besides many some of the conspicuous examples. It other songs. According to tradition, Narada was during this time that the ruler of Tan- the divine musician appeared to him in the jore, His Highness Sarabhoji Maharaja, guise of a Sanyasin and left him in expressed his desire to make Sri Tyagaraja possession of a work on music called the chief musician of his Court, but differently as ' Svararnavam ’ and ‘ Naradi- the latter rejected the offer, and the song yam' about which little is known to ‘ Nidhi Chala Sukhama' (‘ what gives happi us. Tyagaraja sang a number of Kirtanas ness, wealth or devotion ?’) was composed in honour of the saint, chief among them on this occasion. being ‘ Narada Guru Siuami ’, ' Vara Narada’ and ‘ Sri Narada'. The composi The fullness of joy that pervades another tions of this period are tinged with a melan type of his compositions, indicates the choly, which arose out of domestic troubles. final development of his inner self. He had His elder brother had no sympathy for him found peace and his heart overflowed with a and the relations between them became very new happiness. According to tradition, Sri strained. Tyagaraja, being subjected to Rainachandra appeared to him in a vision great sufferings, could only appeal to the and a glowing description of this is given Lord. He complained bitterly of his fate in in ‘ DoruJcuna Ituvanti Seva ’. He sings of in ‘ Epapamu Jesitira ’, ‘ Toli janma muna ’ the glorious beauty of the Lord in ‘ Lavanya and a number of other Kirtanas. But the Rama ’, ‘ Syama Sundaranga ’ and many worst befell him, when through the contri other equally charming songs. Subsequ vances of his brother the images that he ently he went on a pilgrimage to various worshipped were thrown into the Cauvery. temples throughout Southern India, and a It fell as a blow on the heart of Tyagaraja, good number of Kirtanas was composed and some of the saddest songs that he at that time. Aud the year 1847 A.D., saw ever oomposed, he poured out of his heart the close of his career. ftifi AitT OF* SRI TYAGARAJA SWAMI ti ^he works of Sri Tyagaraja are re Tyagaraja, as they are sung at present, markably copious as they stand, and consti have -undergone considerable modification tute a very great contribution to our music. at the hands of unsympathetic musicians. His compositions are alive with his genius Many of them are merely lifeless reproduc and their peerless beauty has won for them tions of their original forms. And what is a place among the noblest of the imperisha worse, the words of the songs have been ble, cultural achievments of our nation. mutilated in many cases and changed The essence of his music is melodic per beyond recognition. Even within the lapse fection and exquisite expression of emo of a century since the life-time of the tions. He had a keen perception of the master, his Keertanas began to undergo richness of oolour and the delicate shades changes and we had not been able to perserve of every Raga and his deep insight into the their form in tact. The way out of this varying beauties of different combinations state of affairs would seem to lie in the re of notes gave him the power to add newer vival of the faithful, correct and traditional touches to the same melody. His Kirtanas versions of the Kirtanas, and the diffusion of in Todi Raga alone bear sufficient evidence the knowledge of Telugu among the musi to this fact and it is marvellous how he cians. In this connection, the songsters of handled the smaller ragas called ‘ Shadava the past teach a valuable lesson. They cared and 4 Oudava* as well as ‘ Vakra ’ and more for their music and the purity of the other kinds of ragas and how he infused Kirtanas that they sang, than for the acroba life and spirit into them. Only a connois tic featswhich the modern musicians delight seur can reoognise their soft brilliance and to perform in Svara Prastara or singing of subtle grace. For instance, the songs Svarams. But to say this does not by any ‘ Paluku Kanda Cha,’ and 4Ninnu Vina’ in means belittle the importance of Svara Navarasa Kannada possess a glamour all Prastara. Even in this direction, the old their own. ‘ Emandune ’ has emerged out school possesses its own merits, for music of so unpromising a raga as Srimani which was held to be the soul of Svara Prastara. lacks Madhyama and has Suddha Gandhara. Tyagaraja himself has given sufficient Sri Tyagaraja was a past master in that attention to this part of our music, and highest branch of art, the depiction of every musician must study his style of human emotions. The pathos of ‘ Adaya Svarams in the Pancharatna Kirtanas. Sri Raghuvara ’, ‘ Elani Days. Radu ’ and The creative genius of the future will 4 Mari Mari Ninne ’, the deep note of joy find inspiration and stimulus in the works underlying 4 Nannu Palimpa’ 4 Rara Seeta of Sri Tyagaraja. His work has been Ramani ’ and 4 Na Jivadhara ' and the mel .immense; the remarkable variety and rich ting appeal of 4 Maravakaranava* and ness of his compositions, his towering 4 Mariyada Gadaiya ’ are only typical genius, and his lofty spiritualism will serve examples and point to the greatness of the as a guide to the composers of the future work done by the master ; and this aspect and light the way for them to new triumphs must be studied in detail for proper appre and achievements in music. As Sri Valmiki ciation. was the first of poets and has his works The underlying spirit of his art has to be served as the souroe from which the poesy understood for its faithful and correot ex of later times flowed in this land, so also Sri position. Many of the Kirtanas of Sri Tyagaraja, believed by this disciples to be a THE JOURNAL OF THE MUSIC ACADEMY an incaran&tion of Sri Valmiki himself, country. He harmonised art with religioii stands aB a perennial spring, feeding the and he infused a spiritual vitality into streams of future creative activity in the music. He realised the significance and realm of music. power of this fine a rt; he knew how it oould The art of music as developed and perfe bring peace and joy to the human heart. cted by Sri Tyagaraja has contributed a His work was a labour of love, inspired by great deal to our cultural and spiritual ad divine enthusiasm and deep concern for the vance. His genius gave such a powerful destiny of man. He was a great musician expression to his message so as to make and a great saint. We owe him our homage him a unique figure in the history of our and gratitude. VENKATAMAKHIN AND HIS TWELVE NOTES. BY Pandit S. Subrahmanya Sastri. Tanjore. Venkatamakbin, the great Mimamsaka is very often curtly referred to as Bhima, and exponent of the theories of South Indian Nilakanta Dikshita, the author of Nila- Music, was the son of the famous Govinda kantavijayachampu, written in the Kali Dikshita, who was the minister at the court era 4738 (1638 A.D.) and a disciple of Venka of Prince Raghunatha Naik of Tarjore and tamakhin, makes a reference to his Buru the real author of ‘Sangita-Sudhcf, a treatise in the following passage of his Qangavatara- on Indian Music ascribed by him to his nakavya :— royal patron. This fact is borne out by the following extract from the Vinaprakarana, the first part of Chaturdandiprakasika writ ll’ ten by Venkatamakhin, which Subbarama Dikshita gives in his introduction to Sangi- Venkatamakhin acquired proficiency in tasampradayapradarsini:— Music by sitting at the feet of Tanappa- charya, his preceptor, and was almost the ‘ Melas and Ragns, have been published and the Music Academy. The following state made available for private circulation by the ment will show at a glance the calculations indefatigable efforts of Pandit D. E. Joshi and results arrived at by the application of PooDa. The sixth, seventh and eighth of Venkatamakhin’s method, expressed in Prakaranas dealing with Alapa, Thaya and the nomenclature adopted by the Academy. Oita, with a list appended thereto, of 72 Melas and the Ragas derived therefrom, have O been oopied by me from a manuscript made > 5 g Venkata- Nomenclature available to me by the kind courtesy of © .2 No. makhi’s of the Mr. P. G. Sundaresa Sastri, B.A., of Trichi- Qd nomenclature. Academy. ou ^ nopoly. It is not known if the work con Ph tained any more Prakaranas and with what they deal. 1. 1 2. 256/243 Various views seem to prevail among our 3. 9/8 modern students of music regarding the 12 notes of Vonkatamakhin. But to get at 4. 32/27 GIWKUMINK: the correct view it will be absolutely SfSFTTOn:: necessary for one to become conversant 81/64 with the contents of the Vinaprakarana. In 5. 3**rn.«n«IK* the course of my research into this aspect, *nwin;: I was fortunate enough to get from a 6. 4/3 g y * L ia 3J ai i 9 . - il y 3? 41 pi’ a i I ' } 4 ■**' 3P i ^ ^ , * % 1 3 I : 3 f . ? I» i 1, * i ? « ? 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II II St qqtift q gq q tajrq ift ^ ^ q r ftr ft; II vs^ 11 ^TT^nwffRT^j 1 auqrfq q q qq^ftr q-d'^HiTjjqrcd': 1 q 'JiW»ri *»*ti ^ *h*n«V H q?sqT ftcft^T TT?s^l^Tf^IT ^*- I SRqr qqlftr ^T g^qTftr RTT q | f t q v g ^ q i q R R q : 'W<^rra1: 11 qqqRnr^piqqtqq qftr qpr^ 1111 *TTVlTd>d<«g*h: I Sfqftfr ^^qq^ftl qqqrft StT^T ld^ I 5 '§?T^nT»TT?TT q «n.uatawi«irddS II ^VS II u.^1^1 g^qqqftqq tfft H II $ n n ^ ft q * *r t : ^3 : q ^ ?t^q q4g 1 qq^Rqrrq'r ftnsq q ft 1 rT^^TT q P I ^cftqqT II qRT^TRirRqqq^tmq qftr srTqq 11 ^ 11 S fgp l sfa q : y,^fdMr^5£T ?rt: u rn ; I q liftiqft ftqfttsw uftq «ffe^iqj^ 1 qrftrqqiWqqT^Kr 11 qiqqf^rT ft' q R q id qnqr^qj^q qfti«M J II qfq: g^T^fd 1 ^q?r: q ^ j q qq^| 1 ^fqr^ftlW : qq f*q qf^fq I q?sqt grtqqr qw q^qqfqqqT gq: 11 vs® 11 tfft 5 T^r qq^ftr q q qTrrrftr q^ft- 11 11 ftw : g^TTtqKT^r: ^p^rRT: I 5?ftTqq qvqiRsqhirT ^StqTftqrTT I ^mn^uiRsquHrrd ut^rds-rRy^^: 11 vs 1 11 qq^qm fq ^tornri ^qr TmrAqrfqgid: 11 5pg[qwTJTHTqT q qTT^tqvq?Rqqj 1 UgjqTfqq q ^ i I qq ^q?r; snqq% q ^ q^q qq^ 11 vs^ 11 qqqr% q^ffg qjftftq ftsnr: 11 ^ 11 qTT5rtqwTFn^ ^Nrqqf ftr ftrsq^q; 1 q r a d ^ q ^ q ^ 1 ^ qqftqqr 1 q4 ^ ftrg ^ 3 q^iT qrqq^tqqr 11 vs^ 11 ftrqr* ^qr*rft^TRft VENEATAMAKHIN ANI) HIS TWELVE NOTES 27 srcrericftTswro q‘r fqqsrRq Ifar^n-: i qgqrfSrfrr lqfr% qfjqTqtefa gwft i HVSTfSTTf^FT^T qRq*7T^J fq ^ q q : II q?qiq^qrRrqq>q qr$qq ftq$T ^ra^qrcftqftrq qqqn^qfqqfeq; i qrqsq qv-q^sqq’r q-qtg ^ q t*r q ^ i 5T3T q?5qf fitfftaT^T q ^ T f3 Tt II *qrqqq*qrrarq>qrJTHT f t 97fq?rft: II q*qr arsrr: qftqqrajcqrd q qqr^q: i q^^q^w r qsqqtqrqi R&faq: 11^*11 qrqlrisr q g t ^ r shut: srq^trq g n q^qr qqftrqwrqt qr?rr q qRqrqq: i qqr #1; qrqqrr: *rq qwrcqrqqqpqqrrq; i j r t w r w j : q q q^q qsr^fqqn n n qre^qrqqq^qq qfqqcqf^rqr^i^ n qsqqfirqirqrqr gqqssqrqq ^qq: i qqf q q^qrq^qi^q srqq*r ^ T q I qq qrqn qftqqqqqlfq qqr?qr n ^ n qqr?rq q g f^ q rR g^qsfearr: n l o t 11 qv-q^qrqqqr q q q^fqqr. ^qq: i qq q qrcq^qrqf Ifar^: qfajRqq: i - srqr^qrRqqqj^q^qgftrg qrcn 11 q«q^qrq^qqtq?qtq^ rq*qqc: II qrern qfqr^q; qq qtesqg*qqq?j i q sft qrcoffqr^ q g f ^ q f o s q i qr^qrqqqr qq *q qfrfqsTfaRcgqq: *q qfrg sreq ^r *q ^sgq^rfqq^qrqsqiq *fq ft foSrq: i qrqqreg *qrr?qq q^qRqgq;qTq i q q qr^qqfsrcq ^q^qrst sqqfejqp n q'sq^qrq^qqjqq qrcqjpT qqr qrrq; 11 q s ftq r c ^ r %qr ?fq srq^rqsrq^ i qqt qqrgq^qi^q qqqq ^rqg i qqrfq ^qrqqqq ^Rrgcrfergqrqqr: n qqr^rq q g t ^ q r q q^ifq §£q 11 \ U 11 srraq^qgq^nsqqijWq gqr qft i qrr *rgqr qf^ n <*a ii qrf^^qrqRrsTcq ^rcn qq^rftqr: 11 q-?q^q^3^r qqfrqr qRqqrr qft 1 q^qrqqqt tj *g: ^r qrqq^qqr: I gtfqr q? £q^jR qfercrr %?srqRqqr 11 qRr^qqqrerr^ nr ^qq: q ^ n qgr q^r?qwr>r^q^^q?r%qqfc. i ftqtq^qr qRq*rrqr q^qf^rl fq^ftrq: 11 q^rq qvqqrq^qrq^q 3 ii K\% ii gq: qrq gtfqrqr q^ q firt i fqq^: ^qrqgt^r q^qR gqr 1 qgtqrqcq r^ q ^ qqr: qrg qf^qqrr: 11 \ °\ n frq rq fl’q q^srrqr^q \ qqrqr^qfq^r 11 %qtqgqq^qr^ sqteqRq^qftfq i qqqrcRrqrqfsq iRr^: qR^q^r 1 JFs[^3rrfifq^q^^q II q^qrcRrqr^g q«fqqrRr^ q 'sfg 11 U ^ h 25 Th e jo u r n a l of t h e m usic a c a d e m y ^-sr^^rr^nftaTPTi ’T^mrf^r^rfH i *T^ff«resiriWtaj HTqrFTT^WT^Hqi: I ^ f^TS^T dlH:eKRf^lT% ;i * ^ II ? r ^ ^pRsrRrr ’TfrmrfdRTgsl 11 11 JT?