M ODEL 112 (Camp) Height fclosed J 9 in. Width in. Length 17H tit. Fittings :—Internal—Nickel. External—Polished Brass. ZEfoe Journal Latest Type “ His Master's V oice” Internal Horn; Of Ball-bearing Tone Arm and “ No. 4” Soundbox. Teak Wood Cabinet fitted with leather carrying handle; metal corners and non-slip;'ing rubber feet on base. Zlbe /Ilbusic HcabemE flbabras. Equipped with double-spring motor; 10-in. turn-table playing records up to 12 inches iu diameter; graduated A QUARTERLY speed regulator. Pivoted needle bow l: spring clip for DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC. Tungstyle" Needle Tin. Provision is mode for carrying 6 records in Lid. VOL. I.] JANUARY 1930. [NO. 1. Price Rs. 165. SOLD A T HUTCHINS & Co., Ourselves. H. M. V. Gramophone Agents, 185, Broadway, Madras. knowledge that music is one of the most B ranch a t : V E P E R Y . N accordance with the “usual practice I we are perhaps expected to explain ancient of all arts. It has cba'rm for the the circumstances that give birth to this highest as well as for the^lowest srderof Journal-as well.as indicate the purpose beings. Its power and potentiality are t so immense that it will continue to 1 elegrams • KHENGAR ’ Telephone No. 2072. ♦ and objects thereof. The need for it, 4 however, is so well recognised all round please, inspire and elevate us for ever. ESTABLISHED 1893 ♦ ♦ that if in the present case we follow the In India owing to its close association 4 with the spiritual life of her'people who Sovereign gold, Pure silver ♦ custom it is more' for the sake of confor ♦ believe God is where music is, it has and ♦ mity to tradition than for justifying a 4 cause well capable of sustaining itself. attained a higher level of excellence than 4 Genuineness of Precious stones 4 any other art. From this point of view 4 guaranteed- 4 In-the Autumn Of the Year 1928, The alone, India’s contribution to the progress 4 and civilization of the \vorld entitles her 4 Music Academy, Madras was-inagurated & 4 for the promotion of higher learning and to the regard of all culture loving nations. Y eecw m see ■ C faattldoss S o n s . , 4: 4 Wo therefore, owe it to ourselves that 4 practice of the science and art of music. Diamond Merchants, Jewellers, 4- Though much good work has been done,' we not only maintain so rich a heritage 4 unimpaired, but transmit it improved, 4-: it was felt that the Academy can func 4 and enlarged. ♦'1 tion more effectively and further extend 4 ^old and silversmiths. 4 its sphere of activities by maintaining a 4 journal of its own. . It is a matter for The present era is witnessing a-great 4 * some surprise that except for certain revival of interest in Indian .Musie. 4 112 & 113, China Bazaar Road, 4 oceasiondl and sporadic efforts there has There is an earnest desire to know what 4' 4 not'been in this country a single period’- the great sages and master-minds of MADRAS. l* careja’Jusively devoted .to music though India have said about it. All over the 4 country music conferences are held1 not 4 •th* subject is of sufficient importance to 4 claim a legion for itself. It is common only for the exposition of the art but also 4 -4 THK l( ilMtNAL OF.THE MUSIC ACADEMY HISTORY OF KARNATAK MySIC 4 (: §f the discussion of j<1 1»i>'ipies ar.c Music in the most comprehensive sense ~iv)blems connected with it. I c'eavage of the term will come within its purview. savage demons of the far south beyond the became the stage of numercyis battles, uctween theory and practice in becoming In particular we propose to publish Peninsula. fought with foreigners while the Deccan- select portions from classic literature became the school of great thinkers and s Jwide that if a gradual drill into chaos In Ramayana, there are references to with translation if necessary. Original scientists who were quite safe from foreign i>»lo he avoided, a reconcilh'l'011 based Music in the courts of all the three king on natural and fundamehh'l laws is cQntributions will deal with the follow oppression until the year 1565, *the date ing heads :—History of Music and Music doms mentioned above. Lava and Kustf imperative. Music having h‘,t>n made of the fall of the greatest and last Karnatak Literature ; Sruthis and Swaras; Ragas; were taught to sing the Ramayana and rJrt of the official system **l education kingdom of Vijayanagar. Thus having Thalas; Compositions, their history, des they are described as having sung it in the new problems connected will' " ie impart developed in isolation for a long time, cription and classification; Musical court of their father. When Rama and ing of instruction therein. ',uve arisen Karnatak Music has an individuality of Instruments ; Bharatanatya; Notation Lakshm^na entered the court of Sugriva, •d are awai ting solution. I''*r focussing its own, and is based on sound scientific and questions connected with the teach they heard music played in the harem r’ktoussion on all these and nlber matters principles. ing of music; Biography of composers, of Sugriva, to the accompaniment of the and for embodying the rW'd1® °f ex‘ musicians and authors; Music Institu various musical instruments, such as the The development of Karnatak Music l^rience, research and ^'holnrship of tions ; Reform of Music and Music Per Vina, Mridanga, Adambar, (the Flute), etc.. begins some centuries before Christ and. '§ perts in theory and prac(hv > a J ° urnal formances ; o Miscellaneous articles on Ravana is said to have pleased Siva by his reaches its zenith with the work of great like this cannot fail to be of n80- various connected topics; Reviews; vocal^ and instrumental mu3ic besides saints like Purandaradasa and others of the W e hope also in due coM**1 Notes and Comments. which, he is mentioned by many Sanskrit Dasa-kuta and Thyagaraja and his suc contributions dealing wilh nystems of writers as having been a Master of Music. cessors. "Jusic other than Indian. l|lat our The success of the Journal depends in a Jn Mahabharat, many references to traders may be enabled to tnn^e a com- large measure upon the encouragement We may distinguish three important Music are fourtd in different places. Arjuna Orative study of the diffew"^ systems which the public gives and the co periods in the history of Karnatak music. in the disguise o&Brahannala was engaged 'fevailing in the yrorld. operation which the " scholars and by the Karnatak King of Virata, (Modern I. Arsha kala or the ancient period musicians offer. W e eagerly hope that •With regard to the coW^'hts of the Hangal) as a teacher of music to his in which the art was elaborated the response from all will be generous- ^urnal we may state tl'.hl *dl subjects princesses among whom was Uttara, the by the native Dravidians, con elating to the theory and l"'actice of and worthy of the great art. daughter of the King. jointly with the Aryan Rishis like, Agastya, Galava,. Dattila, From the above facts, it'is evident that Kohala, Matanga & Bharata, who ' there.had been an independent culture of came from the north' and settled o f k a r n a t a k m usic. HISTORY music among the Dravidians of the Deccan in the Deccan. By which even surpassed the Aryan culture in II. The' middle' age or the historic SOMARAO T aTTI, B.A. (Dharwar.) many respects. This in course of time, incorporated in itself the simple and grave period beginning from the fifth melody features of Aryan music. This is century A. D. down to the nine Tho Music of Karnataka * V0IT long stated to have been established in.Lanka,' the most" important poiDt in the . history. teenth century. Sedition which even reaclW^ baok to the the present Island of Ceylon. Ravaba was; Later,on, almost the whole , learned class of «re;-historic period. The I> e ^ u was at often trying to put down the power of the;: ■ III. The modern period. one time covered with a thick called Dravidians in the Deccan and even .the the Aryan race, rushed towards the D eccan 'Be- Duntaka inhabited by the original Aryans of the north. His ‘invasions on, to reap the fru’it of their masterly intellect, ! Of Dravidian culture,„no classical wor£ Dravidi?ns in certain places. 0uc of these, Vali and Dasharatha are both mentioned in • as this country was safe from foreign inva ■is available, except a few references^ which Kishkindha, the capital of VViK Vali was the Puranas. The Ramayana mainly speaks- sions, having the sea on three sides and tho are found in the earliest Tamil literature. ®tuated in the area of the hcb< J\shetra of of the three kingdoms, that of the thoughtful mountain wall of the Vindhyas on tb'b north; The nomenclature in these treatises is ram p ; or .Vijayanagar or, tbv hanks of Aryans of the Solar Dynasty of the north, t.'hila. only the warrior class, settled in the qujte different from that of Sanskrit treati that of tho cultured and tho brave race of pig Thungabhadra. In the AC ^0Urtl)' the. ■i;oj*th which was invaded by foreign powers ses but tlie type of theory mentioned is>thp Dravidians of the Deccan and- that' of the kingdom of Ravana, the Ljng, is i.'om time to time. . So . Northern India same as that in . the Natya Shastra of i THE JOURNAL OF THE MUSIC ACADEMY HISTORY OF KARNATAK MUSIC K 5 h Bharata tyluni. This is the only ancient whole of India in religious inspirations. si-stems into one with citation of accredit influence and as peace prevailed in the treatise of musical theory, which describes With the advent of the Persian art in ed authorities for the principles and their Deccan, Music was patronized by many the experiment of obtaining 22 possible India there was a cleavage and Northern application to practice. Rajas. Musical theory was worked out in a musical intervals, the shrutis or microtones. India developed its own system now known systematic way and popularised throughout Another piece of evidence of the same It mentions the three voice registers, as the Hindustani system while Southern the Deccan. In so doing, the principles type is found in Ragamanjari which the Mandra, Madhya, & Tara saptakas or the India more or less kept its system intact. laid down by classical Sanskrit writers same author wrote (See verses Aganitaga- lower, middle and higher octaves respectii Damodar Pandita of Sangita Darpana, were observed and respected. It was for naka and Shuskangidhan) when «he was in vely. Each octave contains seven notes, Somanatha of Ragavibodha, Ahobala of this reason that even northern Scholars the service of two great Rajput noblemen^, the maximum number of intervals in an' Parijata and many more came from adopted the standardized Karnatak me in the qpurt of Akbar namely Madhava- octave for producing an agreeable melody.- Karnataka. thod for constructing their system. The sinha and Manasinha. Seven modes are produced hy successively Tamil nomenclature has altogether dis "Their works are still extant and show the' taking each note of the octave as the funda Bhava Bhatta wrote three volumes on appeared from the land and musical great service they have done to preserve mental note. It also mentions two kinds of Music entitled Anupa Sangita Ratnakar, terminology is entirely Sanskrit as used at their country's art even outside Karnataka. tuning as Shadja and Madhyama-Gramas Anupa SaTigita Vilasa and Anupankusha. present. Since the invasion of the Mohamadans, the and also many other melodies derived by He was attached to the court The highest and lowest notes of the octave or unison, and “ Samvadi ’’ for com The neglect of such works for want of acquire the ability of exhibiting*the art in tetrachord are the chief notes of the scale sonanccs of the fourth and the fifth in the proper interpretation has created as many its proper spirit and to show the defects and- to constitute consonance.—(Samvadi). scale. styles or Matas as there are individuals; merits of each. This must be done with a and this is more.felt in the North than in mind free from bias and in liberal spirit and The t^o extreme notes are equally har By a progression of notes tuned by the the South where Bharata’s system has* every statement should be hacked up by monious with the drone (and its Octave) .^‘Samvada-dvaya”, 22 Shrutis were obtained stood steady although it has ceased to ex reason and sound principles. and still they have no quality of unison and* later on within the limits of an octave ex ercise any very brilliant influence on the so they are different. (“ Samvadadvaya or cluding olie of the two fundamental notes The chief points to be considered are rest of the Country for the last three cen Shadja panchama bhava ”=swarantara). forming a unison and thus musical scales the current musical compositions and their turies. The Southern style though it If one interval of a fixed pitch higher ^or Were settled. This progression is pot clear nature, the ideal or goal of both systems, the professedly follows some classical authority lower is added to both tetrachords, unison, ly mentioned in any Ancient Vedic Litera principles on which the art is based and the ’and believes that it alone has got the sanc takes place, (“ Dwigunabhava ”) with the ture. It starts with ;“Bukpratishakbya ’ lines on which it should develop, the sup tion of true -tradition? behind it, has not extreme note or vice verse. and " Yagnsvalkyasiksha” . and “Panini- port of musical literature and learning,* and acted up to its great idea and tried to popu Two tetrachords and one tone make "a siksha" where it is stated that '‘ Sa, Ma, the changes due to contact with foreign . < ■ larise the system throughout the whole of Pa,” are Swarita, which means that they Music and Musical Instruments. complete unit called the musical scale and India. -Hence it has remained as if confined the tetrachords agree with each other when are sympathetically related. Further’ to some conservative people, living-in-a The present Hindusthani Music has three development and application of this idea of sopnded-together—“ Vadi.” corner of the Country. Though the styles and. they command different degrees • “ Samvada-dva(ya” are not found in any The effect of this phenomenon proves Northern Music has not developed on the of respect partly on account of greater.or writer until the time of “ Bharata ”. that one can experience the same sense of traditional lines yet it has influnced and is less degree of purity with which they main r ? harmony by u§ing both drones instead of Bharata gives a complete theory of into influencing even South India. tain the ancient tradition and partly'on ac* one, the lower or the-higher separately jdt nation and of scales. Np..later writer, has count of the greater- or less precision and still one more octave lower or higher'-to- contradicted the theory and 'tradition of Many Southern Pandits like' Gopala Na- defiiniteness characterising them. T-These gether., (This means *.' Avarta and Mand- Bharata-Mata which is now. prevailing' vaka, Ahobala, Bhavabhatta and Pundarika- may be described as the Dhrupad .stylejthe ratara Vyavastha ”). throughout ylndia. A complete '■*Science1 have written treatises on Music and upheld Khyal style and the Kavalistylp. It is clear from the : above that.4he two was-^established*Jjy ^Bharata with •J’the' -the name of Karnataka in the field'of musi The Dhrupads are poetical and .musical intervals ,of..consonahce of the'jtetjra chord Melodic principle of “ S warasam vada ” for cal learning,though- they served^under compositions of the oldest type.jTThumrieS are of the same value and effect when they Ragalapa l. Mohamadan or Indian R ajhasof the-North also are compositions -..of-V.the ■ same are tested reversely because “-P ”; is of thI hy^OIis^ankaiif/.Sharangadeva in his g'itas and Swarawartas "tlII^belong to Dhru- same value with M ‘Niboye.