^«rR^ri yrr^T ,T^^T^forflT*t 3 H^qT Ifi^rO^MT I q^ rrw^snH^-g^qT: n n * T ^ 5TTH^TT ^rff^ K TOTr JTORTf^ll II *V*» II g^sr: sfspfosNr i arr?irTf?^qT simr: Hft*mrfa5TT: 1 rT*5qT g^t^R T 5TTO JT^TTf^H grfRT II df=HT w H JST: q^ irrsirR f^ r: II \ \ o II jT ^ yR ^ i-riT r g srfoTrftraT: i q'^OTrforffr^ g ?r q?reir 1 rRT ^TTT STSIT H 3 *jb*WT^ II W II rTrT*J JTWT^Rr ’T^^RfnRr^fH || *\K II TSt^nrfaTfrriT g ?tot h«?it g r fm r i ?TTCTr JRs^ q,TT5fttTWJT^d,«rr n l^y 11 rrr»rqf3ftsgff?^^«^ stfr sr^sr 11 ^arsn ^rt: ^ jr r i »T3r$rR; ^ 5^Rq^«iTRr q^qrcfaRriTft i dK^Hp^lT^faT $qrl TTFT^r: I ^rsrk^T«rgf w^r : ^rcr: ’T ^ fta g 11 i r f t * w r k * ^^oixirqrfsrcr^: 11 W* fgrf^^mTsrqnr^g ’r ft ^ fW : 1 ^%rTS5TT J T ^ ^ o r r 558fmg^RcT: 11 U 'a II” THE VEENA COMPETITION. (2nd Nov. 1930.) Miss. BHAVANI SWAM I NATH AN, M.A., L.T. (Winner of the First Prize.) SVARAMELAKALANIDHI 29 SVARAMELAKALANIDHI. I^^ODUCTION BY Mr. M. S. Ramaswami Aiyar, b.a., b.l. l.t., Madura. (All rights reserved to the author). (Concluded from the last issue). Let us now tabulate the Mela and Raga systems of Ramimatya and make a closer study of his work. Rdmamdtya’s Genus-Species System. No. Milas. Janya-Ragas. J.1 Mukbiri Mukhari 2 Malavagowla (1) Malavagowla (6) Michabowli (11) Kuranji (2) Lalita (7) Palamanjari (12) Kannadabangala (3) Bahuli (8) Gundakriya (13) Mangalakowsika (4) Sourashtra (9) Sindhurama- (14) Malahari kriya (5) Gurjari (10) Chiyagowla 3 Sri Raga (1) Sri Riga (5) Suddhabhairavi(9) Andhali (2) Bhairavi (6) YilSvali (10) Devagandhari (3) Gowli (7) Malavasri (11) Madhyamadi (4) Dbanyisi (8) Sankarabha- rana 4 Saranganata (1) Saranganata (4) Natanarayani (7) Kuntalavarali (2) Saviri (5) Suddhavasanta (8) Bhinnashadja (3) Salagabhairavi (6) Purvagowda (9) Narayani 5 HindOl (1) Hindol (2) Marga Hindol (3) Bhupala 6 Suddharamakriya (1) Suddharamakriy a (2) Padi (3) Ardradesi (4) Dipaka 7 Desakshi Desikshi 8 Kannadagowla (1) Kannadagowla (4) Chayanata (7) Divakriya (2) Ghantarava (5) Turushka- Todi (3) Suddhabangila (6) Nagadhvani 9 Suddhanata Suddhanata 10 Ahiri Ahiri 11 Nadaramakriya Nidarimakriya 12 Suddhavarali Suddhavarali 13 Ritigowla Ritigowla 14 Vasantabhairavi (1) Vasanthabhairavi (2) S6 ma 15 Kedaragowla (1) Kedaragowla (2) Narayana- gowla 16 Hejujji Hejujji 17 Simavarili Samavar&li 18 Rgvagupti Revagupti 19 Samanta Simanta 20 Kimbhoji Kimbhoji (Fig. 8.) S v a r a s u 3> Sa Ri Ga Ma Pa Dha Ni a Time Remarks Melas. 3 ■IS 1 M Amsa. Nyasa. Graha. of Singing. d 9 *♦* ■*»' "53 if any. 5 M * eg s rana U Sruti Sruti *c3 GQOJ Suddha Suddha Suddha Suddha Chyuta- Suddha Antara Sadha- 03 go Shadja Kakali Pancha- Suddha Suddha Pancha. M Chyuta (Jhyuta- Panchama madliyama ' l Mukhari Sa Sa Sa Always Sa Ri Ga Ma Pa Dha Ni 2 Malavagowla Ni Ni Ni Evening Sa Ri Ga Ma Pa Dba Ni Ri and Pa at times omitted. 3 Sri Raga Sa Sa Sa Evening Sa Ri Ga Ma Pa Dha Ni Ga and Dha at times omitted. 4 Saranganata Sa Sa Sa Last Watch Sa Ri Ga Ma Pa Dha Ni 5 Hindol Sa Sa Sa Always Sa Ri Ga Ma Pa Dha Ni Ri and Dha at l times omitted. 6 Suddharama- kriya Sa 3a Sa Noon Sa Ri Ga Ma Pa Dha Ni 7 Desakshi Sa Sa Sa First Watch Sa Ri Ga Ma Pa Dha Ni Ma & Ni omit- ted (ascent). 8 Kannadagowla Dha Ni Last Watch of the day Sa Ri Ga Ma Pa Dha Ni Ma omitted (ascent); liked in Orissa. 9 Suddhanata Sa Sa Sa Last Watch Sa Ri Ga Ma Pa Dha Ni 0 Ahiri Sa Sa Sa Last Watch Sa Ri Ga Ma Pa Dha Ni 1 Nadarama- kriya Sa Sa Sa Fourth Watch Sa Ri Ga Ma Pa Dha Ni 2 Suddhavarali Sa Sa Sa Always Sa Ri Ga Ma Pa Dha Ni 3 Ritigowla Ni Ni Ni Evening Sa Ri Ga Ma Pa Dha Ni Allied with Mukhari. 4 Yasanta- Bhairavi Sa Sa Sa Morning Sa Ri Ga Ma Pa Dha Ni Pa at times omitted. 5 Kedaragowla Ni Ni Ni Fourth Watch Sa Ri Ga Ma Pa Dha Ni 6 HSjujji Ma Ma Ma Last Watch of Ma the day Sa Ri Ga Pa Dha Ni 7 Samavarali Sa Sa Sa Always Sa Ri Ga Ma Pa Dba Ni Originated with Sama- 8 RSvagupti Ri Ri Last Watch of Veda. the day Sa Ri Ga Ma Pa Dha Ni Ma & Ni omit- ted. 9 Samanta Sa Sa Sa Do Sa Ri Ga Ma Pa Dha Ni Ma & Pa omit- 0 Kambhoji Sa Sa Sa Evening Sa Ri Ga 1Ma Pa Dha Ni ted in certain I places. SVARAMELAKALANIDHI 31 The characteristics of a few derivative ragas, Ramamatya gives as follows :— Vi ci No. Ragas. Melas. >» Time of Singing. Remarks, if any. Graha Amsa £ 1 Lalita Malavagowla Sa Sa First Watch Pa omitted. 2 Bahuli Do Ma Ma Ma Do Pa omitted. 3 Gurjari Do Ri Ri Ri First Watch of Pa retained in the day descent. 4 Gundakriya Do Sa Sa Sa First Watch Dha retained at 5 Kannada- times. bangala Do Ga Ga Ga Morning Ri omitted. 6 Malahari Dha Dha Dha Day-break Ga Ni omitted. (Mallivi) Do 7 Bhairavi Sri Raga Sa Sa Sa Last Wa.tch 8 Dhanyasi Do Sa Sa Sa Morning 9 Velavali Do Dha Dha Day-break 10 Sankarabarana Do Sa Sa Sa Resembles Samanta. 11 Andholi Do Pa Pa Pa Always Ga Ni omitted. 12 Madhyamadi Do Ma Ma Ma Last Watch of Ri & Dha the day omitted. 13 Saveri Saranganata Dha Dha Dha Day-break Ga & Ni omitted. 14 Suddhavasanta Do Sa Sa Always 15 Bhinnashadja Do Sa Sa Always Ma omitted. 16 Narayani Do Ga Ga Ga Morning Ri omitted. (descent). 17 Bhupal Hindol Sa Sa Sa Morning Ma & Ni omitted. 18 Ghantara va Kannadagowla Dha Dha Dha Always Ga omitted. 19 Nagadhvani Do Sa Sa Sa Always 20 Soma Vasanta- Sa Sa Sa Always Sounds nicely Bharivi with Ma in Mandara. 21 Padi Suddharama- Sa Sa Sa Fourth Watch Ni omitted. kriya (Fig. 10). It now remains for us to estimate the v-o-l-u-m-i-n-o-u-s treatise, as Shdrngadeva nature of the services rendered by Racnil- had done, on the ever-progressive and matya to the music world. therefore ever-changing art of m usic; and R&m&matya, Sdmanfitha, and Venkata- they prudently chose to be agreeably brief makhi, the respective authors of Svaramela- in their works, by confining their attention kaldnidhi, Rdgavibddha, and Chaturdandi- to the most fundamental portion of the prakdsika, were all South Indian musicians Carnatic Music, viz., the Raga-system. and wrote for South India. They might Hence the “ Ragaprakarana ” of each of therefore be grouped together and called by their works formed, as it were, a pivot round a generic name—the Carnatic Trio. All which all other prakaranas or chapters these three authors were alike shrewd revolved. Ri.m§.mitya, no doubt, led the enough to realise the futility of writing a way, by comprising his book into five short 32 THE JOURNAL OF THE MUSIC ACADEMT chapters dealing with (1) Preface (2) Svara Commit mistakes Ram&matya did. His (3) Vina (4) M61a and (5) Raga by not allow slipping, for instance, into the out-of-the ing the number of his verses to rise even way M ukhtri, as his Suddha scale, is said to up to 300, and by making each successive have created a lot of confusion and involved chapter lead ultimately to the last. SSma- Pundarika Vittala, SQmanatha. and even natha went one step further and made the Venkatamakhi into the same mistake, very name of his book indicate the object of Ahdbala alone escaping. Again, in a vain his writing.* attempt to follow Sh&rngadeva, he labelled Again, Ramamatya was the first to break the two-srutied Suddha R i—“ Trisruti loose from Sharngadeva’s theory of twelve /?i” and was therefore forced to call Suddha Ff/cnfa-svaras and reduce those twelve Ga—“ Panchasruti R i ’’—instead of Cha- into seven, which Somanfitha chose to re tusruti R i and thereby mislead Govinda tain, hut which, in the hands of Venkata- Dikshitar and his son Venkatamakhi (into makhi, came further down to (the modern) the same pitfall. five. In so breaking loose, he justified his Further, of the eighteen svaras which position by invoking the help of a principle, appear in the seventh column of Fig. 9, it learnt from Sh&rngadeva himself, viz., the will be seen that Panchasruti R i and principle of Lakshya. Suddha Ga overlap each other; and so do Shatsruti R i and S&dharana Ga, Pancha Further, he rightly discarded the antic sruti Dha and Suddha Ni, and Shatsruti and antiquated method of deriving Ragas Dha and Kaisiki N i.i Eliminating then, from the complicated system of Grama the four over-lepping svaras, we have only Moorchana-Jati, as well as the later puerile fourteen svaras left. If again, as per method of bringing them under the fanci Ramamatya’s suggestion, the last five of ful system of Rdga-Rdgini-Putra. On the his twenty mtilas are omitted, even other hand, he had the genius to discover Antara Ga and Kakali Ni may have to be unity in variety, that is, a unifying princi eliminated. In that case, the fourteen ple in the variety of Ragas that came under svaras will have to be further reduced into his notice; and he therefore felt that the twelve. Hence, there seems to be a grain old cataloguing method of enumerating the of truth in Mr. D. K; Joshi’s remarks that Rfigas must give way to the new classifying almost all ancient authors invariably used method of reducing them into what might only twelve svaras in their Rdgaprakarana, be called the Genus-Species system. Indeed irrespective of the number of svaras describ he was the first to open, in his book, a sepa ed by them in their Svaraprakarana. rate chapter on Mela, called ‘ Melapraka- Furthermore, Mr. V. N.Bhatkhande com rana.’ Somanatha and Venkatamakhi but plained, in his Lakshyasangita §, “ The followed him in this respect, though the forms of R&gas are described in various latter formulated the Melas into, and works ; but their svaras and other characte thereby raised them to the dignity of, a ristics pertaining thereto are not found in regular Code. +For overlapping, see Fig. 4. *cf. snig jtoHt S3 I —R&gavibddha. —Lakshyasangita. SVARAilELAKALANIDHi U those works.” Of the truth of this com System ’ which, as said above, developed plaint the reader will be convinced, if he in the hands of Venkatamakhi, into the but looks at Fig. 10, wherein no svaras modern ‘ Melakarta Scheme ’ (3) the were mentioned. The division of Ragas opening of a special ohapter on Mdlas, into superior, middling, and inferior, or the called Milaprakarana, even in respect of mention of Graha, Amsa, and Nyasa will which Somanatha and Venkatamakhi fol alone not enable an inquirer to understand lowed suit and (4) the final heightening the correct asoent and descent of those of the importance of Rdgaprakarana as the R&gas, as well as their other characteristics. quintessence of Carnatic Music—all his Be the demerits of R&mamatya what they demerits pale into insignificance and are, may—as compared with the good he had in the language of Kalidas—• done, such as for instance, (1) the holding jjoraftnTH* i up, for future guidance, of the Principle of Lakshya (2) the displacing of the old cata loguing method of merely enumerating the “ drowned in the ocean of good qualities, RRgas, by his own novel classifying method even as the spot of the moon is lost in the of reducing the same into a ' Genus-Species midst of its splendrous light/’ 6 The prosody of the stars can be explained in the classroom by diagrams, but the poetry o f the stars is in the silent meeting o f soul with soul, at the confluence of the light and the dark, where the infinite prints its kiss on the fore-head of the finite, where we can hear the music of the great' I am ’ pealing from the grand organ of creation through > its countless reeds in endless harmony. 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LDiftiu/raopmiu eiafyessriBsSstr &j&es>& Q^iuiusijuD, a iresrp ^ m Q p ifleS p ^ ia O a n ren ^ 8 G p eir. § )K p eroiis&p y^tieu&irei) ppsireo u^&piupsireoiBseiflsir / P ^ LbGisnnefCsnuemiu ^pii^iennuppeuir ns i i eniu ^ u irtu & 8 Q&jjtueyui, mrresr u p pfia m iu i8r u>n aa^emLapiEi8iu ^(jenniRjak-IT GtUL06fbjjr;65TLa «58aru9i.®ffl|ii> ^BLnuLnir'QQ^i^Lc * A paper read by the author at the Madras Music Conference of 1930, ttARIK'EERTANA VLMARSA SI J fiiu i, ® kp msmirstoenuiSee jy a j/raosani so8u pirgpsrokpirssr pG pit® QxtuiLjm ovG pirpfijrm LJewi « j>0 urseaGpir ppmutrensiLiH j j j i i i , j y s i / xirssr pfis o uifletormiru^ .(yanm yii. §)uuetfm s8(iijsnia;s$sk erDts^rsiar i9Ff3&(0j uirp^sr jnrmui^^)^l SjnipiBxSsrr u x uusoxir smr8tu kit ok ko^ll?iuirS(j^KpGuii xstririuu utwtriustsiirm QxiuSpsoirx&r jtjiipiip xpxetrTtS(i^iipGuir^£pm @ £ p erOsmuiQssr erOiipiruuiBxsiflgpBrstr jtjir p p iSGx&piinxSsir Qpsk «p 0 eQtmrerOm suit Si, a sukpjp tBxajm j/jgp&okpirssrm Gxiugi gif ppt^ppxxuip QuirqfjppmTesrjppirek erskusnp erdanijti9sk e-xx&Dsojrpprso, std.b S p i^rstrriBQijxxtUBm (Lpok eosmirxxmiriu OpiflsSpggxQxirki^nj @ 6 i i 6 0 7 ^ 0 0 « l 1 ® l o , erGpir 8 SO erOsojr sSGx 8Gpsk, eroikS p sB&ir jruirmirsiir ®i*p &piBxdstr t etOmGiUirigoBrmQ&tugp u is r u h erOsnuuSsO eimSSirppssr e&xr nm Q&miu srsksur Q&iu8(npir&ikr. u stspfijso ujiririrsujgi sroir tSusroj,^ @ 0 * 0 / 0 go er asrjpt erDTmrsku u n tit $ pe9pointskask &-tl-roirirkgt Qair ssku/ 0 « «p si)0 au7 0 su0 a n (_iL ; msstffigpm QxipsS e-^ x x ptrgpm @su/f«srr nirmpGpit® urjnrtListorm sOrm. jy^sk ppsopsnp Qxir^xm eSxir ifl LJ Q&iuei>pp(9) t3sksuirik^su^lsoSsf^ j y pp(3) Qurrin, stb.eiS pm s r s k u stibSq^kp1 sruiJuj- ■snmstsmm u£$u9sk iB(&)fip (ippeStu GpirepiBXerflsOsOirmso kouspt—mirtu 6vit—i u ® 0 & 0 T 6 9 ) il / e-ppm m rsur srOTmsirssr erdpu^p pit so uxsoirsk eroiignapt—BirSiririr. @60 pdiflsBBrm is pirsk. sromSpgpsO jtfu u is ^ lS trsimmGpsoir uxsuirksr u^as)aJ0 «ari_ Ly0 ffl£/r serflso hit eosuar spurn a ssstl^ it so prrm m (TfjiGsup aJSB~°iiGeopiBxgnji(9ju tS/D0 shot mm eSxsuirsuDm s m so u u ^ ^ k ) @ s s r (o ) @ 0 su(flt_ii) surssr0 iJtoTtii 8oirmi3a8i—1—pjt, j>jp^)sopTsk jy«fl®6i/76 yOlL Q&tutuQ so star 19. « 9 0 i g i i , qrjxGeop uirjrmuGisrm iugr°irG aip uinnrluessrm G sorxpp»so g js u s a r &6so$iusk <^jsosk un&tusk 'tzrtki 1 pnGl ITSO SfOTmpSbl p srormxirssrib stskS srekgpub G up Ljp^lGiu « r a ir < i0 s 8 sm—iutrj p . 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Lapp suit seiriTtLjLD, Gutjfinh psti'runrriptupfiis* 56 THE JOURNAL OF THE MUSIC ACADEMY Gaenpm mevniefiJuSsar r g u p pg so Gaegeom egg iaGeng srearjp) tffiSosrpjp Jt/Gp G eop p i j ijSifS^gear y^iSapi— iaengiL/m @ 0 afflp ugg esaRs mpsatp JtjGlSsm pQlje)jt,i—giigpgi®fi.i—giifilsiEi (W5 « 0 jy& gitu erog pmka'Ssn jtfgpie^isf-is a Giro eO) epQ^euear pear eroGaSpspia^eromiup^leo pQ^8 n g uG ug eo Qmngif. eror pear ma ear Gegpg£3 pim peatp Qeueifhii(Bsg siGuirso (g) Semrew i^jnr adsn rgegeaarm Gsibueursupp, j>jsa>p^L- esarmaengeo m p roie^ a ^ m GsgeSiBtbu^gi a&r, ero~°sOumgsaT L^gg^f^adstr &Begeaarm Gaibiu jqGp Geo ppimpeatp erV psgegtUQpm, suit so pp, jtjenp&mirtLtq-giiui iPse^m ert)~°soupn unm&jp uni user Gegpm sruutsf. pirn u b ^ug psGmg, ariiur siuuu/- p im p l e d u gen ip fiH ^ m tiip G&tu s r iiu eQGsgapsa>p e^esarGuasarsaarage-Uj-iLiG pg , egirGstrir, jquuufJGiu j>jgp)s>p>u)-aar Grtu8)p&>, jqsaipuGugGeopgm jg^a/rj/rsn) i^ggsaanb g)a) <§)iip &eip$ireoGmir Ljmeasr airegtuirfil a & m u-uuneunmeasr (njumrrsarjji. 11 ^ frlg i- adstr Gl Beg soar mQ&tuiue>]m @]i—m pri^8 p $ 6o2s0. 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He looked both to the intellectual sustained a great loss in the premature and the emotional aspects of music. His death of Govindaswamy Pillai of Trichy. Tana-playing was of a novel and charming He was an artist of superior excellence kind. Besides, this apostle of beauty had and his void cannot be easily filled up. He none of the mannerisms and contortions was one of the few survivors of the emi which detract much from the merit of a nent musicians of the last generation. For performance. His pose was of an ideal some time he was a successful rival of type, with a smile playing about his lips, Tirukkodikkaval Krishna Iyer, of undying without showing the least sign of fatigue fame, and after his death he reigned or labour. If we compare the two past supreme as a violinist. Endowed with a masters of the art, we will find that both were high intuitive artistio sense, he was able ideal artists of a very high order, each to hold big audiences in rapt attention for excelling the other. Krishna Iyer was ' any length of time. His play on the violin scrupulously careful about the classical was characterised by a remarkable indi purity of his style, while Pillai improved viduality, in which was found a rare the form considerably, though he would combination of a fertile imagination and now and then take liberties with the style, exquisite finish. In his profound knowledge and offend the ears of a few good fastidious of Sruti andTalam, he was in no way inferior purists. to Krishna Iyer. The assiduous oare with The musical sense was so highly deve which he gained a close acquaintance with loped in him that he was able not only to his instrument got him an enviable mastery earn an immortal name as a violinist but over it ; and the result was that he bewitch also to display his skill in playing on the ed his audience with the exquisitely flute ahd the drum. sweet tones of his violin and a fine display of his rich imagination. He had As a man Pillai was a perfect gentle an innate artistic consciousness, which man. His sweet manners, his dignified saved him and his audience from very behaviour and his freedom from gossip or unmusical gymnastics, that are born of a scandal about other musicians, have won diseased imagination. Whether he elabo for him a great popularity, which coupled rated a raga or played svaras in the middle with his high artistic talents, have left of a song, it was a great treat to listen to behind a name which will ne'ver perish. •By Mr. G. V. Narayanaswami Iyer, B.A., L.T., Member of the Faculty of Fine Arts, The Univer sity of Madras. RARELY, rarely comest thou, Spirit of Delight! ” — Shelley. The Late GOVINDASWAMY PILLAI of Trichy. A Great South Indian Violinist. THE LATE G0VINDA8WAMI PILLAI 59 II * The dance masters of South India have music was considered secondary, for very been noted for their instinctive sense of obvious reasons. Instruments yield only rhythm, and their natural aptitude for svara rupas, and a conservative tinge of grace and what can be more aptly the extreme type seems to underlie even called ‘ Sukha Bhava’. While many great Tyagayya’s notion, when he showed no Brahmins have distinguished themselves love for svara demonstrations. Hence, only as both composers and singers, the such instrumentalists, as were able to best predominant element in them was mainly bring out the approximation to expressive conceptual; they built up the science, ness, were encouraged. There consequently as it were, and their demonstrations began a kind of right practice, and an al served as permanent examples. The art most ideal course of training was adopted, of graceful demonstration from the artistic and out of this old school, as it were, there point of view, however, was exhibited to the sprung up suoh masters like Tirukodikka- best advantage by the family of dance val Krishna Iyer, Subbaiyer, and sometime masters. Of course, there were good com later, Govindaswami Pillai. The ideal aimed posers like Ponniah Pillay; similarly, there at by the instrumentalists was clear-cut — have been, in the realm of demonstra the approximation to the human voice, and tion, inimitable masters, like Krishna the attainment of perfect artistic grace. It is Iyer, amongst the Brahmins. Following, well to take a proper note of the usual para as it were, the great giant players like Kan- dox, viz, that the great composers were not tan, Natesan etc., Govindaswami Pillai all of them expert singers or even players ; seems to be, unfortunately, the last of the they gave the concepts, and these grew up great artistic demonstrators. into music pieces, and were given artistio Certain points need recapitulation before life and artistic permanence by the expert we proceed to estimate the art of the great instrumentalists. It was not enough mer violinist. The great composers of the past ely to be a perfect master of an instrument ; had other qualifications as a sort of necessary the sense of artistic perception was a nec prelude to the learning of Sangeeta Sastra; essary asset. The luminous circle to which they had to learn the Veda, with special Pillai belonged comprised many poten reference to Sama Veda, and generally, a tial poets, i.e., they were inborn artists, and course in grammar with special refer their genius lay in demonstration rather ence to prosody was also undergone, than in the composition of Oeetams etc. Sangeetam was a Sastra, and an annex to the This artistic genius is one which cannot Vela-^such Was the view. Naturally there be thrust abextra ; it is the result of a com grew up a reverence towards the science plex heredity, playing also a great part, and this reverence worked for good. These though not necessarily. Unfortunately, preliminaries served a somewhat unconsci as fatality would have it, the artistic de ous purpose. The great composers were monstrator on the instrument is one whoso poets first, and then musicians. Most of product dies with him and the gramaphone them were Tennysons and Brownings. is but an empty consolation. Thq disc is a Most of the singers and composers were mere piece of wax. The memories of. men, primarily vocalists, and instrumental i.e. of competent men, themselves ardent *tfr. K. Ramaohandran, Research Scholar in Musio, The University of Madras. 60 THE JOURNAL OB' THE MUSIC ACADEMY students who have heard their performances, But such feats bespeak an acrobat. They are the only possible sources of evidence do not form the main features of an artistic for the recording of a comparative estimate, genius. Mechanical mastery is even a and this is the only kind of monument that defect, and is what mere cramming is to an can be dedicated. examination. Even though Pillai con fessed that he could never successfully get Even then a description can never pretend that ‘ get up, or finished get up,’ he had to be adequate. But a comparative esti more genuine feeling. He had the right mate should be attempted. It may be said poetic sense which Iyer had not. pertinently that Iyer represents the Iyer was not a poet; he was too prosaic masculine type, and Pillai the artistic side and practical for i t ; he was not an artist. of South Indian Music, so far as demonstra But he made up for all shortcomings by his tive ability goes. We do not of course pay masterly aggressiveness. He had an extra scant respect to other artists who have dis ordinary gift of mother wit, that made him played equal powers. The exquisite touch the object of universal admiration and reve of Narayanas wami Iyer of Pndukottah still rence. As a man, he commanded the love lingers in the gramaphone. But his play is of none, as a player, few could fail to be not a type. Men of genius alone can pro impressed with his absolute mastery over the duce types. Of course we cannot have any instrument. He could embellish any Keer- absolute standard of measurement.' But a tanam, even of the worst type; he was a reasoned estimate is possible by persons, who brilliant manufacturer. Krishna Iyer evoked can play on the violin and who know some admiration, but not full satisfaction. thing about the technique of it. The main Pillai evoked both. He could please any features in a typical violin demonstration body. Six hours of solo did not kindle the are, the cultivation of the practice so as to least discontent. In his best days he drew approximate to the tone of the human voice tears from the audience—a supreme test of and the gradual mastery over the instru artistic genius. The man spoke for himself ment. It must be remembered, however, that in the instrument. He loved the beautiful, all players on the instrument are agreed as truth to him was rhythmic beauty, and all to one point, that it is* the most elusive his concepts were present in his play. of all stringed instruments and Pillai On one occasion he outbeat the Veena itself was fully conscious of it. The violin poorly and the simple secret was his inner feelings compensates the toils of the practitioner. found vent through his magic fingers. Mere Krishna Iyer, a greater master of the instru mechanical dexterity, excessive ornamen ment had to acknowledge it in his declining tation, undesirable mannerisms—all these days, and many of the best performances of were conspicuously absent in him. Another Pillai showed also a negative aspect most important advantage, which Pillai had that, too much of pains cannot be taken, and over his great predecessor, was his self con- that the violin was after all, an inferior one tainedness. While practising in his bouse to the Veena, in respect of certain funda the writer heard him play without the mentals. Krishna Iyer was a prodigy ; the slightest fault in the absence of a time playing of an Ata Tala Varna on a single keeper. Give him any kind of Pallavi, in string is beyond the powers of an ordinary any Tala, and you will have a ready res man. ponse. His calmness was exemplary, and THE LATE G0VINDA8WAMI PILLAI 61 his silence majestic. A man of few words nist, improve the vooalist's attempts. He his laconic replies were to the point, but full was one of the very few who mastered the of modesty and wisdom. He had, as people gamakams perfectly, and his oontrol of the used to say, talam in his bow. As many bow and finger pressure were perfect expert violinists have agreed, he practised Technically speaking, he specialised in the from the first along ideal lines. His bowing Tripuccha gamakam. was perfect: it described a perfect straight Above all, it should be clearly noted that line, so that not even the slightest jarring it was his inner sense of beauty and rhythm or scratching sound could be heard. The fun that made him a great artist, the like of damental points in his style and art can whom it may not be possible to see for be . briefly stated thus. True to the sometime more. Of oourse, he had not the ideals of the school to which he belonged, he divine intuition of the great Sarabha played approximating to the human modu Sastrigal. The latter combined in him, as lations. This, as such, is vague, but the did the ancient Brahmins, a qulture of a implication will be clear fo any actual wide order. Sarabhan was undoubtedly a player. Technically speaking, we may born prodigy and an incarnation. But say, thathe cho36 the Tanam style, and in Govindas wami took care, in other directions, his raga development he chose the piper’s to deepen his sense of symmetry and other plan. His best days synchronised with the artistic requirements. Perhaps many did times of the classic pipers like Natesan ; not know that he was a good flutist, and and no wonder, he imbibed many of their perhaps a better drummer. , touches. Hie playing of the Pallavi was a special feature. Ho rough land-marks It is a pity that almost all the violinists of marred his boundaries. The sailing was the present day have not been in the least perfectly smooth, and the rudder quite anxious to learn lessons from the late steady. It was a beautiful landscape that master, and there are scores of reasons for he painted. Krishna Iyer was fond of climb the same. There is no use trying to be ing rugged mountains of majestic height, moan it, and in this connection, I would but mankind wants fertile evergreen like to recall, a conversation I had had valleys, and Fillai created a veritable withPillai in December 1925. I called on paradise of lakes and rivulets and green him with a friend of mine, to work out a meadows. Such, metaphorically speaking, detailed scheme by which a professional was the fulfilled aims of the great violinist. college could be started, and licences be The pallavi expansion was a grand treat. given to those who wanted to teach music. It was just the opposite of the heavy Any body after cramming a few varnas in howling,—for such it seems to be—of an absurd manner could be a “ Bhagava- modern exponents. The rhythmic resonan tar” . The number of Grub Street poets ce, so peculiar to his fingers, coupled with and fiddlers are increasing every day, and I his tanam style of playing, lent an in wanted some action to be taken. Pillai imitable enchantment to his performances. frankly said:—■*' I have given so many per His pallavis were extempore varnams, i.e. formances, having in my mind the benefit they had all the graces of a finished var- of the professionals, and my bitter experien nam. He was never taken aback in ce is, that, for some reason or other, no one concerts, and could always, as an accompa is willing to learn and as for the college 62 THE JOURNAL OF THE MUSIC ACADEMY you talk of, it will be a failure” . I wish the We do not want to cast aspersions, but we statement could be falsified. It is our do want professionals to remember the gre$t earnest hope that violinists will begin man who passed away recently, and to do practice in the right way, and make their honour to him, not only by subscribing to intruments audible, and really musical, in any monument to his memory, but by imita stead of the horrid scratching noises, and the ting his silent humility, and his mode of screeching tones due to their inventive geni playing. 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Qu,flGtiJnir pnasr i9p (S jy p sir y,es>igu9s8(7fjmp p n iu p a n p «t® ssrfh—ppnu i9siiSsiriuei]naisnjs(^&Teir Gusreir ppp iBanfen njennse&i—iA iAKppn^g,easpQiun® emus snL-L-Gesi @$)6n>p erQgffhajpp. iBenSsmuessn Q snQ p^i^^p^ed H iB^sp sQpiuerdsasuesiniif sen eisindanii unirs(&pA GunOpeoenn t i ereinSasr @ isy,0 « g Lbjvutif.iLjLh eriiipnei srea r^ j^ u s snefO^lflseneunsena&Qeu unsBiiupp euipssiA, (jissjflag gineass G u n i t s Gsnn>pnns6tt, jsjjp LAemt—ik jP ) ‘ ^nibsen QAGs evikfiq^uupnsp THE LATE GOVINDA8WAMI PILLAI 65 OpiftiipS>t @«bAGlasO ^gi/iy-sstp. um rsseniriAj y,en>-QQriirppLcir m ik p ^ sn su uirirpgus ^a rjp i ettiihQ pir&pu uiLt—iTirssii. s&Gsifi (ifty li .Hjusir jj&tyiruetssnl Q&m^iQ&ir&Teu jp QuireiGsn pgpu^,®t mSsst gg/rs®aii9ffl) QsirswrQeuiis sQlL® ^irppLjts^uf. pjgnxiSl afferr/B0i i . t-jerienirim^ipei) fiflz-1® pssr emt—iu s s e s s r s u scia G sn GsuemiptuG p Grmjpuii & it ifhu it s suits ek eff L-iq-sH Gihp-iuirir uitl s^jS,£ p/nupemps smLuf- setorennfleO ggsntA sBlL tSshdoiTiusniraerr uiri—L J U L L is u irs i^ i—m spp i_/r/f G i.j Q s Oatremts^Q^ih^ieSi-L® s s G s iB d (p ^ en S tsuirSsfSfLA snkp snirptuQpLA e-Qfjuuuj- iuit ujld 6Ujrs Q&irsneS isj-siL Q sirQ ps sQlLQs surgi. eieosurriA ‘ QsirsnQsirm ’ Q e^m G p § j0a (S:TetjLcprrserr, Ljsm iu t-KjFjeipm G lAsS’iI ISj-^B)ei> sfslVSLA pllLA SsG^lflsSfflsi) /T© < ^)iip et? stf/rdJy^tiSIsO s r p p & o r a ir si) lBqt} u l 9 ppiLA u l L(Bs smsiBsitULA O s iu s eniipGprr© , s/OsuitlS srOiEiSp a_so 0i j ussusn LciTsS,genii' emr ptupsmps GslL s ist—pffieuiipiriT' l u iS q^ ^ I erouuii pLustnurk s afl0Lnt5)g)s:i), ojitsuG s ^psmp ur.irpp eusasomr I Gppsr)QiA®ss ^ensSi—p^ie i1, Sen G&wiu(stssmsi i9&idstriuewrstv^ti(^ p!sum sirrf jtla ; Osu0 jy te sek @0u u s Genpiriip siren)^ffuut^ crdem sm uu uirQsuinrssrr. Lnirsisr Ganuncu <£*06)^ gg Gla. ^ u u iS j.u u L -L ^ GpjruUfSetmQu- rrSsr jpiih CBWUITJI^UJfTffrTd) iliit’ srmp Qirppmpemp Gsu-Gupir Lcmgp atirjririSm, smjrtLjiiuu/- uirGkuirirssir. ^jSp ^^^psrpenp gyiyR m W i ^ a i i a a r eioirin ( s ir t ^ ^ ^ 4 ir s j0 ^ p p i ^ h G u i r ^ i farart'^t: : II 66 THE JOURNAL OF THE MUSIC ACADEMY “ GrQatr eurfl Q p nQ e^ir (VemeflebrsrjflurrGlp, (^gups usrprrs-iriS)'), gtsstjh aureippeuQpsirefreir i$LBEgtgfi!ii(epirl £jrGem®£eQaiiriBi&: ” , Lo/T0 ti. @su/f prrear QsiriftueuirQp GTesrgP umim Gail® er Kibirt&TjLh m/rih iSeb dsn uewr i fT^o&^p&o ^TT5^. __ 0 Q__ oJ T 0 0 (SoAe£ S Sc^r- ese^tfoXo, 5xr°. tfsSbrsdSbg C^^-* ^ f>5loa ^ S oK^T’Jw S)Ttt{6 S|4§i'S'^ S’ ® JjJKwoSb Soft#££o3&5 w!fii§£# dSorfctSW ^ 'SFgK 1)6 3 ’ Sga>iS»S'j^ sSr'tSb^gJSiBS', 0>£5^3i) TT'BdBf'OCii feel W^ojSsfioajrf dSS^JSo^A, wq)o5»3aJ®fecJS»;S>, tJt'SS Wo Mb S3 M^^JodaboTV” Sx:sSr»fsS 25 SoS#^tf;S»«a'7T’ ■^SSScJSxJfe tSScBcd ooiSBtO 0|p# DlS-cBbo^. ^3^ (J^K®#''’1 ©tfsScjSr'gSorfoMb fi®-SS3’ T&-'8 Sctfisfi be !