^ind; hence ancient Music byr'their .works-helohgiio Sangitaratnakara; ” 'and .by his learned pad style. '.'The subject:matter of Dhrupad “ M " is of the same value w.ith “jS.” above Karnataka* v l t is' a- most1 ^regrettablevfacfc onimentator^Kallinath. ,> is usually’ of an exalted type,-Muchas the. or “ S 'Vof the'same effect with^P^”;above, that "although - every '’musician - from praise of God, Bhakti and 60 0n. Thumries Therefore the following .hquations 'mayJjr AIL the succeeding writersrlmye.coin- Karanataka* claims; that his tradition has sing .of the pure .love of the^ Gopies of come (JownTrora these people,.,he neverthe- put down.- mitted many>mistakes‘.in: explaining their > Brindavan. and "Gokulfor ^Krishna. lessN- unblusliinglyiA admits l.that'f. he ,iis •Sa ma+Pa sa + Ma pa=l octave own theory of Musi causing Bliarata’s and : IDhriipads have a: tradition which reaches ignorantr'of the theory vset forth . by* those Sa m a+M a pa sa=l.octave Sharangadeva’s terminology. "Ifth e works i down to Bharata. of Bharata and Sharagngadeva are neglected writers. Sa ma pa + Pa sa = l octave The Kliyal style dates’ .from tha 16th through inability to interpret them,' it will j century. The Tappa style also dates from In other words, two Chatuswaras and be a difficult task to provide works of simi-;*] If Music is to be made equally agreeable, ■ about the same time. This style is >ft SwaVantara = l Octave. lar merit in these days. There, is no hope to both the schools of the North ar’d the ‘ South, the literature on the subject should be combination of the Khyal and TuiJiari Notes tested by the observation of effect.', of any work which will erdite the same styles. Then an altogether new style came on the ear of sounding them together were" reverence on the part of the Public as tllesfe carefully gone through and a thorough-going into existence and -was called the Kavali named “ V adi” for the relationship of an books have done for many ce| turjes.1 study .of, both system? should be'made to 10 THE JOURNAL OF THE MUSIC ACADEMY \0 BHARATIYA SANGITA SASTjtA 11 style which gave rise to the very popular were composed by Hindi poets in Hindi lan ]j| .prove that it is in accordance with tho^ All music may be divided into 2 classfi (Sah'.vadi) and harmony or the principle of which is obtained by lowering the 13th tradition of Bharata Mata alone; and this, one an essentially harmonic system an£ the simple ratios of notes (Anuranana). sruti (Samvadi Pa) the consonantal fifth ot fact is not known to us. "We are unconsci the other—an essentially melodic systet the scale by a Pramana Sruti interval. This ously fo'lowing Bharata who is praised by The first is the art of simultaneously For the Raga Alapa system both the lowering of “P a” changes the intervals of many Vaggeyakaras (Musical Composers) ^combining different musical sounds bear| principles are essential. For melody, con« the Shadja Grama to those of tbe“ Ma” and even by early Poets like Kalidas. (See ing simple ratios with the successive note! fonance is the principal thing and for the Grama in which “ Ma becomes the fund Vikramorvasiyam) of the iqplody. The seoond has regulaj satisfaction of the ear (Ranjftkatwa or amental note “ S a ” and “ S a ” becomes scales of 7 successive notes and the skill q| Rakti) the harmony of the simple ratios of “ Pa ” to the fundamental. Some Scholars have tried to interpret the artist consists in making varied melc notes is necessary. Both these Require fhq values of the 22 Shrutis in their own , combinations with the aid of Gamakas an ments llkve been fulfilled by the process The object of the Grama contrivance way but the result did not help them to alankars to form a Raga Alapa. Thl of tuning the Sruti mandala. Then the use is to get all its Murchanas to represent one understand the succeeding chapters of the maximum number of notes in the wester of certain choice srutis for the 7 notes of a melody each, which is a Janka Mela Ratnakara. Their results were- there system depends on the choice of the coml scale has been very skilfully done and all and thus they arrived at the maximum fore not accepted by the public, and poser to bring in any note to fit into the possible musical scales have been ascer- number of all possible scales by the change some' hurriedly went ■ to the length harmony. Which he is contemplating, anM tained with mathematical exactitude. By of an important note in the Saptaka (Fa) Of condemning Sarangadeva's - treatise this practically includes the unlimiteor their efforts the --*■ art of ----- musical intonation to low or high pitch. There are 8 forms a3 ah impossible science, I am now going series of partial tones, a discovery o; and scale building and the Raga system of such Gramas including 2 Shudda Gramas to^ake up the interptetation of Bharata Western science which is later than th< have reached the zenith of'their develop- of “ Sa ** and “ Ma ” and Sadharana Gr£m- and Sarangdeva’s texts of Natyasastra and Aryan art which is based on a system of niejit. * - ■■ - as of Antara, kakalee, shadja and Madhya ma Sangita Ratnakara, to show you how the fixed number of 22 musiccl notes * •- <■• ^ ther latter 4 being used in two ways of • present Eystom is derived from' it and to 0 c(.ave The .phenomeric. of consonance as, ex-;: Pravesha and ITigraha and altogether 56 draw your attention'to places where the' plained in the previous paras, which struck Murchanas were thus selected as being ''fit. ^jext has not been properly interpreted. .'•< The' theory of Western musical inter) them have been the chief basis for the fixing for Ragalapa 'and almost all o/them are td -'■"i'L,, „ - v ' . ,va1s is a . difficult study requiring the ai ■i.The theory of Ratnakara starts from the, : .... of the 22 srutis. Working by a progression be foundjn the 72 Melas of Vefikatamakhi „ . , ,, . , of mathematics and involving many e: 22 srutis and all the, later development of . . , f.' of foujths from one “ S a " of the octave we'; except a few melodies which have no place ■ , . „ . , -■ penments.to illustrate the .properties. ol reach a note which differs by a very minute in the 72 ; at the 'sam e 'tim e some melo- the theory depends, on the osruti : system.' , . ■'v partial ,. , tones. , 1 If one ■ is • .to use *this, . . kno ’ i How: to tune the 22 srutis exactly to their if.-, , , , , , ... interval (not in itself fit to he an interval be-,;:-\ dies which are, unfit from a melodic point of t .. ... , , r pledge for composing one has to be conversani .tween two adjacent notes in a scale) from.},' respective pitch * is..the"* problem.: The* ... „ ... A. ' , • .< & With all this whic.. „ .._r ------the fifth'in tlie scale or'working author s own idea as to how this is to be>- ... .. , ~ vwl , <. _ . ordinary musician or an amateur. To roakel ive^get'a note differing ; done has never been sufficiently brought to-. - . . . - * V- . . • •.*« ...... , • , • .c a compromise between theory -and ,'coujf light and hence all. the conclusions based > ...... , , ,,, , ‘ - r minute interval from the fourth,1 the otherfollow ers of Venkatamakhi have admitted ■ *• . . ' wemence, the universal scale of Is tempera on assumptions have been invalidated. And • . . _ • - , ■ noth of consonance. This fact was'noticed -\that except 32 out .of the 72 Melakartas, the ,, ,' . . . - - ..'v ; ■■ , ..... , notes became popular in Europe and -t by the''ancients. So. to utilise both the later system of the Ratnakara -too has-'-r . • , . . . . . , v..-tJ series rest are impracticable and are included only ; v > ,'■■*•••* V; musical compositions composed and playet, of lFsrutis for “ Samvad iu melody remained ,,a sealed book* ftor 'the same - ,, . , • - ,, .' , < y, they K-for* systematjslrig >the f process.of scale ■ , • : *.- . . ■ , v ;; ’-.all .over the western world in accordance reason; nor have the errors of succeeding ' made use of this interval, called by them the-,'f;building*and Venkatamakhi himself has ■with this tempered system lack' the. charm " Pramanasruti’’ for bringing the intervals ; not used all his Melas. k1 ' writers been exposed. \ ■ / .of tlie system based on the use of the natural • , ^ V1 in a"scale to correct intonation by means ’ . .. . • principle of partial tones. ' -ji- ffafangadeva lias described the simple' of Iho devi'-e of “ Grama” in wliich this Such melas have rightly been left out arrangement of Dhruva Vina and Chala '’'" ‘I interval plays an important part. of account by Bharata as he has minimised ’I Tlie Aryan sages who founded the system] Viiia by means of which the 2:2 srutis could the number of possible Melas by the prin- <>,i the 22 srutis noticed, to an extent possilf be properly tuned, tested and .imaintained The S'nuuda Murchanas or scales of ciple‘6f Ranjakatva. The number of rial- I ’e to the.’numan ear. practic both the! ^ /or reference, like standard tuning forks i n rrcfif Gramas are 14, 7 in the 1 Shad- Jtinaka Melas which are thus fit-to consti- * •principle - -of. melody, or: c:onsonanc|| jpod?rn.laboratories, !. ’■grama and 7 in “ Madhyamagrama ’’ tute melodies following the system of THE JOURNAL OF THE MUSIC ACADEMY 18 \2 BHARATIYA SANOITA SA8TRA 19 Venkatamakhi will be 48; whereas, as' Gramasadharana. But this means taking This may be managed very easily by V never had any process of fixing the 22 srutis ; pointed out above, he lias only 32 true away from Venkatamakhi’s and adding t using the*literal device of “ M a” and “Mi” and then building the scales from then/. Melas in bis system while 16 more which Bharata’s Melas whicn prevents the use o for Sudda Ma and Prati Ma respectively. The (2) That they did not use the exact har do constitute good melodies are not to be the mathematical Melaprastara of the total number of the Melaprastara will be monic intervals that we uow yse; their found in his system nor have they a 24 THE JOURNAL OF THE MUSIC ACADEMY air EHAIUTIA SANGITA SASTPA 25 Tuning'the wires to Sa 2 Pa Sa and Ma This first step being taken, a happy blei burrowed from the other together with all ledge of ragas and of the alapa 'Paddhati is v and taking the corresponding notes given of the Northern and Southern styles will l)ie graces, gamakas and other details essen- all that is essential for an Instiumentalist.' out by pressing these wires against a fret it possible at no distant future. ial to the proper rendering of them. If He is comparatively independent of langu will be noticed that resulting notes will bear Yaggeyakaras or authoritative Musical age and words. Instrumental Music to each other the same ratios as the above I will now put forth may own views Composers are not at present found in the.. appeals to people speaking all kinds of Sawyambhu Swaras do. The srutis in the this behalf in the form of suggetions pr North or the South, there is no harm in languages. Its language is universal; its Sruti Mandala are said to possess, by suming .there is an agreement about tjj dopting compositions that are current, be appeal is universal. Hence Instrumental virtue of their mutual relations .what chief shortcomings in our Indian Mu« l,ey in what language they may, in their Music is Music of the purest kind, and wbat Somanath calls Swayambhu-Swara-Pankti- today. The present Northern and Southc original pure form as far as possible, as is is not the least important point, no human Pra manya and what in other words Bharata styles do not materially differ as ihe ba ecn in *4he- case of Kannada, Tamil voice has generally so sweet a quality as and Sarngadeva have styled as Samvada, natural principles and goal of both are ol jnd Maliyali people who take the Telugu Instruments. for tuning the 22 strings of the Sruti Vina and the same. Hence my suggestion ompositions of Tyagaraja for their Music by the help of the 2 relations mathemati apply to either style without distinction^ nd never dream of their being composed in Vocal Music is the combination of Music cally represented by the ratios 2:3 and heir own Ungauge for fear cf losing the The only striking distinction between to and Poetry. If being a combination it is 3 :4 for Sa Pa and Sa Ma respectively. riginal melody if they are translated in 2 styles is the differing proportion in whig tker languages and never feel that superior to pure Music then the theatrical certain graces and embelishments are us] art being a combination of so many arts, ‘ These facts have been extracted from dusic is separate for each uf them. The in each, and tthe nature of the vocalizatiq Music among others, ought to be con^id/ar- Bharata’s and Sarangadeva’s work. Hence System should further be extended to cover which depends on the language/ habl ed superior to Vocal Music—which no one our music has rightly the tradition of Bha- f>oth the* North " " & the "South, " The Northern and temperament of the people. This/Km makes bold to say. This is a reply to ratanittta; all succeeding writers have people, - the Gpjratis, the Bengalis, the. vidual temparament and taste too tend] people who would make too much of musi agreed in this, and have appreciated the" Sindhis, the Kashmiris and even the Nepa- disappear in course of time due to greatj cal compositions and think'that Music is value of these works, but not possessing the is take all the available collection of and constant contact with other systems.! identical with Musical compositions. The key to the understanding of these works ompositions in Hindi or Vraja dialect to latter have their., own ■ place fcand value they have miade some mistake or other in , heir Music.' - The Shruti system is the basis of o which the present writer does not.not wish interpreting the same. We have all the : ■Musical scales or Melas and so the Shrui! to underrate. necessary texts and 'their right interpreta Instrumental Music has got some advan should be recognized- The .Melas shou tions and the applications of- their' c e s over Vocal.; The distracting influ- . . .he carefully examined taking in each cai nce of a strange language and words that ^principles to modern music duly worked^ Shruti intervalg t the help of what „ Both the Hindustani; and ^Karnataka "eem harsh and unmeaning to our ears is rout.;. This knowledge is. the only m e a n s ^ ^ qf ^ the text9 as Avritipaks! ;styles have.the same0gogl/vlf the -two bsent in this case, x There is greater uni-/ ^of saving .our modern music >frqm t h e ^ ^ ig the method of testing. whether- mutually cooperate ,'tljo result' no doubt prmity in the Instrumental Music chaos y in which it at present. finds*6Cale in jugt intonation 0F n6t. of the ■ ? will he something grand. .Indian Music orth and the South. than, there is in itself. ; The theory of; music known as',-;, V '.r.vi.-- will be enriched considerably;-instrumen- ;he Vocal Music of - Bharatamata which I have explained above r - The frets of Musical instruments shoul * both the, parts. The ‘tal and vocal Music being regulated by one usic on ; instrument, .should be taken as standard and in the/be correctly adjusted so that they are cap* depends on many ./style throughout, our Aryan Music .will be light of that, current practice should be; bleof rendering accurately and perfectly actors like-the nature of the Instrument, considered as ■ the finest; and: the :imost regulated, as it makes adequate provision for'/ all the essential features of .Vocal Musi^ he modes of Vocal Music, the quality of :■ ancient of all the Musical-systems in the mblic taste andjso on. A thorough know-, world. • all possible future'changes in our system of - Musical Instruments whic'h do not stand music and as it is a most thoroughgoing the test described in previous paras should and complete grammar of music that could be discarded and those recommended possibly be devised. Ancient ways and ideal slioiId be retained. * modern practice should be 'comparatively -X/: .j shown side by'side and reconciled to each ' Forms if musical composition in which (.other, so that no room fop doubt wi}l be left, either sty e may be lacking should be freely •• ' * • ' '* ’ " 1 THE ORIGIN OF MUSIC. OS?' 27 THE ORIGIN OF MUSIC * <3>6 ■We may, as well, ask what is the origin optical idea of colors. Even architecture BY of the atmosphere. I fear we cannot but has a larger basis in nature itself. The- Mr . M. S. Ramaswami Aiy a r , b . a., b. l ., l . t., Madura. borrow the language of the Bible and state trunks of trees and their branches, the (hat, in the beginning, God created the grotto, the cavern, have suggested to the Usually, music is associated with man. ( words of Dr. Whitehead, “ the whole life atmosphere and music. To be precise, I. architect the first principles of *his art, But has there been no music prior to him ? nature is dominated by the existence shall quote from the very Bible : “ In the dictated to him by the wants of man and Has there been no nature—made music periodic (rhythmic) events.” Therotatic beginning was the word; and the word was the condition of the strength of materials. prior to man—made one ? of the earth, for instance, produces day a ■with God ; and the word was God." * This But, in music, nature offers scarcely any night; the path of the earth round the si exactly tallies with our Vedic line : “ The Ail along from creation, nature has been thing. It is true that it abounds in musical . leads to the periodical (rhythmicbrecurrei singing; and she sings even today. The Universe"depends on sound.”§ sounds; but the idea of musical interval ce of the seasons; and even our bodily lil elements of music exist all around us ; as,' is but little suggested by the song of with■ ■. Z A U .in its recurrent Vt A 1.« breathings, « a A L. ■ K ^ n «... pulses, 1 a . ^ _ ai_ for 'instance, the humming of bees, the It might be the divine will that no one birds, and the idea of simple ratios is heart-beats, is essentially rhythmic. warbling of birds, the sighing of leaves, the Imind should be saddled with the responsibi almost entirely wanting. And witfiou t rippling of water, the wailing of the sea, ( lity of inventing a matter so weighty and so these two ideas no music can exist. Man 1 It wa? this nature-made music th] and even the roaring of thunder. That [illimitable and unbounded. Ju st* as, then, has therefore been obliged to create for Narada called, in his Sangithamakarai himself his own instrument; and this is is why Byron sang:— [the laws of respiration existed,* even before “ Anahathasangitha,” which he describj [you and I were born ; and just as they- will the reason why music has attained its full “ There’s music in the sighing of a reed. as “ the sound that emanates (direct! [persist to exist forever, everf though you development so much later than its sjs je r There’s music in the gushing of a rill,. from the sky”* An inquiry into the orij arts.” There’s music in all things, if men had land I may be ignorant of them ; so too, of this kind of music will, J. fear, be futil] tears; [music (I mean,* the nature-made music) Again, Herbert Spencer’s theory of for, logically, any sound of definite pitch! Their earth is but an echcfof the [existed, even before you and I were born ; “ Progress” affords another explanation a musical sound ; and such sounds precec [spheres.”. land it will persist to exist for ever, for the comparatively later appearance of the human race, “ In one sense," wrcrt [even though you and I may be ignorant of music in tho galaxy of the fine 'arts. Ju s t again, why Shakespeare Sir John Lubbock, “music is far mo! That i?, it. Since, as the Bible and the Vedas pro-- as the twin arts of sculpture and painting observed:- - ancient than man . How, then, can mi j.]ajmj the very world depends upon, and were at first united with eaoh other and 1 There's not the* smallest orb which thou know the origin of music which is far mo carae into existence long after, Sound ; and with their parent, architecture ; so too, the [behold’st.._____ancient than himself ? AgaiD, the auth since the other fine arts, viz., architecture, twin arts of poetry and musio were at first Butin his motion like ah angel sings, of Jlfusic and'childhood wrote: There ^ sculpture, painting, and-poetry cannot -be united with each other and, with th eir, Still quirjng to the young-eyed cherubins;; good reason to’believe that m usicis old conceived without that world; we may common factor, " dancing* Again Just, Such harmony is in immortal souls; than the human race. '; It.has its roots' evj fail.]y conclude'that, in one sense, music is as, with' the advancements of time, But while this muddy vesture of decay . in sub-human sources; for, niany-aniras tile most ancient and oldest of all the fine the first -three became . separated from Doth grossly close it in; we cannot hear give evidence of enjoying soft, harmonii arts. one another; so, too,^ eaoh ‘of the [‘t.” sound and rhythm. The war-horse .w last three becafhe independent of the That is further again, why our own poets .}' prance at the sound of martial music; soe Prof. Blasefna[, however, explains how ;.? * . ' . « i * i •_i*_<_•_i.it . * . fah . . . . ■' rest and learned -to stand on its own Tegs, invariably described the forests to be full cats and dogs plainly enjoy listening to another sense, music jSm be regarded > p oetry and rausic, for example, though stilt of the bee’s drone,,the cuckoo’s song, the piano; and the influence of the easterf,as the most modern " and ’ youngest - of...... all the V.united, catne to have an-existence separate snake-charmer’s music is well-known/ flue arts. Says- he: “ Music is certainly squirrel’s rhythm, and the peacock’s from dancing. And still* later pnj. musio dance. -How then, I ask again, can man knot the least material of all the fine arts. There declared its independence" even of psetry. origin of music which is older than th js no qUostionquestion in it, as in sculpture and Look, for instance, at the extraordinary On further consideration, nature herself •3 human race ? .[painting, of uniting to the study of niture development" of Instrumental Music in is^found to revel in rhythm; and, in the i| the geometrical idea of perspective and the. Europe and of Raga-alapa in India -\in * A Lecture delivered under the auspices of both of which' musio alone'shines apart theMusiq Academy Madras on December 2, ’29, —Sangilhamakarandi "Cf. St, John. I, 1. £ Cf. flij51*13, from woifis. - ■- 28 THE JOURNAL OF THE MUSIO ACADEMY t 't h e Or ig in o r m u s ic , t. : Lot: music bo the most ancient of the fine Sama. Veda was Lord Sri'Krishna himself the^Respiratory,'Apparatus). Again, the primary want of man, gave ris» to th arts ; the question with which we Are now The syllogistic - conolu^iqa,." is that'ftb last line of the verse was wholly, omitted; .of the ritual and how the ritual, in its vitally interested is : ;Is the origin of, at origin of vooal music is Lord. (3ri Krishni and/Jn its stead, ran the following .line yielded the . conception of art—the. %;ast, man-made musiqknowabla ?It Js said surely interesting questions which, if that, to exhibit the exhuberance of .his joy, W ill any; of :you !be satisfied iwitl^th .discussed, will—I trust—enable u i to man shouts or claps or bounces. .O&n/then’, conclusion ? the orthodox devotees of*.Loti ,solve;the problem we now have on ha ic|...... ans’^I,Arising from the chest, - the r.- V V - v !? V ' ‘ ' *10 shout be said to be the origin of the Sri Krishna may.; (jut.the modern devote Thor? can be no two opinions on th vocal music; the clap, the origin of,the necETandlthe face, it is called- Nada of the sbientifio, inquiry iindy no,ti'dH,e’nq •/o; that the primitative food of man con instrumental music; and the bounce, the the. same NaradaT opened another lino 'ol of animals and plants ; and that natn ^■igin of dancing ? solution which,'as I shall show, ■fontalnql if Eyen^his" modified form of the second ordained that those animals and a “ luoky hit ” thereat, and which ,’ ran^.a solution‘will, on closo examination; be appeared largely in a certain season Bo its kind what it may, what Indeed is follows, in tho form of a full verso*:— . found to*rofer;to' tho human cry or shout year and disappeared in other seasons me 'origin of musio, as a whole? This which is.^but a .reaction of the self • on ordainment of nature,'the primitiv. Voblcm , no doubt, our ancients made an 3TRHiR^qraTtSqqq: JUT: experience. •:How this theory of “ human did not, as indeed he could not, k: attempt to solve ; and they had oven a lucky cry ’’-or shout happenod to be a iucky hit at much less, appreciate. At the disa ^it at its solution. But a systematic the solution of, the problem,* wo shall be ance of the season which gave him f. ^search about it, thoy did not porhaps oaro able'to understand and approciato, only only’ thought that that season was dc Xp make. after ' a" careful study of *lho European ho yearned to rovive and get it bac' attempt to tackle the sumo. That study wo did not pray for it; in fact, he co\ T • Narad a olioso to record, in his Sungithama- .shall now.purswc, Fojv as a savage, ho was a man m j^prandti, as early as tho 7th century,* an action! The worship of gods and tin tho moaning of which is r— tho soul, ,des aphorismic lino on tho point, which was Darwin, in the first place, proceeded to ing down to “ wood and stone ” bulk rous of spoaldng out its intontion, oxo Its; t merely copiod by Sharngadeva, in the 13th trace the origin'of music to the sex-feeling in the mind of the ' hymn-writer t!. theinlnd; and the mind oporates on , till century, and was thenceforward handed on, and; pointed, by way of illustration, to the that of the savage. The hymm-writ. vital heat of tho body by setting tho air i like gospel truth from author to author, h (male birds singing ,in competition with the under such circumstances, go to the motion; and the air, remaining' in'1/ tin Wown to our own day. Unfortunately the female ones!/This ‘ sex-theory;’ was, how and pray. But the savage was, as suit: Brahmagranlhi, rises up' and 'produce; ever, given, up; since tho birds were found 4^nc in question docs not solve the problem ; a man of action. Instead of asking a Sound through the navel, tho heart, th singing even in a season othor 'than that nor does it at least furnish us with a koy, do what he wanted to be done; lie I neck, the head, and the face.” during which .they invariably experienced Tiowevor rude and primitive, towardsits solu- did, or tried to do, it. Instead of p * o n . It only savours of a legend. Here is the sex-feeling. rv-X he uttered spells and practised khc lino :— The author of Abhinavaragamanjar^ V-The'anthropologists, on the othor hand, When, for instance, he wanted sun <• alone, of all others, ventured to modify thii ask us to'study mankind us a wholo, rather . or rain ; he would not go to a god ai tlmo-honourod verso and brought it in line than man'as an organism and also require strato before him* but would sumrin with the modern conception of sound. Fo us.to see what the primitive pooplo did, as tribe and dance a sun-danco or a which moans “ this vocal music, Brahma instance, HQTnfrq (Brahmagranthi) wat they even now do* to expross their.feellngs. danoe or a rain-dancc, hoping, in / #rew (or rcneivbd) from Sarna Veda." This substituted by ^ ^ jo r (chest) and OneS of those selfloss pionoors who took faith, that suck dances would procu Line, coupled with another, in tho (the vital heat of the body) by KlUUlffjft upon themselvSs the arduous task of enter sun; wind, or rain, a3 thtf case might Bhagavad Gita, viz :— ing into the feelings of the prim itlve people, again, ho wanted to hunt a boar, he • • * Cvon this verse was copied by Sharagadevi with a .view to trace.tho origin of art, was similarly dance a bear-dance. and passed on, from writer to writer down Jane Ellon Harrison. In hor Ancidnt Art (^’hrch moans “ of the Vodas I,a m Sama. our own day. a n d she traced tho art from the la his Anthropology, Mr. Tylor giv Veda,’’ goos to show that tho vocal '.musio * This Is a North Indian Work of tho 4arl? .litiftl and,-again, tho ritual from man’s good description of a buffalo-dancc. 7.as derived from Sanfa Veda oud that part of the 20th century. primary feolings of hungor. How food, tho THIS JOURNAL OF THE MUSIC ACADEMY 3 o TIIE ORIGIN OK MUBIO : , 2>\. t?e hunters" failed to find the buffalos, ion were the two elements'.1, that ^'turned *b°ut. a'nd even entertain a doubt regard- thought, by speech or action, tn any < ^ i c h the tribo depended for food, every man an ordinary dance into a'sacred ritual* ng, the . efficacy of tho ritual, learnt to .Art\ ” the latter observed, in his Orir, Function of Music: “ Tho expressivei. brought out of his lodge a mask made of a the said tribal dances, which contains! oqk jthrough the dancing and began to ippreciate. iti not as food-supplier, but as the various ^modifications of the vi buffalo's head and horns,' with the tail both the elements, assumed ■ in the cours an'art in itself,. Hence the moment—that innate. Each of us, from babydioo longing down behind, which he kept for „of time the dignity-'of a TituaJ, as -for ins wards, 'has been spontaneously m Pj^ch an emergency ; and they all set tanoe, the Spring Festival in Greece and tKt g^& 0k gi^ l:"'non,ent“ whon the dance# to dance buffalo. Ten or fifteen masked Kodumpapiadi Festival in South lndia: t^ ritualistic, and came to them, when under the various sens, * . l. • * an n J ahha IV r*a _ and emotions by which they .are pro dancers formed at a time the ring, singing and dancing in both of whiphTwere . wU^ !.. 8ihy Having been conscious of each feci (!