>&x> -TPrfjSaa fees’ TT'MrfahasS'S sfcxutT* ^ «T’g? S^j-SioBtfo wo#c*5boS> «SoK g^cStr'SS^ S^oMb-CSbo^ St<:£r«#o(£c&> fee e#^SS g’ o® rfi&AoeJ^ w6#Sr*6ji'3ab. Wo#dS» S'S' fe{6 ^§sS>o#a®a, SaaSoXai* drtJ’ fl&oa, The second Annual Music Conference is keenly alive to the present disabilities organised by the Music Academy, Madras, of her sex in this ancient land and is commenced its sittings on the 24th of strenuously engaged in the noble task of Dec. 1930, at the special pandal erected uplifting the women of Southern India behind the Ripon Buildings. The pandal particularly, and ameliorating their lot, was tastefully decorated and was bril socially and intellectually. She may be liantly illumined. Her Highness the Junior regarded as the incarnation of Divine Maharanee of Travancore, opened the Con Music in human form and her gracing this ference. There was a very large gather occasion with her august presence is a ing of ladies and gentlemen, and a Opnvincing proof, if proof were needed, of distinguished assemblage of Sangeeta her Intense love for the art and science of Vidwans from various parts of the Presi music and her abiding interest in the dency. The conference was presided over Music Academy. As in olden days, music by Gayaka Sikhamany MuthiahBhagavatar has come to be closely associated with of Harikesanallur. The proceedings be Royalty for the first-time at this Conferen gan with the singing of devotional songs by ce. May Her Highness live long to give us the talented young girls, Sow. Rajamony the benefit of her knowledge and help us and Sow. Sugandhavalli, daughters of Mr. materially to place the Music Academy N. Srinivasacharya, Advocate, Madras. above want 1 The Journal of the Music Academy. Dr. U. R ama. R au, the President of The second point of importance is the THE ACADEMY, welcomed Her Highness, birth of the Journal of the Music Academy the delegates and the visitors and in request during the year. This, in my opinion, is one ing Her Highness to declare the Conference of the best methods of propagating and open, delivered the following address :— disseminating the knowledge of music to “ Your Highness, Sangeeta Vidwans, the outside music world and ventilating the Ladies and Gentlemen, It is my proud pri various viewpoints of the musicians con vilege to accord to you, for the second time, tributing to this Journal. Journalism a hearty welcome to this Conference. This is a great force, which propels and sets year’s conference is significant in more in motion the machinery of knowledge ways than one. In the first place, the august and I am sure it will not be long presence of Her Highness, the Junior before this Journal knocks at the door Maharanee of Travancore, who has, in the of every musician arid lover of music in midst of her nu merous engagements, readily India, and brings home to him or her the consented to open this Conference and serious responsibility of reviving this hoary guide us in our deliberations, is a happy art and placing it once more on the pedestal augury for the future of the Madras Music of its ancient glory. The Journal is at pre Academy. Her Highness, we all know. sent a quarterly publication and the res THE JOURNAL OF THE MUSIC ACADEMY ponse, I am sorry to remark, is slow and the Music Academy in Madras is very halting. If more subscribers and more con keenly felt. The activities of the Academy tributors are forthcoming, there is no doubt are broadening day by day. Under its aus that it can be converted into a monthly one. pices are held lectures, music performances, I therefore appeal to one and all of you pre kalakshepams, music competitions and sent here, to subscribe for and to contribute committee-meetings at frequent intervals. to the Journal and thus keep the torch of There is the publication of the Journal be knowledge which it bears aloft, ever alive sides. All these require space and to depend and burning with glow and splendour. upon the sweet will and pleasure of hall- I may add that in the hands of Mr. T. V. owners in the city, every time we have to Subba Rao, its able Editor, the Journal is conduct our activities, is, apart from the sure to be lively and interesting. question of expense, a matter of extreme Third, in importance, comes the opening difficulty and anxi.ety.Thej)rogramme of the of a Music College at Chidambaram. That Music Academy is often upset for want of noble patron of the Music Academy, Raja proper accommodation and it behoves, there- Sir Annamalai Chettiar, has placed the fore.every well wisher of the Music Aoademy public of Southern India under a deep debt to donate liberally to a building-fund, which of gratitude by his munificent act. Scien the Academy intends starting and thus help tific teaching of music has thus become in getting over this great difficulty. possible, but one swallow does not make a summer. More colleges of Music are re A Music College for Madras. quired and many more philanthropists, to Another urgent need is the establishment translate our desire into action. I hope the of a College in Madras, as I have already generous example of Raja Sir Annamalai told you, with a training school attached Chettiar will be followed by other wealthy to it. There is a great dearth of trained lovers of music and Madras will soon be teachers in Music. The Madras University gifted with a Music College. has included music in the curriculam of Lastly, this music conference is significant studies prescribed for examination, and has for the release of Mr. E. Krishna Aiyar, one since resolved, I understand, to confer a dip of its able and energetic secretaries, from his loma in music too. The Academy heartily incarceration for political offence for a period welcomes it. The consequential effect of of about six months. I am glad to tell you all this is the introduction of music as a that he has resumed his duties as secre subject of study in all women’s colleges tary. His work during bis absence had been and girls’ schools. Trained teachers, cheerfully shouldered by the other secre women teachers especially, are necessary, tary, Mr. Rajagopalachariar, whose devo and a training school for women-music- tion to duty and willingness to sacrifice teachers must be established. A college in the hour of need, is a matter for apprecia and a training school in music estab tion and thankfulness. lished by the Academy will ensure that scientific control, which is badly needed in Needs of the Academy. music instruction. There are musicians Let me now pass on to the enumeration of yearning for higher scientific study in some of the needs of the Music Academy. music. There are students in Madras, both The want of a music-hall and an office for in schools and colleges, who are anxious to THE MA.DRA.S MCJ8IC CONFERENCE OF 1930 69 have a course in music during their off-hours ‘ Om,’ emblem o f ‘ Brahman’. T hat‘Om’ is morning and evening. There are amateurs, the Pranava Mantram.” To a music au among both sexes,who wish to improve their dience, music is a sense-charmer; it keeps knowledge of music scientifically by study every sense in blessed and perfect harmony. ing in the music college. The demand for Even snakes and venomous reptiles give up, a music college now is so insistent that the for the time being, their vicious habits and Academy has resolved to open a college early remain in communion with the tune of next year and not to wait till funds are music, in other words with ‘ Om ’—with raised. A building in Thambu Chetti Brahman. Even so, will the human listener Street, has been secured for the purpose and be. Music will obliterate his moody classes for elementary and advanced courses mind and infuse cheer and liveliness in are in contemplation. A syllabus has been him. It is this characteristic of music that drawn up and everything is ready for the has induced western medical men recently establishment of the music college. I there to introduce music as a therapeutic agent fore appeal to all charitably-disposed ladios in jails and mental hospitals, to reclaim and gentlemen, and every musician and criminals and lunatics. One of the many music-lover in the land, to contribute their amenities provided by the civic administra mite and make the college a success. I tions is music, and the Corporation of hope the Government will come out with a Madras, has arranged for musical enter liberal grant for the college. tainments at important centres of the city, Indian music being given the pre Music and Health. ference. The Corporation has also instal led a Broadcasting Studio, the success of Ladies and Gentlemen, before I conclude which is due not a little to M.R.Ry. Rao let me impress on you the importance of Bahadur C. V. Krishnaswami Chettiar, music, as an invaluable aid to the health the able and energetic Electrical Engineer and well-being of the human race. Music is of the Corporation. Recently the Corpo said to have a divine origin beoause it posses ration has sanctioned Rs. 2,500 to be paid ses those divine qualities of healing, soothing to professional singers, at Rs. 50 per perfor and softening the distressed human minds mance, for service at the Corporation and bodies. Most, if not all of us, experi Broadcasting Studio on Sundays and other ence some sort of mental depression at some public holidays. The citizens of Madras time or other of our lives, and it is best to and the Music Academy, in particular, owe treat that diseased condition with sweet a deep debt of gratitude to the Corporation, music. For the musician it is a form to Mr. E. Conran-Smith the Commissioner, of breathing or Pranayama exercise, which to Mr. J. E. Hensman