|immo(l. rattled, chanted, and yelled. oaloulated primarily to induce the roturn of ijeous' idea.about it, may fairly be deemed When any one of them was tired out, food-supply. to mark Ahe origin of art. Tho transition the same timo that wo heard on. wont through the pantomime of Of the dance as a means to tho danco as an make . the consequent sound, w<. l^j ng shot svith bow and arrow, skinned Wo have thus learnt that tho idea of thq iti itself, shows the way how the ritual acquired an established associal ritual arose from the emphasis of omotioq L- - . a^d cut up; while, another stood ready evolved itself into art. ideas between such sound and the felt mainly about food. Out of this ritual; - \wth his Iniffalo-hcad on and took his place which caused it. When the like s<- it is said, aroso art. IIow ? • i,%the dance. Thus it would go on for two In his* Scope o f Music, Mr. P. C. Buck made by another, wo asci ibc tho like 1 ti^throe weeks, till ut lust thoso persevering In tho various kinds of dancing wo spoke came'to the sarno conclusion *n another, to him ; and by a further conscquei ci.oris to bring the buffalo succoodod ; and of, thoro was, at first, no division botwoon yot quicker, way. Tho central thought, ho not only uscribo to him Lliut. fccli: canard came in sight oil the prairio.” tho dancors a^d tho spectators; all wore elaborated, was that man must have ox- havo a certain degreo of it uroused pressed his feelings, in tho first stage, most selves: for, to become conscious ^luch dances, or dances similar to them, dancors. As time went on, there arose.a unconsciously ; that, when lie fumed and fooling which another is cxpericncii. we seo'even in our own country. Through now element, called tho spectators ; and the fretted, his tolie involuntarily rose high ; havo that feeling awakened in ( out tho whole of the Tanjoro District, for dancing camo to be, thenceforward, not only that, wh'cncvor "iio was swayod by strong c onscionsncss; which is tho samel- i Stance, what is called Kodumpapiadi dancod but also watched at from a distance. feelings, he generally forgot himself and cxpcriencing.tho feeling. Thus these used to take placo periodi Wheroas, at one time, all (or nearly all did not know what ho had said or done; modifications of voice become- not cally in the.summer season; and its object wore worshippers, actors, or dancors; at auothor timo, many (indeed most) were and that, in short, his ncls savoured, under languago through which wo uud v^s no othor than to procure rain. The spectators—watching, feeling, thinking, but such circumstances, move or less of reflex the emotions of others, but ui.-o the p^ple of the lower1 classes prepared a action.- But when, during his culm moments, of exciting our sympathy with sue huge female figure, made of clay and straw ; not doing as once they did. It was- in the now attitude assumed by the -'spectators he contemplated how the outward. expres tions.” Have we not here, I’non, a 'p*c it >u a lying posture; dragged and that the difference betweqg tho. ritual" and sion' of his-feelings 'affected other, people data for a theory of music ’ figged it right through tho several streets ' and”whegrlnr consciously made tho same • the art lay. To sum up the European view. H> oLthc town; burnt, ajt the distance of every ex'pression. with ho other viow than to of joy a-nd sorrow, doubtless, ; furlong, a bundle of hay' in its front ; and The dancors of tho ritual .'/had;Tiythoif produce'the4effoet in others, an ho onco singing. But the singing was, at i e^.ntod, yelled, or danced for rain. minds nothing except the food-supply, to notedfbthon and thoro the art began. voluntary and setved merely to ui. ^Vhen all thoso dances rose from being induoe the return of which they"'danced. feTo the self-samo conclusion, again, came the singer of his feelings. Ho w. v^’ue and emotional, intp regular periodi But tho spectators, who cuf thomselves both the illustrious writers, Emerson and long time unconscious of the ccmtcs) cal ones; thoy'oaught the fancy of the loose from tho immediate action of dancing Herbert Spencer. While the former wrote, response which ho unknowingly pflfplo, attracted tho whole tribo into their and had thorofore time enough'to think — --- - - * - . in his essay o itA rt: " The sucking child is in the minds*' of his ^carers. 1: lo g ica l circles, and convertod tho indi- 11 ’ A ritual is a thing done. But all things an ^unconscious actor; the man in an moment lie became conscious vidual' into tribal dances—which involved done " are not rituata. Whatever, for instance,'.is' ecstasy of fear or anger is an unconscious response produced ; a now delight < a^/ery large numbor of porsons dancing done ulona is not a ritual; and whatever is done actor f and. a large part of our hlbitual in his mind1 and, thenceforward, In u^ler tho sway of one common emotion, without emotion is again not a ritual. Hence.'' not Jo unburden himself of his fccli: the correct conception of a ritual is that it must- actions are unconsciously done, and most to express them in such a way as to ; rfince the colloctivity of porsons and be done by a large number of persons foeling^thif ef tfur, necessary words are unconsciously the intensity of their" common ^feeling same emotion. i " 7 '.mi,nj paid, Bqt the conscious utterance of a corresponding response in the ; THE JQUnNAL'OP THE MUSIC ACADEMY "3 % ivas, therefore, with this conscious desire 'produce a particular response, that.'ihi ttjla k o b a liy a ‘ Uniapatiya,’ otc. Tho customs of tho middlo periods, and express one’s feelings with a view to orglnated. , ‘i ; . prdd;-,'* Natya ", ‘‘Nrtya ", ".Nrtta", reactionary influences, lost their spi; Nartana *•* and "Abhinaya " aro eynonims. and ethical significance and are sc We shall now compare the European with the Indian view of tho problem. , oourse of'time.tbo word 1 Ilharata ', tho observed by the Hindus, though these rigin of which was the name of a particular criptions are observed oven now’amftn: E u r o p e a n V i e w . , I n d ia n V i e w . j. lg,e;5has;,‘also(;;been used to mean tho set of people oalled the Nambudiri Bral cience of Music, Dramaturgy, or dancing; who are supposed to be the early sc on the Malabar coast. Similarly tho r .^person, desirous of expressing his feel- The Soul, dosirous of speaking out its in] Tv example,, Nandibharata, Balar&ma- .ings and producing a particular effect in tontion, excites tho mind tho ' mini harata etc."^^!- > 1 • of Natyasastra also through the la; w.iis hearers, excites the mind; his mind operates on the vital heat of .the bod, time, assumed different and ludicrous ^operates and causes him to sing; and and'sets the air in .motion; and tho aii /The opinion of sorao Hurt the Hindus due to carelessness, over-changing ™io singsings and; ’ produces ’ Musio,” rises up und produces Sound Cor Music] ad no originality and proficlonoy in tho customs, a proverbial antipathy to w. odes of dancing, and that they adopted old, and many* other causes, and is 4 ' As between those two views, there is no practical difference. Hence* it is thal ihem from the Greeks who woro proficient deplorably a decaying art, despite I said the Indian view had a luoky hit at tho solution ^of tbe'problem of Ihe original many Sciences and arts ovon bpforu tho efforts of a small minority on the Me nni.sic. VVliilo tlio Europeans evolved tholr conclusions aflor an claborato research, om lirth of Christ, when somp of tliom coast, who still preserve and chons'. a^sionls straightaway stated thorn. 1 ettled in. - India after Alexander’s older traditions and try to stem the i nvasion, has no firmer basis J.lmn cortnin ward - course. For, in Kerala the i. Joints of similarity between tho Sconic urt dance finds its expression in three i fif .tllese two anejent nations. The art is (i) Kuthu ; (ii) Ramanattam; (hi; BHARATA NATYA. fit least as.old as the vedns. Tho dialogues Kris'hnanattamjand to their credit it r. said, that they arc marvellously ick DY ,n the Rigvoda between ‘ l’ururavas ’ and Urvasi’ and ' Yama ’ and Vbwnj: ’ ..t^tify with tlio standard foundeu by Jlh (Mr. V. Venkatarama Sharma, University o f Madras.) Among these three, tho first 1 Kuthu ’ nmistakably to'tho existence , of this art • hcriditary profession of a set of frho term ‘ Bharata natya* means an ela U v the . Rigvodic period. According to is, it seems to me, an imaginary ascription] people called tho Chakyurs, The Glial borately discriminative and expressive honetic—Grammatical aphorisms (prati- rendered by* ’ a process of syllabification, from tho early timo were mpcli lean action, which creates a responsivo feeling akhya works), at the time of tho recitation given by,later authors and commentators,! Sastras, and ‘Sahitya’ works, and ospr t# th o human sonsation, and the term is if Yajurvedic hymns, the acute (Udatta), because every syllable of tho word \‘ Mia ’, he grave. (anudatta), and tho circumflex in the scenic art, in which they had c. applicable ,to the’ Science of Music, ‘ ra 1 and ‘ ta *, it is stated, denotes, * bhava! Rsvarita) accents, nre to bo shown by the high degreo of proficiency. At fi Scenic Art or Dramaturgy. Among the 1 raga * and ‘ tala ’, respectively,. Tho latter different postures of tho hand. The great times in the halls ot Hindu temples, cMl’erent interpretations of the word explanation is plausible and'quito relevant-^, rammarian Panini also speaks of tho used to stage Puranic stories ‘ i^iarata* two deserve consideration, of to the context, because the ‘ bhava’/the|FA fixistence of some of the scientific works on stories related to ‘ Jtih asa’ from Dra wdiich the first is—the‘ Soonio . art or ‘ raga’ and the ‘tala* are inovitable'to Natyasasfrra! in his time, by the sutra compositions. In compensation the Gc a*io n modoa founded by* Bharata*, and dancing. Scholars have not been so fortu i'Parasaryasilalibhyam bhiksunatasutra- meht and the trustees of the^ temples t% second is tba Scenio art with the des nate aa to procure the very works ;of the Kob,-’I These evidently prove that tho them lands.and other emoluments. G t, orption of 1 Bhava1 (Emotion), * Raga * anoient sages Nandi, Kohola, Dattila, etc.] Natyasastra’ was extant in India long ly they Btaged tho ‘ Anguliyanka, ’ ‘ Se, (Musical mode), and ‘ T a la ’ (Clapping of on soenlp art, - as to facilitate a scientific W ore Alexander and there were also some kanka * ‘ Asokavani kanka ’ ‘ Swapnar hfu ls or any other thing presoribod ‘ in the study of all their works and consider their Jold],, works on the subjoct, other than ‘ Kalyana-saugandhika ’, ‘ Mallanka ' ‘T^ladhyay a’ of musio scioncos according to comparative merits. ■>; ■' ‘others. The Chakyars on account of music measurement). From these two diff- |BharatA.’9 Natyasastra. The religious ;acri- Ifices and other rites and coromonies, which wealth of learning and high order of h e£j>.i interpretations, it bocomes obvious, We have heard and seen froh^the; ex, are grescribed by tho authors of ‘ Sm arta’ nio talents, went into minuter details d '^ t tho word ‘ Bharata* holds two senses, traots.that thoro existed different 'sohiiols and’ ■ Srauta ’ /works, to bo observed by to show different gesticulations ovc the opo is tfio pupio of a sage, and (hq otbof thiB art by nap\o : ' NaP Angiku Vadikas haivam abaryah satvlkas ‘ lokopajivl’, ‘ lokasobhakara’. These ANNEXURE l.thall” the minute divisions of tho ' abhinaya’ henoe it will be out of place to descri NARTANA. ■ - ■ S Acting is the imitation of condition. It ia them In a general treatment of the subje f t four kinds. (1) gestural, conveyed by ^ an^ are dry and difficult for an ordina ABlflNAYA (A 'iriwtPL •odily actions, (2) Vocal, conveyed by student. I have mentioned these hero slm| %ords, (13) extraneous, conveyed by dress, to exhibit the methb.d of division. The oth ornaments, docorations etc., (4) internal, ‘ natya’ and * nrtya'^are also of tvyo kin conveyed by the manifestation of the ‘ tandava’ and ‘ lasya’. In’ view of cle N atya Nrtya Nn %cling, such as perspiration, thrilling exposiiton, tho above divisions fif Sarng ^c- Tho word 'abhinaya' has its own dova aro shown in an annoxuro which is meanings which are as follows — aoting, the form of a table. ' ’ gesticulation, any thoatrical action(oxpres- . • tandava Lasya tandava ! {qvc of some sentimont, passion etc., by Tho author of tho commori'tary Jayi look, gesture, posturo, etc.). According to mangala * and Vatsyayana’s Kamasuti ftarangadeva, tho 'abhinaya ’ and ' nartana’ extracts the following two versos," withoi •re the general terms, and the ‘ natya' mentioning their source.' .. . angika vachika aharya satvika. p i’rtta.’ and ' nrtya 1 aro their subdivisions, lie ;'lso defines-tho dilfuronco, botweon " Karananyangalmras cha • ; ®.iaty a ’ and ‘ nrtta,’ ‘ nrtta ’ and ‘ nrtya^ and vibhavo bhava eva cha. A. ^jnatya’ and ' nrtya.’ Thus tho 'abhinaya' Anubhavo rasas choti ~ Lokadharmi Natyadharmi is of three kinds. samksepan nrtyasamgrahah. * Tad dvividham 1 natyam' * anatyam ’ C- 4 ♦ ‘ N atya’ is the name of a dance which ohoti. Tatha Choktam— ■ ;; ; bahyavastvanukuri ni Svarge va martyaloko-va Chittavrttyarpika #onsits of four kinds-of ‘abhinaya’—‘angika’ patale va nivasinanv v . - ' ^ gestural), ' vachika’ (vocal), ‘aharya1 Krtanukaranam natyam ^extraneous), and ' satvika* (internal). anatyam nartakasritam.". ■ • ♦N rtya contains tho first three alone, and (Page 33, Benares Edition, 1912), Lokopajivi Lokasobhakara. ff. manifests tho ‘ bhavas’ (emotion) alone. Among ' natyavodin’ (who knows ‘ natya’) ♦no ‘ nrtya’ is known by tho term 1 marga, Here the first vorse dofinos the gonori • iso. Tho above four kinds of ' abhinaya* characteristics of' nrttya,’ and the secoi classifies It into two, ‘ natya/ and'anatyj pould not be observed in ' nrtta' but it with their definitions.. contains the actions of the limbs of the body Clone. In accordance with tho traditional prescriptions that something1 shquld be The treatment of difforont rasas (sen dona by the actors and audience (itikarta- ment), postures of the body, gesticulatio ♦ yata or prakaraniyama) in connection of limbB, bhavas (emotion), dress, orn #vith the danco, caoh of these* four kinds of ments, qualities of different actors,-coloui ‘ jcbhinaya’ falls under two varieties, by construction of ’ natyamantapa ’ or ‘ natyi ,^iame ’ natyadharmi' and 1 lokadharml.’ sala1 (dancing hall) and many,. othor detai P andit S. S l'brahmanya Sa stri of T a n jo r e . [method we get frequency ratio of Tivra- similarly at the following results —Antara-« Kladhyama, the first of the four Srutis of, Gandhara-5/4 ; Kakali-Nisada—15/8; Tivra- ‘ fqarn?: ’ [pancama, as 9/5 x 3/4 = 27/20,'and of Tivra- Madhyama—45/32 or 1024/729 which is a Itara-Madhyama, the second Sruti thereof, So says the author of Sangitaratnakara ting the reciprocals for _ their respect little lower but very nearly equivalent las 15/8 X 3/4 = 45/32. Of the two ratios thus thereto; Ekasruti-Risabha—256/243; Eka- and therein implies that the Suddhasvaras chord lengths viz. 1,/1,10/9,^2/27,4/3, 3/2.3 [obtained, even^lhough 45/32 may.