and to Mr. C. V. K. gives him good health and long life. The Chettiar, for the timely help they have ren divine sage Narad* in Srimad Bhagavatam dered in connection with this Conference says, “ The Veena (stringed instrument) in and for the profound interest they have my hand is a celestial one and the tune of evinoed in the advancement of Indian the Veena is in symphony with the word Music.” HER HIGHNESS. THE JUNIOR MAHARANEE’S ADDRESS. After the welcome address by Dr. prove the character of public concerts U. Rama Rau, Her Highness the Junior and emphasise their educative aspect. Maharanee of Travancore rose amidst loud Competitions have been held, and prizes cheers and, in declaring the Conference and medals have been awarded with a view open, addressed as follows:— to encourage talent, which may otherwise “ Ladies and Gentlemen,—Allow me to remain obscure and undeveloped. Through tender my thanks to the President and its Journal and by arranging discussions members of the Music Academy, Madras, among experts, it endeavors to make a for having invited me to open its Second scientific study of the theory and practice of Annual Conference. South Indian music. In fact, during the short period of three years, the Academy As an ardent lover of music and a devoted has succeeded, if I may say so without student of South Indian music in particular, exaggeration, in rousing the interest and I feel genuinely pleased that I have been awakening the conscience of the intelligen- given an opportunity to participate in this tia, to the need for the reform and the function. healthy growth of South Indian music. Proud as I am, of the great and glorious It is a matter for gratification that one of achievements of our country in this branch the results of the awakening has been the of art, I am afraid that symptoms of stag introduction of Indian music as a subject nation and perhaps even of decadence have of study for the Intermediate Course of the been noticeable for a considerable period. Madras University and the proposed estab True lovers of Indian music have deplored lishment of a Degree course in music. The the condition in which it stands at present problem of providing suitable lectures in and have felt strongly the need for an music for the colleges which may seek organised and sustained effort to revitalise affiliation in that subject is not easy to it by conserving ani developing its beauties solve, and should be tackled by the and removing its excrescences. No less Conference and by others interested, without important and equally urgent is the need delay. for educating and refining the public taste This Conference and the Music Aca and elevating the public standard of appre demy, are grateful to the musicians and ciation. experts, who are gathered here to-day to The All-India Music Conference of 1927 help in the attainment of the high objects realised the importance of such education which this Academy has set for itself to and it was in pursuance of one of its reso achieve. I have no doubt that, with their lutions that the Music Academy of Madras rich experience and knowledge, they will was founded in 1928. It is not necessary realise, that, not merely by the exhibition of for me to dwell at length on the aims and their excellent music and musical know achievements of this institution. All those ledge, but also by their devotion to the who have glanced over its reports and other improvement of the great art to which they publications, will feel convinced that though have dedicated themselves, will they be still in its infancy, it has a good record of discharging the duties they owe to their work to its credit, and it has sought to im great Motherland and to the Goddess of THE MADRAS MUSIC CONFERENCE OF 1930 71 music and find for Indian Music its fighting for the political freedom of the proper place in the natiopal life of the country should also cultivate this art and country.” make music the vehicle of their spiritual Mr. Satyamurti’s Speech. V and cultural sentiments. I hope that, Mr. S. Satyamurti, one of the Vice-Presi with the encouragement given by such per dents of the Academy, proposed a vote of sonages as Her Highness, we will have thanks to Her Highness for kindly a new awakening and that there will come consenting to open the Conference and a new school of South Indian Music. said, ” One of the aims ot the Academy The Madras University, has done what a is to rescue South Indian music from conservative and slow-moving body can be the stagnation intq which it had fallen expected to do in these days and has made at the present day. To day the average music an optional subject for study fortheln- musical performance is judged more termediate course and the subject has already by the number of musicians on the platform been introduced in the Travancore Maha and the number of accompaniments, than raja’s Girls’ College in Trivandrum and the by their intrinsic merit. The hall in which I have no doubt that very soon the the performances are given are ill ventila Degree course will also be introduced ted and uncomfortable for the audience and there. The University is again trying to it is the aim of the Academy to have in institute a Diploma course in music. Madras, a suitable music-hall, wherein both In conclusion, I may say that my the performers and the hearers, could con one great ambition, even though it may veniently and comfortably spend some hours not be an ambition of the Academy, of real enjoyment. * I also desire the is to see the field of music conquered by musicians to take their proper place in the women. The domain is theirs by right national life. The present-day musicians, and I hope that very soon, the women of in my opinion, with a few honourable excep India, will regard this an honoured and tions, have become mere hirelings of profes honourable profesion. I trust that the sional Sabhas whose one aim is to make Academy will have the courage, when the money. The musicians have to pander to time will come, to boycott all male singers the taste of the noisy section of the audi and insist on performances being given by ence and it is no wonder to‘me that the talented ladies. On behalf of the Academy, I standard of South Indian music has thank Her Highness for her words of encou rapidly fallen down. I am glad to hear ragement and hope that Her Highness will Her Highness’s appreciation of the work give her unstinted support to the Academy.” of the Academy to raise the standard. The Her Highness then left the Conference. Academy insists on having only three Mr. T. V. Subba Rao, then proposed hour performances.! Another aim of the Brahmasri GayakaSikhamanyHarikesanal- Academy is to give music its proper place lur Muthiah Bhagavatar to be the President in our homes. I am glad that in Her High of the Conference, and the proposition was ness’s State, music still is developed in seconded by Mr. K. S. Viswanatha Sastri. the homes of the people. But in Tamil Brahmasri Muthiah Bhagavatar then Nadu it'is not the case and the Academy occupied the chair and delivered his Presi disires to make music an ordinary feature dential address in Tamil, an English ren of every home. The Indians, who are pow dering of which is given below, 72 THE JOURNAL OF THE MUSIC ACADEMY Mr. Muthiah Bhagavatar’s its present features and complexion to the Address. lead given by these great writers. “ Ladies and gentlemen, I am grateful Then came the three great composers, to you, for the honour you have done me, by Tyagaraja, Muthuswami Dikshitar and asking me to preside over these delibera Syama Sastrigal. They followed the sys tions. In this Academy there are several tem of Govinda Dikshitar and Venkata persons more learned than myself and I can Makhi and composed Kirtanas in Melakar therefore regard this as an honour done, not tas and janya ragas, in such a way that, by so much to me personally, as to the musi listening to them one can grasp the Laksha- cians as a class. na of the raga, its Arohana and Avarahona, Sancharas and the like. They have famili When the Academy was started, there arised the lay world with all the intricacies were those who were under the impression, of the science as formulated by Govinda that having been started by amateurs and Dikshitar and Venkata Makhi and deserve lovers of music,it will not suffciently honour to be honoured as the three Gods of the the musicians. But since then, the Academy Musical Trinity. has been exerting itself for the encourage ment of music and musicians whole-hear Some persons are of the view that the tedly and at the present day, there is not a Carnatic music is decadent. I do not agree trace of such an impression left. Myself with this view. Some thirty five years ago and all the expert musicians are willing to musicians of a high order were few in take our place as limbs of the Academy and number and they were patronised by a few to render it all the services which we can rich men. Persons who could really follow for the improvement of music. and appreciate the musicians were few. It Music in India is as old as the Vedas. is not so in these days. The audience has The great Rishis improved it and classified widened and persons who appreciate music it into svaras, gramas, moorchanas and so are more numerous and many among them forth, It went on developing. Then came are well-informed and critical. The musi Bharata and later on writers like Saranga- cians of the present day, have often to deva and others. Their works will show equip themselves with knowledge of how far music had advanced in their apoorva ragas and kirtanas so as to be respective days. able to satisfy a more critical audience. Music is divided into two classes— Our music can be divided into two Margi and Desi. The latter is prevalent classes : (1) original, which consists in sing in Northern India, while the Carnatic ing ragas, pallavis, svaras and so forth, and belongs to the former class. The main (2) reproductive—which consists in singing difference is that in the Desi music Kirtanas and Ragamalikas and the like. greater latitude is given to the admissibility The Kirtanas are very important for com- of svaras, while in our music, the rules are prehonding the science of music as well. stricter. Govinda Dikshitar and Venkata But unfortunately, they are rendered differ Makhi have settled the scientific basis of ently by different persons. Sangatis have our system and have elaborately classified been so altered, that even the raga has come the ragas into 72 Melakartas and their to be doubted, The composers of the Kir- janya ragas, To-day Carnatic music owes tanas have selected the ragas and the san- THE MAPRAS MUSIC CONFERENCE