-in a way, recognised in the Indian Musical Scale are 16/9 and 2/1. From these it-will be appar sruti-Dhaivata—128/81; Suddha-Gandhara those pertaining to the chanting of Sama- that the interval for a- Catuhsrntii [be taken* tb determine Tivra-Madhyama, —32/27; Suddha-Nisada—16/9; Suddha- veda. ‘The self-same notes have been 4/3-^32/27 or 3/2-M/3 or 2/i=16/9=9/8 [the other ratiocf 27/20 cannot by any means Madhyama—4/3; Suddha-Sadja—1/L or 2/1; referred to by the great Tyigaraja, in one a Trisruti,, it is 10/94-1/1 or 5/3-r3/2*-M (be considered as acceptable. On the other Suddha-Pancama—3/2.; .Catuhsruti-Rfsbha- ( of his famous Krtis, in the following terras and for a Dvisruti, it is 32/27 -f- 10/9J hand, that these ratios correspond to those -^-9/8; CatuhsrutUDhaiyata—27/i6;... Cy.u-. ^16/9 = 5/3 = 16/15. Similarly the'freqne of Risabhsis borne out by'Venkata-makhin,. tamadhyama-Gandhara-81/64 ; Cyutashdja- ratio of Dvisruti-Risabha will he fnrtm vho says ‘ggfqStoi Nisada—243/128 ; Tivratara-Madhyama=? fenWIHTH ’ and demonstrated as such. ^Sa be 1/1x16/15=16/15, that of D»is By adopting- this process arrive at 64/45 or 729/512, which is a little higher but vants of Indian Music have with one accord • Dhaivata, the fifth note .therefrom, yvijf [the conclusion,'that the frequenoy ratio of very nearly equivalent thereto ; Dvisruti- accepted the view propounded by Bhara- found to be l(j/15x 3/2*= 8/5, that of Catl [Tivratara-Madhyama, which is the second Risabha—16/15 ; Dvisruti-Dhaiyata-*-8f5 ; tamuni 'in the following couplet:— _ruti-Risabha will, be l/l*9/8=9/8 -and ISrqti of Pancama, is 16/15x4/3=64/45 and Sadharana-Gandhara—6/5 ; and Kaisika- ‘ q^3m*qnq^JTT: I 5 5 Catuhsruti-Dhaivata, the fifeh note the| [of Tivratama-Madhyama, the third Sruti of. Nisada—9/5. faqr^nT?snrt f^rt ftqjpi^cn li ’ .which 9/8X3/2 = 27/16. [Pancama-, is 10/9-X 4/3=40/27. means that Sadja, Madhyma, and Now, if, to the seventeen Sruti-Sthanas Pancama notes have each of them four Further, every one will admit that Further, these 'modern theorists start from (ratios) we add the following five viz., Srutis (mur.ical intervals), while Nisada ./frequency ratio of" Sadharana-Gandhara Antara-Gandhara as their basis, in finding*" 'Ekasruti-Risabha, which has its ratio.1/1X and Gandhara have two Srutis,and Risabha- j. 6/5 and of Antara-Gandhara. 5/4. , Hence! the measure of Ekasruti and thence, fix ttie-' 256/243 = 256/243 obtained by adopting -■ and Dhaivata three'each. -If we should follows that the frequency’ratfo's’of Xaisili Antara-Gandbara of the .same and arrive' 256/243 (and not 25/24 of the modern the play on a Vina the notes of the Samaveda, Nisada and Kakali-Nisada, the fifth no| at the frequency ratio of 5/4x5/4 = 25/16, orists referred to supra) as our measure for which occur in two Octaves, in a single respectively of those two notes, which turns to be that of 'Eliasruti-Dhaivata Ekasruti, Cyutatnadhyama-Gandhara with Octave, adopting the method of Tyagaraja, . C/o x 3/2=9/5 and 5/4 X 3/2 = 15/8.; pnd.. a rriye a t.. 25/16 = 3/2 = 25/24 ; as the its ratio of 4/3 = 256/243 = 81(64, Tivra-Madh- we measure of Ekasruti. According to their yama with its ratio of 4/3 X 256/243 = 1021/729, ''.will •■find that the Suddha , Sadja is «' According to the time-honoured rVief Ekasruti-Dhaivata-with its ratio of'3/2x . produced by the whole chord, while Suddha- . held by writers on Indian Music, thetil calculation, the frequencyratios of Ekasruti- 256/243 = 128/81, and Cyutasadja-Nisada Risabha is produced by the vibration of note (Pancama) of the Madhyama-gramaJ risaba, cyutamadhyainagandhara -tivra- with its ratio of 2/1 256/243/=243/123, we 9/10 of the chord and Similarly Suddha- a Trisruti one and consequently Sudd' tafna madhyma', Ekasruti Dhaivata and Gandhara, . Suddka-Madhyama, Suddha- get the ratios of twenty two Srutis. By Dhaivata of Sadja-grama is a Catuhsri Cyutasadja-Nisada , will respectively be Pancama, Suddha-Dhaivata, Suddha-■ adopting 25/24 as the measure of Ekasruti ■one. Hence it follows that the frequei/i 1/1x25/24=25/24, 4/3-r25/24= 32/25, 3/2 = Nisada and Suddha-Sadja (of the next higher- •• ratio of Trisruti-Pancama, which may- 25/21 = 36/25, 3/2 X 25/24 = 25/16: and 2/1 = we obtain as the frequency ratios of - the Octave) result from the vibration of 27/32,. la Her five 25/24,32/25,25/13, 25/16 and 48/25'. designated Tivratama-Madhyama, is 4/3 25/24=48/25 * 3/4, 2/3, 3/5, 9/16, and 1/2 respectively of the 10/9 or 5/3 -r 9/8=40/27, and that of Dvisruti Fiom actual observation in vocal -(music But- if we follow the method enunciated or in playing on stringed musical instru chord. Pancama, which may "be designated by tho-author of Sangita-parijata, wh*-;u he ments, such "as the Vina, one may occasio Again, in accordance with the following Tivratara-Madhyama, 4/3 X 16/15=64/45 «• Slys .‘ q ^ n s jn virqn ’JcrVir^rcifer nally note in the same Raga, varying passage from Sesalilavati—‘ In this connection it may bo noted 'thl and* start from 40/27, the frequency/ ratio frequency ratios for the same Svaras," ’ we can determine the certain modern theorists fix the Tivrf of Trisruti Pancama, and; p’oceed during Avohana and Ayarohana, while they frequency ratio of the several notes by adop-' Madhyama anjl the Tivratara-Madhyann according to his :Sadja-5ahcuma-|.'-hava are shortened in “contiguity: yith other 40 THE JOURNAL OK THE MUSIC ACADEMY ¥ MELADHIKARA-LAKSHANA . 41 NT Suddha-Nisada Svaras. The Risabha and Gandhara notes Names of Svaras. Ragas. 22 16/9 16/19 T6/9 ■of Todi may be cited as instances in point. 1 N2 Kaisika-Nisada 9/o 9/5 2 N3 Kakali-Nisada 9/5 Starting on the basis of the twenty-two 10 Sadharana-Gandhara Saveri. 15/8 15/8 15/8 3 N4 Cyutasadja-Nisada 243/128 48/25 Srutis arrived at according to the calcula- 11 Antara-Gandhara Jhanjhoti a . S Suddha-Saja 48/25 * 4 2/1 2/1 2/1 tions set forth above, if we try to note the Kambhoji. functions of the Svaras, from Ekasruti- 12 Cyutamadhyama- Risabha to Tivratama-Madbyama, in the Gandhara Saurastra. MELADHIKARA-LAKSHANA several Ragas, one may not be confronted 14 Tivra-Madhyama Byakata, Gat with any difficulty in dealing with the «pantu and A CRITICAL REVIEW remaining Svaras and their functions in the ■ tnir JTalyax BY 15 Tivratara-Madhyama Xalyani. several Ragas: In this connection the Mr. T. L. venkatarama I y e r , B.A., B.L. 16 Tivratama-Madhyama Varali. author of this short note may cite the j This is a rare treatise on Music, rare not -Ragas and not the northern system. It may considered opinion, arrived at after labori erely because it is not easily available to be necessary for this purpose to state how ous research, of the late lamented Lovers of Indian Music who wants! e general/reader, but.also because its the two system differ in the m atter'of" the Brahmasri Fancapagesa Bbagavatar of pursue thu question of twenty-two Sr ntents are altogether different frpm those classification of Ragas. The northern sysk Tanjore with whom he collaborated for the are referred to the several notes contribuj the other standard works „on Music, tern divides Ragas into Puruaha. Ragas/ purpose, and which may be summarised as by the author of this note to the Tanya ere is axopy of it in the .Tanjore Palace Bharya Ragivis and so forth. In theCarhatic' follows Sangitavidya-'tnahajana-Sangha A n n uj ibrary. Manuscript No. 11604o and so far system Ragas are classified accordingjjto ..Conferences between May 1912 and Octol I have been able to enquire there is no the different scales of the component notes.! Nkmes of Svaras. Ragas. . 1914 and which are printe^cvlth the repqi hei'copybf it'tjf be found anywhere else, The value of the swaras; .is ,0. the; 5 Ekasruti-Risabha Gaula. ’ of those conferences, his is all the/more regrettable as the basis' on which the Carnatic system: 6 Dvisruti-Risabha Mayamalava-gaula. anjore Manuscript is imperfect and does classifies its ragas. This differentiation7 7 Suddha-Risabha Bhairavi. The table appended to thisftfote will se? ot contain the^yvhole work. But the work seems to be now about thousand years, old/ 8 Catuhsrliti-Risabha SankarabharanaLf• further to elucidate the views set fog pears to have enjoyed considerable repu- ’Thus/ though the Carnatic system,' wifi/. 9 Suddha-Gandhara B hairavi and above as distinguished from those of otbg tion and some authority, and a close study- its distinctive features, is'fairly qld,'the. Kharaharapriya. on the same subject. it reveals'6ome original traits, which - are' fficient-to’ redeem it from oblivian. classification of the Ragas' into 72 ' Mela-' Frequency ratios according to' A karthas and their Janya-ragas' dqes'.ndt' No. Symbols., Names of Svaras. Sastraic the author’s others It was my adea originally-• to translate he ^appear ^ to ^be older than DifchiUr the 17th/century. e tradition. ■ calculations. calculatioi ntire treatise .but ion 'going, through :the ^ first iavented that 5 ^ ^ / 4 S Suddha-Sadja ' ■' 1/1 1/1 ' ' hole of the.ihamiscript 1 have come to the 5 R1 Ekasruti-Risabha 256/243 25/24 7 • V 25/24 4 nclusion that- it will be sufficient if I give, the present n ad ies"o f ’ the‘: 'It '"mefiis 6 R2 Dvisruti-Risabha 16/15 16/15 16/15i n idea of. its contents now, leaving the. were really given by him! 'His/work'Safi7 7 R3 Suddha-ltisabha , 10/9 10/9 . 10/9 j 8 R4 Chatulisruti-Risabha 9/8 9/8 ' " 9/8 1 ork of translation to wait until a complete githa:sudhanidhi is not availtible'ahd there 9 G1 . Suddha-Gandhara 32/27 ‘32/27 - 32/27 1 anuscript is available. fore, the extent of Govinda Dikshitar’s 10 G2 Sadharana-Gandhara ' 6/5 6/5 6/5 a contribution must be a ‘matter 'of uncerta 11 G3 Antara-Gandhara 5/4 5/4 -• 5/4 3 The name of the author of the work is not inty. Sangita-sudha of RaghunathaNaic.k 12 G4 Gyutamadhyama-Gandhara .. 81/64 32/25 > 32/25 3 nown. The mdnuscript does not mention 13 Ml Sudd li a-Mad by a ma 4/3 4/3 ' 4/3 l! of Tanjore copies of which are, however/ 14 M2 Tivra-Madhyama 1204/729 25/18 27/20 : t. Tradition is also silent on it. The date available is a valuable work" and iff the .15 M3 Tivratara-Madhyama 64/45 64/45 45/32 if the author is also likewise unknown. preparation thereof, it is not. unlikely that 16 M4 Tivratama-Madhyama ‘ 40/27 40/27 36/25 But thefe are features from which we can 3/2 3/2 the author derived considerable help, from' Y! P Sudaha-Pancama . • 3/2 £ Iipproximately fix the date of the cqmposi: 18 D1 Ekasruti-Dhaivata 128/81 25/16 ■25/16 i . . , . ---. Govir'.da ------Dikshitar...... v..What, .,c UU we . JLQOW do IS kno\v is 19 D2 Dvisrati-Dhaivata 8/5 8/5 ■ 8/5 [ian.* The .work follows the Ejarnataka- that Venkata Makhi the. .illustrious /sort 'at 20 D3 Suddha-Dhaivaia" 5/3 5/3 ' ' 5/3 * [yetem of ,Music, in /the plassi'/.caticn of Govinda Dikshitar, wrote about 1660: A.'D, a 21 * P4 Cat'ihsruti-Dhaivata 27/16 t 27/16 <; 27/16 .3 M ELADHIKARA-LAKSHANA 43 42 THE JOURNAL OF THE MUSIC ACADEMY ),,, nystetn of Venkatmakhi and there are (11) Sliudda-inadliyaina. work called Chatur-dandi-Prakasika where (1) Shadja i chakras in die Sliuddha-mndhyama group l in he propounded the theory of 72 melas I (12) A-pratiniadhyama. (2) Shuddha Rishabha ctead of 6 chakras as in Chatliur-dandi- scientifically. The names by which he I I rakasika. Unfortunately, the manuscript (13) Pratimadhyama. distinguished them have not been adopted, (3) Chatusruti Rishabha*8 reaks off with the 31st chakra with the i • but otherwise the Carnatic music to-day is Shuddhagandhara • (14) Cbyuta-madhyama-Panchama. allies of the first two melas therein, and so not much different from what it was in the i I (4) Shatsruti Rishabha = veil the Shuddha-madhyama group is in- days of Venkata Makhi. In a word his sys (15) Pancliama. Sadharana Gandhara omplete. This is a matter for regret as it tem has since ruled without question. I aves us with a guess as to how the author (16) Prati Shuddha Dhaivata. (5) Anthara Gandhara Now if we take Maladhikara-lakshana ealt witl^ the Madhyamas. It appears to I I (17) Shuddha-Dhaivata. , it is obviously later than Chatur-dandi- (6) Shuddhamadhyama e to be plain from to general scheme of Prakasika. The author takes the system of I e work that it was intended to mark four (18) Prati-chatusruti'=Dhaivatha«* Venkata'Makhi and simply enlarges it. It (7) Pratimadhyama adhyamas and not merely two and their Prati-shudda Nishada. I was intended by this work to make a further ames were shuddha-madhyama, aprati- 1 (8) Panchama (19) Chatusruti Dhaivata= advance on the system of Chatbur-dandi- I adhyaina, Parati-madhyama, chyutha- Shuddha Nishada. Prakasika, as will be clear at the conclu ' (9) Shuddha Dhaivata nchama rnadbyaroa. It must further be I ' I at there were 34 chakras in each of the sion of this article. (10) Chatusruti Dhaivata *» (20) Prati-Shatsruti Dhaivata™ ur madhyamas, thus making^up a total of Jt,appears to me that the author delibera Shuddha Nishada Pratikaisika Nishada. 6 chakras or 4624 mela karthas. I V tely took up the challenge of Venkatamakhi I (11) Shatsruti Dhaivata= (21) Shatsruti Dhaivata=Kaisika W.ishada. that 6ven god Siva could not add to the 72 The following chart will elucidate the I Kaisika NishJda (22) Prati-kakali Dhaivata = melas. I ' -sition:—- It is further not improbable that the very (12) Kakali Nishada ' ^ Prati kakali Nishada. ;.y I idea of 24 srutis which the author adopts (1) Shadja. Tbe point to be noticed about this sen (23) Kakali Nishada. was suggested by the Lakshana Githa of I is that with these twelve sthanas, alio (2) Prati-Shudda Rishabha. • Venkatamakhi for the Raga Gundakriya (24) Cbyuta Shadja Nishada. two for Ri, Ga, Ma, Dha, and Ni, we I inthelSth mela, where the author enumera- (3) Shudda-Rishabha. I shall presently explain the arrange have only 32 melas in all; and in.fact ates the 72 melas and adds that the srutis ment of melas. As in the system ' of position has been taken by some of; are 24. The innovation made by the author (4) Prati-Chatusruti Rishabha =» Venkatamakhi, in the same chakra, Risha musicians of the present day. But Ven of the Meladt]ikara-lakshana is to adopt Prati-Shuddhagandhara. bha and Gandhara are unchanged. Only Makhi intended to provide for both the I the 24 srutis, and make them swarasthanas, the Dhaivata and Nishada are changed. or Gas, or Dims, or Nis, “occurring >in (5) Chatusruti Rishabha= and build up a system of raelakarthas, ShuddaGandhara. In the chart it will be seen that following same mela and so he classified the e altogether different from the one adopted by :: I Venkatamakhi the author has given to sthana both ,as Ri, Ga ; and as Dha o Venkatamakhi. * (6) Prati-Shatsruti Rishabha = .several Swara-Sthanas both a Ri and a Thus we get shuddhagandhara Shats Prati-Sadharana gandhara. Ga notation; or a Dha and a Ni notation. Rishabha,sliuddha-Nishada chatusrati D ■■ From the rery nature of the treatise, '•■I Rdshabbha extends from sthanas 2 to 8 : vata. Thus the seventy-two melas (7) Shatsruti Risliabha = I am of opinion that it is a compara Gandhara extends from stlianas 4 to 10; made up. ' Sadharana gandhara. tively recent work, not earlier than the I Dhaivata extends from sthanas 16 to 22: (8) Pratyantara Rishabha = and Nishada from Sthanas 18 to 24. It will 18th .century. The position taken up by the author^ Pratyantara gandhara. be noticed that swarasthanas overlap. The chief feature of this work lies in this tbe Meladhikara-lakshana is this. ;-Ti I The author has adopted the idea of Vonka- that it classifies the swarasthanas into 24, swarasthanas are twenty four and (9) Antliara-gund'.ara. tanialihi and elaborated it thus: In each instead of twelve of Venkatamakhi.1 The twelve. On that principle lie has- worffj (10) Cliyuta -madhyam .-gandhara. chakra only the Dha and Ni vary. In the first | following chart will explain the scheme of out the scheme with 'the result that V seven mslas in a* chakra the' Dha • is Venkatamakhi: ‘ chakra contains 34 Ragas instead -of •44 THE JOURNAL OF THE MUSIC ACADEMY MELADHIKARA-LAKSHANi. ^ < 3 45 “ ” (No. 16) the nishadas being We must next take up the position of I’arc ,,ot'available in the portion Of til G “ T5 SJvfrTT ^ : I respectively and Ga in the various chakras. I Ima'iuscript. No. 13 is retained in its stated, that for each chakra Ri and Ga lojjjrinal name like sthanas Nos. 3, 5. 7, 9 v^RRSl'ir'Jtr, TOR fixed ; and I have also stated that there land so forth. No. 14 is named after the ana ,Tr^, 'h|'*»ie4r«m^, and (Nos. 34 chakras for the shuddha-madhj l l y of No. 24. There remains No. 12 for While there is considerable force in this 18 to 24). The next seven melas begin with group. This number of 34 for chakra [which it is probable that the name o? reasoning it must be conceded that the “ ” (No. 17) the nishadas being deduced in a manner similar to the nut L.pratimadhyama was given. With the frag- progress of musical science has been in the respectively Nos. 18 to 24. Melas Nos. of 34 m4las in a chakra, already explaf Inient of the manuscript now in o*ur posses - line of an increasing evolution of srutis. 15 to 20 bear “ ” (Nos. 18) In the first seven chakras the Rishabj sion, it is possible only to reconstruct the From the sapta-swaras which originally and the Nishadas are respectively Nos. (No. 2), only the Gandharas |1 scheme as above. took probably the ‘ karaharapria notes, we 19 to 24. . It will be noticed that in this from (No. 4) to “ ' have the evolution of the twelve swaras thanas; and it is only natural that further group there are six melas, and not seven as (No. 10) In chakras Nos. 8 The main feature of this scheme is, as in the two previous groups, because the ill be apparent, the bifurcation of the developments should be in the direction of the Rishabha is ” 3 5 basic Dhaivata for this group is sthana iwelve swarasthanas as ordinarily accepted. evolving more 6rutis. And if the music as* No. 18 which is also a Prati-shudda Nishada “ No. 3 and the gandharas vary re*! ietwe.en each interval, there i& one more actually in vogue has outgrown the 22 sthana; so in the Nishada group of 7 one is tively from Nos. 4 to 10. Chakras 15j ithana interposed, thus yielding 24 sthanas. srutis and requires a more amplified classifi cation it is but legitimate .that science lost to Dhaivata. Thus it will be seen that have prati-Chatusruti Rishabha No. j 'he question at once arises as to whether Common, tlje Gandharas changings should respond. Only it must be understood as ^Dha successively rises up to Sthana the author was right in adopting twenty- • that the srutis should have a distinctness, ifo. 22, the Nishada combinations decrease. Nos. 5 to 10. Chakras 21 to 25 bear cl four srutis, as he undoubtedly does. It is which will be capable of being appreciated ■Then, we come to melas No. 21 to 25. Here sruti Rishabha (No. 5) the Gandharas ,s >yond the scape of this article to enter ,-by* the ear, and reproduced by- the the basic Dha is chatusruti (No. 19) and ing from Nos. 6 to 10. In chakras No| ipon this vexed question fully. Bpt voice, with adequate training. Further.it Nishadas Nos. 20 to 24 constitute to 29 the Rishabha is, “ ” 1 [the point to be observed is that in must be also remembered that.- they the respective variants. Then in melas and the gandharas vary from Nos. 7 fol iractice all the 24 srutis are in vogue, should not be mere artificial points falling Nos. 26 to 29 the Dhaivata is No. 20 In chakras 30 to 32 the' Ri is shatsm it can bo easily demonstrated that right in the middle of the swarathanas, ” and the Nishadas are No. 7 and Ga is Nos. 8 to 10. Finallj the 24 srutis are actually in use, and there .without reference to, melody. But if the ^respectively No. 21»to 24. In melas Nos. chakras 33 to 34 we have for- icstandu fore ought to be scientifically recognised, . new notes are actually in use and are •30 to 32 the - Dhaivata is No.- 21, Shats- Pratyantara Gandhra(No. 8)aridPratiky ind the merit of the -present work appears ^melodious there is no reason why .they. .ruthi - Dhaivata ; and the Nishadas are -Nishada (No. 22), which are the extta . [to me to lie in having done this.- - ' should not be recognised...... -Nos. 22 to 24. Finally in melas Nos. 33 and to be found in certain sancharas; in. S a J • 34. the Dha is No. 22,” g ftftn rfM ta r “and For the chakras 32 and 33, the^ Risha I shall quote what Eallinatha saySon thls It may be. asked at this stage as to why -the Nishadas are respectively .No. 23 and is “ m n ” (No. 8) and' the G a^ point s •< -.7 r ;-c jl. [each Swarasthana should- be divided into <24. -..Thus the chakra is complete with 34 ras are respectively Nos. (9) and (10). [two, and’why not into four or* eight, and it • melas. ’"The relative position occupied by 34 chakras are made up. may be said ,with:. considerable force that - .the.Dhaivatas ’and Nishadas are the same cyery vibration cancan.be he regardedregarded, as a sruti, ;in all .'the chakras. While the chakras As I have already observed, the mfl.1 and thus we cah have endless mela-karthas. cript breaks of at the beginning 'of fliel jdiffer. among themselves as regards Hi and Chatura-Kalinatha, in his commentary chakra. But there can be ho doubt ;Ga, the relative ..position of Dha and Ni in on the Ratnakara quotes the following 5 R I .I 3 m r % - the constitution of the other chakras mo 'any .mela in any chakra is the same as apposite verses as from Kohala : — .those of the corresponding mela of any other be as set out here. In the sthana No. 8rH' chakra. Thus the Dha and Ni will be the have not got the swara-name but. on '4 In my opinion, therefore, a case has been jsajzui in melas Nos. 1, 35, 69 and so forth ; so analogy of sthana No. 22, I think that! made out for the recognition of the 24 sr.utis also the. Dha and'Ni in Nos. 2/36, and 70, Ri should be called vJLly and the merit of Meiadhikharalakshna. will.be identical and so-forth. . -■ . wise the names of sthanas Nos. 12,13, i n fm c irfa II ” and lies in furnishing the scheme. 46 THE JOURNAL OF THE MUSIC ACADEMY If- (o But it is a matter for regret that the had the melas and their Janya ragas MUSICAL INSTRUMENTS OF SOUTHERN INDIA. . author has not chosen to emunicate the all their Lakshanas. principles on which his system is founded. BY In my opinion the work as it stands He merely gives the names of the additional Mr . P. Sambamoorthy', b .a., b .l . notes in describing the various mclas with comparatively little practical value butj out any explanation and gives a catalogue of idea is there and it would be useful to w. Lecturer in- Indian Music, queen Mary's College, Madras. the names of the various melas. The names it on proper lines. I India is perhaps the one country in the with the concert instruments like the Veena, • of the melas which form part of the 72 sys ' ■ 1 rorld, wherein we come across ijinumor- Before concluding, I shall translate] Rudru Veena (Bin), Sitar (also called tem as it prevails now, are adopted and it is blo varieties of musical instruments, opening portion of the work so that one n Sundan, the beautiful) Ldruba, Sorangi, noteworthy that those names are not those picre are at least a five hundred of them, form an idea of its general char&cteris * Got mad yam (MahanatakaVeena) Tambura given by Venkatamakhi in his Chaturdandi ach with a distinct name, shape, construe Gethu Vadyam, Flute, Jalatarangam, Mri- ' Prakasika but the names which are actually SALUTATIONS TO SRIGANES ion, technique and quality of tone. The dangam, Thabala and Baya, Dolale, Moursing in use, and which were probably given by arieties are thoroughly representative of Kanjeera, Nagaswaram, Mukhavina (Indian Govinda Dikshitar. As regards melas Mela d h ika ua e stringed, wind and percussion groups. Oboe) Otthu, Thavil (Dhol) Ja lra (Cymbals) ' other than these 72, the author freely gives Victory To Rama anyanv western instruments are of eastern«»*»-•>, and citipla (Castanets). The credit of ' names according to his own fancy. Thus •igin.' Instruments, in which ft was not having popularised for concert purposes, the names of over 1>000 melas are to be Meladhikara Lakshana. possible to produce the * gamakas ’ (graces the following instruments goes to the per found in the fragment of the manuscript embelishments) by any amount of skill 1. The first mela is called “ Adi sons mentioned against them:— ■ which w4 have got. It would have been its features will be mentioned. Risha the part of the performer fell into disuse ’ more Useful if the author had taken up the ng ago. T h e ‘gamakas’ are the life and is Pratisuddha. Gandhara is Pratishu Balasaraswati ... Jagannatha Bhutgo- various Ragas which are in actual vPgue, The MadhyamaandPAncharaa areShur iul of Indian Music, and in the words of a (Mayuri or swamy of Ta’njore. ■ and determined which of the twenty four lassie writer, ‘ Music without gamaka is The Nishada is styled Pratishuddha. T Taivoos) srutis they take. Thus a Raga like Saveri (swaras) are (reckoned) in order fi [ke a moonless night, a river without ’ater, a creeper without flowers.’ The might have been taken, and it might have Shuddha shadja. Shadja is the gr! Gotuvadyam ... Gotuvadyam radical disappearance of the Swaraman- been shown that its “Ga” is not No. (9) but Nyasa and Amsa and this is a Sampi Srinivasa Rao possibly (8) in his .chart, and its * N I" is mela. ala and the Harp-in Southern India is to be not No. (23) but possibly be (22) therein. ccounted for only in this way. The Suxirabath ... §warabath Krishnier ' 2. The second mela is called “ Sug Iaramahdala had a hundred strings and The work has lost much of its practical utility by reason of the fact that'the and ' its form is here'1- mentioned; ras played by striking the strings with two * I have omitted to mention the Violin here ; author has not illustrated his system with’ Madhyama, Panchama, Nishada, and shi ilt-covered-sticks. This instrument was because it is a western instrument. It was the actual Ragas which are in use. i f .are shuddha swaras. , The othpr swara e forerunner of the modern piano of the brought to Southern India, just over a century prati-shuddakas. Shadja isgrahapNj^ est. From an archaeological specimen of ago by an Italian. The instrument soon attrac The author does not give any lakshana .and Amsa, and it is a sampurna-mela.’^ le 1st cent. B.C., preserved in the Madras ted the attention of the South Indian Musicians. githa for his melas its Venkatamakhi Bowed instruments are not however foreign to luseum, containing the harp, one can does. Tt 'would ' have been better if It only remains to add that the Sans! Indian Music. Rabafiastra mentioned in the old I ; jonclude that* the harp "is one of the old ' Venkatamakhi’s example had been followed treatises, is only a bowed instruments. The of the author is not of a high order and ndian Instruments. Since both the Swara- ‘ in this respect, because then we would have manuscript has made him worse.. Violin was soon adapted to the .needs of Karna- [landala and the Harp were played on open tic Music and its possibilities were demonstrated Itrings and there was no provision to stop by a successive line of musicians like Vadivel om, the production of gamakas became an Aattuvanar, Fiddle Punnus-.vamy, Fiddle Subba- Jki;v\ssibility and their use came to bo dis- rayar, j\~araytiiris-.i''imi F ilb ii of Shiyali, Mahn- joiitiiged. For the same reason key-board dev-e Iyer of Malabar, Tirubodibavtd Krishnier, Ipstruments did not develop La India. jXiiray.niasieaiiii Iyer of Pudukotr. and K arur Bevuitu Iyer. Mote that the Violin is tuned in The average,person in Southern India at 5ths and 4tbs here and not in 5ths only as in - At' present day, is perhaps familiar only Western Music. 48 THE JOURNAL OF THE MUSIC ACADEMY. vs THE MUSICAL INSTRUMENTS OF SOUTH INDIA K°\ • 49 (Swaragajth how The Melam in which the nagaswaram is Pals larger than the ordinary placed on a bullock and stnic k .with two &ir of nj-m ever seems to be principal instrument is known as Pi •rict>v. known as Jltanj is used. sticks. The Baja rwlijum (large tambourine) the more correct melam or Peddamelam. This Periameli and the Pot-tlmm precede the procession. name) is popularly known at the present day! Lrpjie Mukhavina (known as Alguja in the Following the Deity is a huge kettle-drum the Tanjore Band. Besides the Nt lortli) is a miniature nagaswaram and has placed on a carriage and drawn by« man. Flute .. Sarabha Sastrigal 'waram (there are generally two playi thing to do with the Veena, as its name * This is known as Nagara and it is generally . Polagam Chidambf Ghatam •the Otthu (drone) Thavil (drum) T< i likely to suggest. This instrument is from 2H to 3 feet in diameter. It is covered Iyer (cymbals )*and sometimes Sankhu (conch) ,yed in temples to the accompaniment of with hide and beaten with two curved Sarinda .. Sarinda Naidu also included in the Periaraelam. The fdrone and Maddalam on the occasion of sticks. Sometimes the nagara is carried Dolak ,. Dolak Nannu Mia waram (called also as Nayanai\ eci Ij-tain mipor services, late in the nights, on an elephant. Frequently the approach K anjeera .. Mamundia Pillai is an ideal musical instrument in >iose who have heard the Mukhavina of temple processions is announced earlier sense of the term and within recent me, iusic on such occasions, will bear testi- in the day by a person who passes through' : But there are countless varieties of instru there have lived adepts in the instrni Eony to its soft, soothing and pleasant the mada streets beating the Tamuku ments of absorbing interest used in temple .who have demonstrated ite tremem feet. Dhanki is a small side-drum used U g0*®) and loudly .proclaiming the appro rituals,-religious music, royal processions, possibilities. The B ari and the Ti an accompaniment to Mukhavina. ach of the procession, cautioning the the establishments of Princes and Heads of are the two varieties of the inetrui devotees to be ready with the .usual offer Mutts, .rural parts and martial music. Every temple in Southern |The large metallic cymbals of bell-metal ings. The Sannodhol (mtaanGi—neii') or the The instruments used by the wandering, whether ricl^ or. poor has invariabl Led in temples is known as Brahma Talam. Othai kottu GemlS) js the name mendicants, jugglers and gipsies are also Periamelam in its establishment'On ; is probably Brihatalam. given to the drum preceding the Soolapani of interest. - In-this article, I shall deal night, the nagaswaram could be .heard' procession. The sannadhol is also u*ed in witLa few-of the more prominent varieties a1 distance of more than a mile: The ci The metallic* horns that precede the the temple natanam or dance. The Gongs of this class of instruments. is sometimes used to play the jatis.