OF J930 73 gatis, so as to suit the sentiments and In this connection, I must refer to Raja wo uld therefore like their own sangatis to be Sir Annamalai Chettiar’s Music College at r eproduoed without variation. Therefore Chidambaram. I had occasion to see the we should try to standardise the Kirtanas. working of the college quite recently and I One other defect that this variation of was considerably impressed by the effect Kirtanas produces is this. It becomes im produced by a number of students singing possible for several persons to join to the same song without variation. gether in singing the same song. In Wes tern music, the pleasure is very largely due j The Question of Srutis. to several persons joining together in sing On the question of 22 srutis in Carnatic ing. It is necessary that in Carnatic music music, there may be difference of opinion. also, we should arrange for numerous per The proper method of approach ap sons all singing the same Kirtana without pears to me to find from the Kirtanas, variation. The enlightened Maharaja of how many srutis actually occur in them. Mysore, who is far-famed for his knowledge At the present day, owing to the habit of love and patronage of music, and under learning svaras through the harmonium, the whom I have the honour to serve, has orga fine distinction between the various si-utis nised an orchestra of Carnatic music as well. occurring in the same svara-interval tends Therein vocal singing as well as music of to become obliterated. It must not be for numerous instruments, all co-operate and gotten that srutis are of the very essence of produce divine harmony. It is my desire that gamakas. We must preserve our habit of this example should be widely followed. training the ears and acquiring a knowledge It is necessary for this purpose that our of the various and subtle srutis through our Academy and the Madras University should ears. co-operate and publish Kirtanas and thus There are several matters in which dis secure uniformity. There is also the fact putations have been carried on for ages and that the teachers of music differ in their can be carried on endlessly, without any teachings. This can be remedied by our adequate practical results. We should avoid Academy issuing a syllabus for the study of such topics and save time. beginners and children: and when the teachers follow one syllabus and teach the In our discussions the subject of Talam Kirtanas according to one text-book we can has not received adequate consideration so hope to see order and uniformity restored in far. It is my desire that we must devote the rendering of Kirtanas in the near future. sufficient attention to this as well.” PAPERS READ A T THE MADRAS MUSIC CONFERENCE, 1930. Among the papers read at the Conference 2. ‘ Notation for South Indian Music. A may be mentioned the following : - scheme for the adoption of the English al phabet for representing the Sapta Svaras.’— 1. ‘ Wind Instruments, with special referby Pandit S. Subramania Sastri of Tanjore. ence to Nadaswaram.’—by Mr. K . Rama- 3. ‘ Harikeertana Vimarsa.’—by Oayana chandran, Research Scholar in Music, The Patu, Keertana Patu Srimati Saraswati University o f Madras, Bai.—Vide page 50, IBooks IRecdveb. Mention in this list does not mean nor prechide a review in any subsequent issue. 1. T he Sruti T heory of Indian 2. Moon Beams—by V. N. Bhushan.— MUSIC—(More from the point of view of Published by the Youth of Asia Society, European Music.)—Edited and published Masulipatain. by D. D. Bhate, Wai Dist. Satara. 3. ewsnnuu(Sppuuil,i— 8 rr pa Vest a or m (TAMIL Songs in Malayalam Script)—by Mr. T. Price Re. 1. Lahshmana Pillai, Trivandrum. Foreign 3ouinal0. We thankfully acknowledge receipt of 4. A Music Journal. the following 5. Academic Des Beaux-Arls, with cata 1. The Musical Times. logue Des Oeuvres De M. Dagnan—Bouve- 2. The Musical Mirror, ret, (Pientures), 3. The Musical Standard. Unfcian perioMcals. X. Bharati—Telugu. 2. The Hindu Organ—(Ceylon). I R e v t e w s . The Annual Report of the Music ed—by waiting in deputation before the Academy, Madras, 1930. authorities—to get courses of music insti The Academy deserves every congratula tuted in the B. A. Class of the Queen Mary’s tion on the extremely good work that it was College, Madras, held the preliminary able to turn out during the year under Easter Conference of the Advisory Expert report. Its activities had indeed been quite Committee, and finally wound up its activi varied. In addition to the musical enter ties for the year by running a grand annual tainments arranged for almost month by Conference during the Xmas week of 1930, month, tho Music Academy instituted com in a magnificent special pandal erected in petitions, one in the Veena, and the other the beautifully laid out surroundings of the in Violin, celebrated with due eclat the days People’s Park behind the Ripon Buildings, of the great Saints, Purandara Das, Syama graciously opened by Her Highness the Sastry, and Dikshitar, announced a Kriti Junior Maharanee of Travancore and ably Competition, instituting a prize of Rs. 100 presided over by Gayaka Sikhamany Brah- for the best Kriti to be composed in each of masri L. Muthiah Bhagavatar Avl, The the five languages, Sanskrit, Tamil, Telugu, Annual Conference was the crown of the Kanarese and Malayalam, effectively essay Academy’s achievements for the year. It IN MEMORIAM ?5 brought together the leading Vidwans of veritable Carnival of Music, for, the exquisi the country who, during the week that the tely model performances arranged for by the sessions lasted, carried oh discussions Academy drew hundreds of music-lovers on musical topics day by day. This was who thronged the pandal every evening, and itself a great advantage. ‘ Musicians as spent some quiet hours of delightful enjoy a class, even yet, are too much inclined ment. The record of work is such that any to solitariness’ and this Conference effected institution can well be proud of and all that ‘ getting together’ amidst them honour to the authorities of the Academy whereby they were able to interchange for their glorious achievement. We trust their views and burnish their ideas and that, in the years to come, its activities refuel the ideals of their great calling. will be more useful and expansive than Further, the Conference turned out to be a before. Hn flDemoriam. It is indeed a very sad thing that our merged it into the universally divine.’ first public duty is to record the deaths of May his soul rest in peace ! more than one illustrious member of the Academy’s Advisory Board of Experts, viz., The passing away of *GOVINDASWAMY of Vidwan Sangamaesvara Sastri, of Govin- PILLAI O F TRICHY drops the curtain, as daswamy Pillai of Trichy and of A. P. Na- it were, once for all, over the only shining tesa Iyer of Melattur. vestige of the hierarchy of musicians of the Golden Age of South Indian Music. A SANGAMAESVARA SASTRI the prince among violinists, probably second veteran Vidwan of the Pittapur palace, was only to the redoubtable Tirukkodikaval one of the premier Vainikas of Andhra Krishna Iyer of immortal glory, Govinda- Desa. His play on his divine instrument, swamy Pillai easily dominated the South unique, as it was, for virility and robust Indian Musical concert-world of the last ness, had the tremendous uplift of Beetho two decades. Accompanist as he was, he ven. He was profound not only in the eclipsed almost every vocalist that sat Carnatic but in the Hindustani style of by him. ‘Monarch, he was, of all he survey music. His loss to Andhra Desa is great ed’, and his pre-eminence there was none to and to the music world it is irrepairable. dispute. Like some ‘sea-shouldering whale,’ It is however interesting to learn from one Govindaswamy, careered amongst ‘the little of his biographers, that, like his great com dolphins and porpoises that simply flound peer of the West who, just before he died, ered uncomfortably in his immense wake.’ desired to be carried to his pianoforte and But hi3 high sense of decorum never led played the book of Genesis thereon him into those unseemly wrangles for a three times, Sangamaesvara Sastri, at his separate turn (Avritam), that we so often last moments, called for his favourite find in many a young rising accompanist Veena and played upon it, till he released of to-day, who has yet to cut his musical ‘ that which was divine within him and teeth. The man of few words that he was, *See page for his photo kindly supplied by Mr. Jalatarangan Raoaanayya Chettiar. 76 THE JOURNAL OF THE MUSIC ACADEMY he would never open hie lips, but quietly may Kalidasa’s acclamation of Malavikas’s wait with the majestic serenity of an standing posture Achilles. When the turn did come, he |’ be applied to the would warm himself up in no time and grandeur of Govindaswamy’s pose ! soaring with the radiance of a Shelley, in a His audience instinctively felt it was magniloquent and festive style, let his music in the hands of a great personality and roll along impressively. Nowhere can one literally hung upon his bow. He meet with that wide sweep, sustained was gifted with a voice of rare mellifluity dignity, crystal clarity and a magnificently (though of small reach), one of those clear charming finish. His solo concerts were silvery placid voices that flowed without veritable wonderlands. When his bow the slightest effort. To listen to Govinda touched the strings, the hundreds that con swamy singing to the accompaniment of gregated there forgot all the trials and his instrument is to receive the most soul turmoils of everyday life and were led into stirring experience of one’s life. The a fairyland of song and happiness. 1 That captivatingly beautiful strains of his music, little violin—a mere affair of wood and gushing out with all the plenitude of catgut— was uttering the song of the Heart’ passsionate feeling, lifted up the audience to and everybody floated into a dreamland of a region of kaleidoscopic symphony of pur symphonious beauty. Though a master of ple and gold. There was in his music a stupendous technique, and could move with feeling of a tremendous lot behind. He was the greatest ease in regions, which most of of that rare type of an artist, who conveyed his rivals dreaded to tread, he placed it all ‘ music’s intimations of immortality.’ But at the service of art and never sacrificed the alas! All is now over with him! Music’s latter to make a fetish of the former. In sheet anchor is gone ! Govindaswamy’s eyes the raging clamour of musical jijitzus and have been closed! But will his Art be put percussion skirmishes, the calmness of to rest with him ? Govindaswamy was supreme. His bow We mourn the death of A. P. Natesa ever remained quiet on the strings and A iyar of Melattur. Possessed of a repu music flowed freely and unrestrainedly. tation as a trainer of pupils in the art of What rythmic urge and control! What Harikatha Kalakshepam, he was better classic dignity ! What reverent^serejiity ! known as Adohinayam Natesa Aiyar. He What rapturous repose ! A Jip-top fiddjir, was one of the few rare exponents of the and a brilliant executionist,~'~thB'art of much derided art of Bharata Natyam. The violin play attained a peak of perfection in signs are however changing, and we already his hands. His stately personality and his see the dawn of a new era, that will soon statuesque mien lent great weight to his accord to this art, the status that is justly music and set it to rare advantage. Well due unto it. IRotes anb Comments. We extend a hearty welcome to the new Madras University for the substantial help ^Office bearers of the Academy, elected on rendered to him to enable him to succes- the 14th Feb. 31. at the meeting of the fully prosecute his studies in Germany. General body, held at “ Gana Mandir” , We are further happy to learn that 10, Tharnbu Chetty Street, G. T. Madras. Mr. Sambamurty has been the recipient of a stipend from the Indian Institue Des Deutsche Academy, Munich. We convey The Academy owes a deep debt of grati our congratulations to him and heartly tude to its worthy President Dr. U. Rama join in the wishes of the Academy for his Rau, for his kindness in placing his newly successful career in foreign lands and a' constructed ‘ Gana Mandir ’ at the disposal joyous and speedy return. of the Academy. One cannot speak too highly ol the boon he has thereby conferred upon the Academy, which can now, for all We are glad to announce that a decision intents and purposes, boast of a home has been arrived at with regard to the Kriti almost its own and has no further need to Competition announced by the Academy, go a hunting for halls to conduc t its acti in 1929. It may be recollected that the vities. Music Academy, Madras, instituted in 1929 a prize of Rs. 100/—for the best Kriti We desire to offer a hearty welcome to Composition in each of the five languages, the newly elected members of the Journalt viz, Sanskrit, Tamil, Telugu, Kanarese and Committee and the talented Experts* of the Malayalam and announced a competition Advisory Board. therefor. The Kriti to be composed was to be a theme in praise of Mother India, We are extremely happy to have back in personified as a deity, with no reference our midst our esteemed Vice President, whatsoever to any matters political or Mr. S. Satyamurti and trust that in the communal. T h e Academy appointed present chastened political atmosphere of Messers. Vidwan Tiger Varadachariar, the country, he will be spared to give us T. L. Venkatrama Iyer, Advocate, and and the Academy, the benefit of his hearty Vidwan Jalatarangam Ramanayya Chet- and energetic co-operation. We take this tiar as the Judges. According to the rules opportunity of congratulating him on his framed, the Judges were to make a prelimi election as the President of the Faculty of nary selection from the compositions Fine Arts, The University of Madras, and submitted and, before declaring the final the Chairman of the Board of Studies in award, require the selected candidates to Music. sing the chosen composition before them to the accompaniment of a Tambura. The With no small pride and pleasure do we learned Judges after going through the record the award of a Scholarship, by the various compositions in Tamil. Telugu University of Munich, to Mr. Sambamurty, and Sanskrit (no compositions having been one of the Academy’s active figures. We received in Kamrese and Malayala m) feel thankful to the authorities of the selected two Sanskrit Kritis as having com e Vide page 80 +Vide supra. JVide infra 79, 78 THE JOURNAL OF THE MUSIC ACADEMY up to the ftiark. Their final sittings took with a Bharata Natyam performance by place at ‘ Gana Mandir’ and the candidate Kalyani Daughters of Tanjore. It has chosen viz, Mr. T. R. V iswanatha Sastky almost become a fashion nowadays to con of Mayavaram sang before the Judges his demn the Indian nautch and look askance at and compositions in Sanskrit—-one in Todi it. In our view this condemnation is least two the other in Kuntalavarli—to the ac deserved. Such of those as have feasted companiment of a Tambura. We reproduce their eyes on the performance of Krishna herebelow the decision of the Judges :— Bhagavatar of Tanjore of Harikatha fame, “ We have heard Mr. Viswanatha Sastry will testify to the grandeur of this art of Mayavaram sing to the accompaniment and expose the utter unworthiness of the of Tambura Sruti. We asked him to sing his criticism that is levelled against ^t. We two compositions in Sanskrit—one in Todi are glad that the performance served as an and the other in Kuntalavarali. W e are eye opener to those that came to witness it. of opinion, that both of them are of We hope that in the days to come public sufficiently high standard ; and of the two opinion will veer round and give unto Abhi- we would award the Todi Kriti, the nayam its proper place. prize. We would accordingly recommend 2. 20th March 31:—Vocal performance that Mr. Viswanatha Sastry be award ed a by M.R.Ry. Vedanta Bhagavatar of Kallidai- prize for his Sanskrit Kriti in Todi. kurichi accompanied by Messrs. Venkatrama Aiyar (Papa) on Violin and Dakshinatnurty (Sd) T. L. V enkataram a I yer. Pillai on Mridangam. (Sd.) K. Varad ach ary. (Sd.) S. R amanayya Ch etty. Musical Institutions in the City. We are glad to see the springing up The Academy tenders its grateful thanks musical institutions in the city such as ‘The to the illustrious judges that helped the Marga Sangeeta Vidyalaya’ in Sunkurama Academy in reaching a conclusion in this Chetty Street G.T., under the Principalship matter. The prize announced will be of Mr. Nadamuni, and another under the awarded to M.R.Ry. T.R. Viswanatha Sastry direction and control of Keertanacharya of Mayavaram, on a day to be notified. We C. R. Srinivasa Iyengar, Avl. The former take this opportunity of requesting the institution has instituted 3 courses,Element public and musical patrons of the country, ary, Intermediate and Advanced and imparts to come forward and institute sim ilar instruction in Vocal music, Flute, Veena, prizes. The competitions are really great Jalatarangam, Violin, Harmonium, Mri inducements and our experience in the past dangam, Kanjeera, and coaches up students assures us that the response is bound be for the lower and higher grade technical great. Examinations in music of the Government of Madras. These are happy signs of the times and show which way the wind now blows. The Academy’s Concerts. W e wish the institutions every success. I. 15th March 1931:—Bharata Natyam The Academy’s Teachers’ College of by Kalyani Daughters. Music. W ith great pleasure do we an An entirely new line was struck this ye ar nounce the resolution of the Academy by the Academy commencing its season to start a Teachers’ College of Music under THE ADVISORY EXPERT COMMITTEE, 1931. 79 its auspices. Ever since the introduction Madras, has decided to open a model Trai of music as part of the curricula of studies ning College of Music for the benefit of those for the School Final and Intermediate cour already engaged as music teachers and ses, a demand has been felt for the supply those who wish to qualify themselves as of music teachers really efficient in the Bucb. The college itself has been named as modern methods of class teaching. Good the Teachers’ College of Music. The musicians may be plenty but good teachers Academy has been lucky in securing the able of music are few and it rarely follows that services of Vidwan Tiger Varadachariar because one is musical ono has the capacity and his appointment as Principal ensures to impart the same unto others. In com that instruction will at once be classic and pliance therefore with a widespread demand modern. We hope that the public will avail from the public in general, and upon the themselves fully of the opportunity offered' insistent representations from authorities in by this institution and that students will charge of the various institutions of the come and join the same in large numbers. country and in realisation of one of its long May success attend the efforts of the Aca cherished ideals, the Music Academy, demy in this direction! The Minsk Academy? Madras* THE ADVISORY EXPERT COMMITTEE, 1931. 1. Gayaka Siromani Swaminatha Iyer (Pazha- 17. Vidwan Musiri Subramania Iyer. maneri). 18. Mr. P. S. Sundaram Iyer. 2. Vidwan Swaminatha Iyer (Umayalpuram). 19. Pandit S. Subramania Sastri. 3. „ Tiger Varadachariar. 20. Dr. Srinivasaraghavachari. ^ 4. Gana Visarada Bidaram Krishnappa. 21. Rev. H. A. Popley. 5. Sangeeta Rhusbana Kemam Nataraja Bha- 22. Mr. T. Lakshmana Pillai. gavatar. 23. „ Hulugur Krishnachariar. 6. Vidwan T. S. Sabhesalyer. 24. „ T. V. Subba Rao. 7. Gayaka Sikhamani L. Muthiah Bhaga- 25. Mr. M. S. Ramaswamy Iyer. vatar. 26. Prof. R. Sreenivasan. 8 Vidwan Vedanta Bhagavatar. 27. Mr. C. Subraipania I y e r ./ > 9. „ Ariyakudi Ramanuja Iyengar. 28. „ T. L. Venkatarama Iyer. ' 10. Brahmasri Soundararaja Bhagavatar. 29. „ G. V. Narayanaswamy Iyer. 11. Keertanacharya C.R. Srinivasa Iyengar. 30. „ P. Sambamoorty Iyer. 12. Mr. Hari Naga Bhushanam Pantulu. 31. „ VaTaha Narasimhachari, 13. Prof. Venkatsamy Naidu. 32. „ W. Doraiswamy Iyengar. 14. Mr. Jalatarangam Ramaniah Chettiar. 33. „ K. Ramacbandran. 15. Vidwan Ponnayya Pillai. 34. Gayana Patu, Keertana Patu Simati, 16. Kalahasty Venkataswamy Raju. ✓ C. Saraswati Bai. (REGISTERED UNDER ACT XXI OF 1860). Patrons. The Hon’ble Raja Sir S. R. M. Annamalai Chettiar. Mr. S. A. A. Annamalai Chettiar. Mr. M. R. Seturatnam Iyer. The Zamindar of Seithur. The Hon’ble Mr. P. T. Rajan. The Raja of Ramnad. Dewan Bahadur A. M. M. Murugappa Chettiar. Mr. M. Ct. M. Chidambaram Chettiar. EXECUTIVE COMMITTEE (1931). President. Dr. U. Rama Rau. Vice-Presidents. Mrs. Venkatasubba Rao. Mr. S. Satyamurty Iyer, B.A., B.L. Trustees. Mr. T. V. Subba Rao. Mr. P. Rangaswamy Chetty. Joint Secretaries. Mr. E. Krishna Iyer, B.A., B.L. Mr. K.S. Viswanatha Sastry, B.A., B.L Treasurer. Mr. T. S. Rajagopala Iyer. Other Members. Mr. W. Doraiswamy Iyengar. Mr. C. Ranganayakulu Chetty. C. S. Iyer. „ M. Bhaktavatsala Mudaliar. T. L. Venkatrama Iyer. „ S. Rajagopalachari. P. Sambamurty. Mrs. Jayarama Iyer. G. K. Seshagiri. „ Kalyanasundari Sitarem,:jBirs3i§iTL812;tri3i Spi7 0, Quires n&ssToVQfjesu—uj p&vB'gjyii> sQftgikpjiP. 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