•'? mple processions are of various kinds and and Bells (Ghantamani) are in use in all th£ Periamelam is also heard at weddii Sou Id be heard at long distances. They are T e m p l e s : temples. Vandiyam, Suddha Maddalam royal processions . and other festi’ pher of brass or copper. Rajahs and Dhanka (the two conical drumg on horse Stringed < Instruments were rarely used blemen of rank used to have in their back) Dekki and, Panchamukham (five in temple rituals for the simple reason that ' Contrasted with the " PeriamClai tablishments horns -made of silver and faced drum) are other rare drums found their tonal volume dwindled into nothing' the' Chinnamelam, which 1 is theVNa’ [rums, the shell of which was of bell-metal, in certain old shrines in Southern when played along with the wind and per-’ Party consisting of the dancing'wpma: 'wo large silver-horns which formed part India. The Udal (e.i_ and percussion groups on the occasion of knot or pea at the end, which strikes ag^ I nstruments used b y Wan derin g Ma r tia l Music. * temple services, continues even now. the two faces alternately when move Mendicants e t c . The principal avanaddha vadyas used and fro. [Mendicants, Dasaris, Andis, jugglers, in martial music were the Dundubhi (very In Mariamman Temple and in the ]| id-singers and Gipsies use peculiar large kettle-drum) Parai, Murasu, BJiei'igai, templer of Village Deities, the chief R ural Pa r t s: struiuents. The E ktar and the Tuntina • Damari and Peri a Vandiyam. The chief avanaddha vadyas used are the Udukkai *• two common stringed instruments of wind instruments used were the Conch, (e.Siars'). Damndai Caa-waoi-), Pambai With the exception of the Kin- »c drone class, used by beggars. . Both of Tarai Kombu and other loud-sound (udaau\ and Thappattai The (cocoanift-shell ektar played by a si leni consist of only one string and the ing horns. Udukkai is a small hour-glass shaped bow of horse-hair), Veena Kunju an gonators are simple and cheap. The drum. The name is probably derived from Pulluvankudam of Malabar, we dc lllad-singers of the Andhra Desa, who The Heads of Mutts and other Spiritual the Sanskrit Dhikka denoting a similar generally come across stringed instrui inie singing the ‘ Bobbili Pata ’ and other Gurus have also various wind and percus instrument. In Tamil, it is known as Tudi in rural parte. The string in the two storic songs use a crude tambura of four sion instruments in their establishments Itfnf) and Id ai Surungu P arai (gox_ instruments consists of crude twine or' tings. The Conch and the Thiruchinnam according to their rank. ubop) on account of its peculiar shape. Bamboo flutes of the Murali, Kuzhal used by the Dasaris and Andis. The Davandai is a larger Udukkai, hut the skin the ordinary - flute), Veynkuzhal (Cajiii^j kra-Vadya{& small tambourine made of Na h a bet. is different. Further, Udukkai is played joint flute).and Flageolot types are n and covered with skin); Kanjeera with the right-hand fingers but the Davan common. A kind of reed instrument ’inikittu (conical drums) and Tikiri Certain Hindu and Mahomedan Chief dai is played with a stick. Pambai is a K ural, besides the usual rustic drum! tains and Zemindars have in their establish-1 V * 'tai (castanets) and small bymbals are pair of cylindrical drums played with two metallic horns, is also seen. - Kx d by some mendicants. As they have ments, bands of professional musicians who stick?. The Sooryapirai (shaped like the sun Thappattai is a circular tambourine ofj wander from ^)lace to place to eke out perform at stated hours of the day or i.e. circular) and the Chandra Pirai (slikped covered with skin and is used by chm Jeir livelihood, they.necessarily are forced night. This is found also in some important like the crescent-moon) are two small at their festivals and marriage proces resort to the easily portable instruments shrines. This peculiar institution of percussion instruments. They are tied on They have also a crude .m ini c the ones mentioned above. The Pan- Indian Music is known as the Nahabet. It ■ to the forehead and played with a stick. nagaswaram called Sekkili 1 is so called from the instrument of Nahabet; (i Iranis, as also. Dasaris, use a small bell- Qajjakol, Villukottu, Kartal, Chittikal, tal gong known as Somakalam on account (the largest kettle-drum) associated with it. The Sankhu (conch), Bhuri (a small trum other kinds of castanets and rude its being shaped like the moon. It is' The players usually sR in balconies over pet), Kombu, Veynkuzhal a long bals are also to be seen. The'Kot; ten only with a stick of the caltrop the gateways of cities or palaces or in other joint flute and crude Nagaswaras aro the ; Savaras use large j tambourines, nt. They also use a small skin-covered ' elevated places. Such places are known' other wind-instruments used in such.' sorcerers among the Veders and KunE trumeut known as Dasari Thappattai,. as the Nahabet Khana. The music when' ; temples. Th^ time , is kept with rude * of Travancore use ah instrument in e Magudi' or the Pungi is the snake- heard at a distance has a charm all its cymbals made of iron.' ~ worship known as the Kokkard. '^^ Armor's instrument, in which two pipes own. We Jearn from the * Ain-i-Akbari ' inserted at the bulbous end of a bottle- that the Nahabet was held in great esteem The Dandai {/fmra>L.) is ah oval-shaped urd. One of the pipes lias finger-holes in the time of the Mogul Empire and that hollow ring of about an inch in thickness, :i: . In former times, when , there wi playing "the music, and the other pipe Emperor Akbar was even a performer. inside which there are thin metal pieces. A powerful central government,. ; innoj rvos to give the drone note. The player The performances of the Nahabet occupied pair of them, olie in each hand, is held bet- villages were frequently exposed to blowing from the other end of the a prominent place in the daily palace ween the fingers and moved to and fro. This tyranny of marauding robbers.By urd is able to play the music as well as routine. A small Nahabet, Party is even instrument is sein in a Karagam Proces- protection, the villagers kept in the Villa! now engaged in rich Indian marriages jrnd Look-out, a huge kettle-drum known” drone at the same time. Budu-lmdnka they are seated on an elevated place near B h en . At the sight of robber atci distant ftsnV;l-' hour-glass shaped drum having a the entrance in accordance with custom. The Damaru, the instrument associated the than keeping the watch beat the."drii with a knot at the end, which strikes with Lord Siva, the instrument in the loudly which awakened the people pfi a i the two faces when rattled. This Sacred Hands of Sri Nataraja, is like i village and they got ready to resist ,u- i by gypsies and jugglers. Karanai is * See Blochmanc’s translation of the same Udukkai in fhape, hu( has a string with a robbers’ attacks. 0 her instrument used by the jugglers. Vol. I. , CJHATA VAbYA 53 GHATA VADYA* ; .,*< ilia all the ten fingers of the Experts in Ghata Vadyam. jnJ, iheir nails, the pulms and wrists of BY He hands are also used. Hence it is possi- Though Ghatam is an ancient instru T h e L ate G hatam S undara I y e r o f Um a y a lpu r a m . lJe t0 produce in this instrument more ment, just like other ancient instruments, M^ny have been the works written and can be shown by another instrdl tcresting varieties of sound than in the it was brought, to prominence onlV a few followed in music from ancient times in our called Uddukku. -3 ilicr instruments. Further it is also feasi- decades ago. Though we do not know- country. Most of them contain elaborate e to develop and display thala in the very much about the earliest pioneers, Therehave been some methods ofpla' treatises on sruthis, swaras, Ragas and the ;Etcst kalas in such a manner that is not there were some experts whose fame has the instrument with the mouth of the! like. But only a few of them have dealt jinarily possible in other instruments. been such that %ve cannot easily forget closed with leather or by the hand, with thala; and even in these few very little # them. The first man to my knowledge who must say that in my experience, the mi is to.be found about the origin, construction All thala instruments are but accompani- developed the instrument so as to be an ac followed by the vidwans mentioned and method of playing the Mridangam, ents and unless a thala instrument is a companiment in a music party was Vidwan which I have follwed, was found to Ghatam, Dolak, Kanjeera and the like ins per and fit musical instrument, it cannot Chidambaralyerof Polagam. He lived about only one suited for high class art as! truments intended to display Thala and its an accompaniment. Otherwise instead of 50 years ago. Even during his last days my ‘ played in a music concert—namely t] elaboration. It goes without saying that of ling a pakka (ui&) Vadyam (an accom- paternal uncle the late Narayana Iyer of pressing and adjusting the month oftl these Mridangam is the best. Perhaps many niment) it wil be considered a pakai Umayalpuram had attained high profici with tbe abdomen of the player. have written about it and know about it bht icsa) Vadyam (enimical or discordant ency in this instrument, and began to dis too well. I will only take up another of e trument). The purpose of aih ala instru play great skill and art in it. Chidaiqb^ra these instruments namely Ghatam which T S p e c ia l F e a t u r e s in g h a ta V ads ment is to follow closely and embelish Iyer himself appears to have skid after liaVe*!beeh practicing'and deal with its ie ' principal # vocal or instrumental hearing- him play *' I have developed this Though time-measures, jatis.ij origin, the manner of handling it, the' ex- lusic by producing suitable and resonant instfument so as to make it fit for a music * are the same in all thala instruments,' peHs~that practised it, and the variations usical sounds. concert. When I hear you I feel, that it is one special feature in Ghatam whi| in the nature of the instrument in different is left to you as the proper person to further not found in others. .In other .thala ini Considering the time-measure of an times. develop and advance it so as^to give.it a ments good and proper-musical sound crage musical piece,. I . have already prominent place worthy of the instru be produced only in ^specified plan* cDtioned that in this instrument, it is pos- ment.” As a result of playing in a highly ' -Unlike some o f the thala instruments, .specific methods of fingering. In. G hJ ‘ ile to develop its variations in very fast refined and beautiful manner, in musical' which are .of recent origin, Ghatam ap~ \yherever and .in whatever, manner! alas. It might be noted that the humkara concerts, the instrument in his hands :-.was pears to.be one of the ancient instruements. touch it, you can produce good mu! und in leather instruments, acts as it were very often included as an accompaniment to, Mention. is made, of it in Sangeetharatna- sound, as the material is not mere raw "el Ike a spring and adds a special resonance such famous Vidwans as Malia Vaidyanatha kara. . Again <■.unlike, other instruments.'- (prithivi) but baked, clay (Mrid).. d richness*. This humkara sound is pro- Iyer (Vocal), Saraba Sastri (Flute), Patnara Ghatam is said to be made.of the’ 5 elements / ced in different varieties in ghtara also Subramania Iyer (Vocal),' and Thirukodi- of.Nature as follows: P rjthivi (earth) is mix-. Moreover tbe instrument resembles^ . adjusting the proportion of space kaval Krishna lyes (Violin Solo). That is ^W -ttM ppufw jiterJand made , into a pot, , earth in its globular shape. Just as t h e m tween the &ir inside the pot and 'thafc enough ■ to show that it was given .an U^s baked in TAejas (Fire). All pervading , has got different climatic c o n d itio n s 'Jtside at the moutb 0f the pot All the honourable place among thala instruments. Fayu (air) is;to be found in it also. As for the north pole to the south pole,' the sflV jnds of W - a ra tilat are played in instru- the 5th element Akasa (space) I need only ./’differs in' various places in between thet [pnfo ut* i , * 4. - r .1 ...... • * * it* ;iKe tne -Unaa?^garn can be produced The next important porson who culti quote the ideas of ghat-akasaand malia- . poles of tbe pot. Just as all. t ghatam also. I have myself verv open vated it, was Krishna. Iyer of Palni. In his akasa mentioned in our Vedanta works. A c-. Equator or in the same latitudes the sa iown bjr means 0f -s f,um/ara "the 1° days, in addition to the methods of play cording to. our shastras it is from this Akasa climate prevails so also in the pot there 0-„,. ", .. . ,, - • ' - ‘ i K ,( 0:'.s ot an oc.ave in relation to the adhara followed by-his predecessors he-delighted that sound perceived bv the 1st of our fivethe same kma of sound along the same u c - • - - a • - a - W ... 1... T i . . , ' * m.u. ot a music performance. -It only we the audience by new and interesting ways senses is produced. That sound can be . tudes, Ir: otner instruments some o fl - , , ,,, , ■ • -s ■■ . > - , . , . .. ’ 1 ' , ,, . • ' v 3 • '•”,e instead .of the harmonium. of playing. After him there have been/* produced even in substances made of clay fingers an ! tbe palm of tbe hand onlv» h. ____ * • • - - - ______’ 3 rr ^ sruthi, everyone - can distinctly hear many Ip practise* this art. So faraS; ‘ Translated from Tamil by Mr. ETCrislinf Iyer, B.A., b .l. 1 said notes. I am concerned, *1 liavo been .following 54 THE JQURNAL OF THE MUSIC ACADEMY THE MUSIC OF SOUTH INDIA AND GOVINDA DIKSHITER 55 the methods of the earlier vidwans in addi with regard to Sruthis the qualit; ,11!(1 close by appealim ; to all those a music performance by handling it proper tion to some of the new ones of the late the performances was greatly enhan’ have instinct for and knowledge of ly as an accompaniment and thus to give Krishna Iyer. a]a and who want to practice Thala this ancient instrument an honourable *• There is one further thing that has gtrumentS,-.to take up the instrument of place worthy of it among accompani- hatarn also and to add to the pleasure of ments. ’ V ariations in the Nature of the I said. As the instrument is made of'; I nstrument. and as in earlier years many a ,pot; found to crack during a performance, THE MUSIC OF SOUTH INDIA AND GOVINDA DIKSHITER In the days of Polagam Chidambara may be a doubt whether it is safe to in- Iyer no special pot appears to have it in a performance. But do we not BY been made for purposes of music. The other instruments, occassionally ey< * MR. P. S. SUNDARAM AYYAR, B.A., L.T. * players seem to have taken and made use thambura or violin having its strings At the time, when all the things connec- done in their respective works. In the of any pot that was available in the locality dently snapped, or the leather or with th6 Indian culture are subjected passage that I propose to quote he has of the performance. This was not quite material of a Kanjeera or a' Mrid scrutiny, it is but proper that we should declared that ‘a theory o f Music, i f enun ' satisfactory as sometimes four to five" pots giving way? To go further, do we^ ndle South Indian Music as we have it ciated, should necessarily conform to the Music used to crack during a performance. Though find the principal vocalist himself sud practice^.- One has however to guard facts found in practice. ’ my uncle Narayana Iyer followed in the losing his voice hopelessly ? *These. eself against the danger of the ‘ Spirit of The passage reads asfollows wake of his predecessors for some time, in after all to be considered as unfo: form’ riding roughshod over the accepted h i; lfiter days, he began to have special accidents. Moreover it is the experien< ths long connected with the art. These pots made in Panruti in South Arcot experts, that, after attaining proficii a^TPTt 5T || tbs have, unfortunately been noted down . •. 1______• • District, with special instructions. Even they begin to enjoy their pwn play, ' Sanskrit;,*a language next to unknown then, it was only occasionally and* by they inwardly feel the niceties and delig the Modern University product in the accident that the sruthi of the pot of the instrument and its handling. I: iculiar.i cercumstances of the System of »ini 11 . agreed • with- the adhara srutbi of ‘ a has attained high proficiency- in gha] ducation oyer^which our own men have performance and there \^s no guarantee playing there is no reason why any] . Svara-Melg-Kalanidhi solutely, no control. for their agreement in most of the then per : should crack at all.- I will even go* to, Which means: “ Music'lias its theory: WithoutVidigression, let me begin with an formances. It w^gr the skilful and deligbt- extent. Give me a' pot cracked, bu and it has to abide b y i ^ t ’.'iBut, in ca se s quotation >,from Bekara Rama Amatya of ^ ’ ful manner of playing, combined with close ; broken, I will still find out its strong’ where the theory appears to be violated, it- ijayanagar.^the author of Svara-Mela-t: knowledge of the,various songs of a concert ■ resonant points and display all the beau] a*F is found that the sweetness suffers nothing ahniidhi (written in 1550 A. D.). Bekara is and humility in keeping the in stru -: of the instrument without, in the lea thereby. " Practical music^" the basis, is abbreviation of Ubhayakara i.e., Vag- , meat strictly as an accompaniment, that. ■spoiling a concert. Now that I havecaiu ■^certainly more important than its theory. 'Hah araka (a composer and Singer Combined enabled the earlier players to earn the = ; to be made pots of such- special' quality Give it up for the sake of the theory : Iheri one)—a term commonly met with in regard of the public. ■ . you lose the pleasant effect due to the ' art : are strong, durable and. resonant :>ar nskrit works on Music. The words of also suitable to different srutiiui, Aide. Therefore it is, that sweet music has ma Amatya qrc highly valuable in that '•lived in this world as an aft.’" V ' - In my experience I found that the pots firmly believe that there is absolutely ey are the mature opinions of no abstract This Statement by the aythor is an in made' in Manamadura were much better chance, by the Grace of God, of any^h ecriser but a practical musician. He has valuable Guido to those that have to deal ’ than those of Panruti in hardiness, durabi them being made useless in-a performanc (■ueathed to us his immortal work, the with any discussion on Mysic : 'especially, lity, and tonal value. Further in order In conclusion I must say that this instra c\ r\ ' THI'I. It was for reviewing this in these days when too much of theory— to mate it more and more popular, I have ment cannot be successfully handled meri! ork that the illustrious Venkata Makhin much more than quite necessary—is seen had made different varieties of pots so as with the knowledge of technique ’of niusi 18 his >£i-i ^ R a m a Ar^afya in the newspapers, lecture-halls and other to suit the different sruthiS of various ' As on; has to produce good and audil must hav ^ a Poetical musician, has ably attemp- place®. Sometimes these new-fangled ideas musicians. Mostly, the sruthi of the pot - musical sounds out of clay, one , ,,, , . , , * „ * ‘ to reconcile in his work the theory of however deserving of congratulations for . would be the adhara sruthi of a performance ' the ne essary health, physical.strength at . • . 3 ^ usic with, practice-just as all the their originality, arc subversive of the cur or its Panchama, Antharagandhara or Chatu-' energy He who practises it must alwaj .Sk hors of works on music have usually rent ideas of nuisic that' have been sane- 56 THE JOURNAL OF THE MUSIC ACADEMY V* PANGITHA SUDHA '57 tioncd by .iime-honoured practice and im the A m la Avarvh-i list of the Janoka-2 ha- I and all the o 1!.c-i re- In this connection, a spurious work memorial usage and have been handed and Jnfuja-Riiijox wiiich is the valuablej rJ1 j j wriic-rs on Music have uniformly Sanijitii-Sara-Sangni/ia by name by an down jto our generation through the pro rary treasure in the library of every pr mtioned only 22 sruti’s as occurring in unknown author, in Telugu verses, was fessional Guru parampara musicians. They sional musician of the South even to dy ;cale. Adiyarkku-Nallar in his com- unearthed from the' library of a private are unfortunately closetted in corners for It is, therefore, the duty of every Iptary on the historic Tamil work ^musician of Tanjore and it is now*_,lying want of encouragement: but hold places of rist of South Indian Music to see that -N mentions only 22 Srutis. with me. It was this.unknown author that honour-in the world of music even in this Melakartais not tampered with. I amj But None are so blind as tlio/e that first mentions the names*bf 24 srutis and business-like sceptic world Let me subs-in thatc'ase the encouragement to the i I] not sec. It is a wonder that a novel talks curiously of the mystic connection bet tantiate by a few.instances. ■ of South Indian Music, so loudly advoc ■ .**■**,- iry of ~‘4 Srutis o f equal intervals has ween 24 srutis and .the' number of syllabled would not be welcomed by t)ie 'P j -* T he'M ela k a r t a ■n propounded. It has no support in any in Gayatri. There is ijto fixing of notes :nor The. Melakart^, came, into systematic opinion’I The Melakarta is really the ] the above Sanskrit works accepted as anything of importance deserving of study existence during/the time of Raghunatha needed for systematising the . sciencj [ndard works by those that know music. by the Musicians in that edrious work.- Nogales Minister, IJovinda Dikshita and his music as it'exists in practice.* So far1 ’he western science vouchsafes that the - . v V ' - son, Venkata Makhin has immortalised its about the Melakarta. .. / The Mdadhikara LaksRana is another fdian Music provides us with the best existence. The late Maha Vaidyanatha T w e n t y -tw o S r u t is..’ work found in the Tanjore Palace Library. t* ' , . r miple for the Natural scale (as«opposed Ayyar has left us- his Mda-Raga-Malika in The next,important subject is the twg We find in it a list of lig la s with ijotes [the tempered scale) with unequal inter- 72 modes and 'has left his indelible two Srutis. That i? II sft: n ^ n f F 5TORg7?qtT3ifqT fqFqqqqJTgqqjfc'q ST SFqfqqqtqqsr: I q^ffcftgm77iK^sr q^gtgTqcrqpaqrq: ll ^ ll yreal^dq qqfe5w q y ^ to g y .if<%y|: 1 «h uifi+i 'H5ffq^qqnjfqqforfq?xrfqgwra %faj^ 11 KM n sfiqt3^5ir»F trnq^qqqTffSirai s^f q*t gqfoft itcJ^ttr. H I ll frtiq ql « ■ * . 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II ll gsfaqny yq^ fqyft fq^'rctqqTqyfa^tq i *Aig« q Hsjt^g i sto: ncftaT ?*fa$MycyqRRrq rjtIt y?ry\ n 'vs u ^g^q Itg srogjRq qigrqqmraqq qgrq: n vsl n ^ tfk ^ rm w h RtirynfqrRfaR:yRcy g cUJjyr^q: I gCT *TOI j q ’liSI'T^W q>5^7 5Tti RHqRl R T ^ I areiRtrenqgd^ «ftq: g ciftng. ii V U ^ s s^ 'q q ifmqntt ^ ^rcft f^raqqvi^cn^ ll vsq 11 Rq?qy^ £T5T qqvqH^uqRdlSyr RR ^^nr^IRHW-dil^q; I s r % JTTO qDii^ ^r sftq: ^^qRiqot qefpaft^X I r m iJ i ■■ i ■ i ^irr^ j *■ » it *1! te• A f. sftqyr h h r ph i **j r t ft >* reisja* ii c° m 3K T3«^ T ^ ’TTSmRt ft^fasi yTH^f^TnUT^: I IRcviews 3 :5srq.it <£UI JTT JRT ; SicTlft ^Htfoi ftftT^ ^cTOSTfftr: IPOT f t 5WT 5«5jF^^^I<^^IIB 3rt»i sfcn 5rurft ^tqrf^scr^icftH^ ii d*. if- Ittotcs anb. (Comments. randhara Das and Tyagaraja celebra- impressive function iti honour of , the n»: It is very gratifying to note that memory of Purandhara Das, the greatest of Ulh India lias’thou'ght fit to celebrate the the kirthana composers. His compositions imory of Purandhara Das and Tyagaraja. number lens of thousands every one of which rnatic Music as it prevails to-day is is a jewel. 'A'careful study and comparison y much the gift of these eminent singers.' of the songs of Purandhara Das and Tyaga e persons and institutions who organised, raja will reveal' that +,the latter faithfully celebrations in honour of Tyagaraja in followed the standards of the former both uvayar, Madras and other places, deserve in sahitya and sangitha. There is another thanks of the public. It gives us great: point bf view from which * both these hfa«tion ta record that the, Music master-singers deserve even a higher ap [tkdeniy on 29th January 1930, held a very preciation,* It is a pity.it is not videly THE JOURNAL OF THE MUSIC ACADEMY 72 >3 connection may we ask the Governme known that these musicians are great jxoxoxoccooooooooooyccoooot they think that musicis a subject resj Achary as who are pre-eminently teachers of men. The musicians and music loving for ladies only ? public should take great interest'in the . Greetings an6 /IDessages. The late Ponnuswaim PillaL I t : • sahityh of theiT songs and learn the mean ing thoroughly. Theircompositions embody1" • regret that we have to - record the p| away of Nagaswaram Ponnusami the highest thoughts that are found in the ,,wkr our sincere thanks to.all the distinguished l,ulies and gentlemen who have of Madura. He was a musician of jj| Upanisha ds together with all the liberalis been so g-xxl as to send their kind greetings and messages which we have great ing and refining principles ofBudhism and order and took considerable inter pleasure in publishing below.—The Editor. the theoritical side of the art, H e]'4 Jainism. " They reveal a beautiful reconci jitary Secretary, Government House The Dewan of Baroda :—It is an excell distinction and Teward from" th e '1 liation of the ideal with the practical life in ent idea of yours to start a journal exclu Samasthanam. He was a member! »dra« .—Her excellency Lady Beatrix the spirit of the greatest of all books, sively devoted to music and I trust you expert committee of the Music Ac knley desires me to acknowledge your the Bhagavat-Gita. Further, the songs of will get wide support for your venture. I always willing to co-opeTate in any^J ter of the 20th December. She wishes bpth.contain high poetic merit. One can i to say that she is very much in sympa- have issued instructions to the commis activities. As a man he was uni find in them the same love of nature, over with any effort to bring to tlje notice of sioner of Education to subscribe for copies courteous* kind, generous, hospital flowing imagination, a wealth of happy general public any branch of Indian of your journal for the music schools in affectionate. similitudes and the haunting beauty of Jture. Her excellency is personally very the state. . • word-melody that one finds in Valmiki or crested in music and is glad to hear of Halidas', Shakespeare or Shelly. Unspeaka Sruthi and Ragalakshana quest!* | organization of “ The Music Academy Secretary to Dr. Rabindranath Tagore:— ble is the joy that one feels in siuging the It is somewhat disappointing 'tjS Iras ” and its efforts to popularise, study Dr; Tagore wishes your endeavour the songs of these great masters with , a that the response to the questionairej S] develop Indian Music. I am to assure success which it so Tichiy deserves and fhorough realization of their meaning. At the sub-committee on srutis and u that you have Her Excellency’s warm- conveys to you all his greetings of fellow any.rate, there is nothing like it this side of shana, has not been wide. Sue] [ sympathy in your endeavours. ^ ship. life. members as have not sent in their] I will be so good as to send them eu Dr. Annie Besant, Theosophical Society Music Classes in the B.A. Course. We that the report of the committee- I Private Secretary to Her Highness the A d y a r -I have not sufficient technical understand that arrangements have not available to the next conference*} jtharani Regent of.Travancore :—I am to knowledge of Indian music to admire it as-, been made in the Queen Mary’s college authoritative lead should be,, given’ form you that-tho, proposal to start a it deserves to be admired, judging by the for opening {music classes in the B. A. pect . of any . controver6ia^^ matte] prnal of the Music 'Academy has the enjoy ment of my Indian friends, nor to write course, next academic year. That this will decision of a whole body^of musjcia? arm sympathy of Her Highness and her about it. But I am very glad that & journal, entail great hardship upon the students will scholars is more; likely to find ■ghness will watch with interest its career. written by competent musicians is to be- be easily realized. . We trust the Director than the expression of opinion Em.also to request you to arrange for a published. of Public Instruction tnd the Minister of duals however eminent. It.is tht |py of the journal being regularly sent to Education, will rise above the limitations of necessary that in the-next Conferenl ?r Highness. departmental and official routine and with Our experts should gather and edntribi Sir P. S. Sivaewami Iyer :—I am pleased their sympathy and imagination help the the discussion and fine} solutions-.-.fori to learn from your letter of t^e 19 th Dec. that outstanding problems. students out ,of .their;, difficulty. In this [private Secretary to His Highness the. the Music Academy of Madras has resolved iWaja of Travancore Her Highness to start a quarterly journal dealing with Junior Maharani sends prou her £est the science and art of music. I trust that jslies for the success of yourendeavour to your jqurnal will be a means of stimulating' .a scientific study of Indian mpsicaad en Ml j quarterly journal. ■' couraging the practice of it as;,a fine art.' I wish every success to yolir venture. 10 74 THE JOURNAL OF THE MUSIC ACADEMY' -GREETINGS AND MESSAGES 75 Sir. C. P. Ramaswarni Iyer : -I welcome engaged in the study, development |j(|, which Indian Music and paint- Without mutual understanding of the ■ the inaguration of the Journal of the may 1 add, practice of music. I earn are being restored to the place of souls of nations how can there be true Madras Music Academy. The finest ex trust that every attempt will be hnour which they occupied in the past, friendship? Music is the laguage of the pression of the genius of a country and its keep that object always in view so bt from which they had been dethroned soul, of the emotions. We may hear the race are to be found in its arts and amongst journal may soon come to occup, the past two hundred years. Thirty music of other nations, such as the Japa- the arts the appeal of music is at once the position which high class scientific joi iars ago I lived amongst an exactly’ nese, the Chinese, the Russian, the African most universal and the most individual. hold in the world of scientific learing Jniilar revival of national art and art-crafts as we may hear various spoken languages, Whereas western orchestral music and the I believe profoundly in quickenii Ireland. I heard and saw tli» ancient but unless we have had some instruction in opera are intended to appeal to and evoke enriching the artistic and particular] Ik-songs and dances, the poetry and them, their beauty, their message eludes. the emotions of a large number of men musical revival of India and es'pecia tma of. the Irish soil being brought to In addition to hearing we must have also gathered together, Indian Music needs for Soutli India, not only for its own 6a Iniemberance of a people from whom a intellectual understanding of the matter. its enjoyment a cultivated taste and a also for the sake of conserving and (reign system of Anglicised education and Indian Music has notable rich gifts to knowledge of the subtleties of musical ing the self respect and the patriot! Ivilisation had hidden their Celtic national bestow on the music lovers of the world— rhythm and is thus, to a large extent, India. Music has always played a la Ijf-expression. its rhythms, combinations of sounds (raga dependent for its effect upon a small and in helping the achievement of fre as contrasted with scales), psychological trained audience. Like Indian philosophy other countries. May it not be so That Gaelic movement for the’ art gave valuations, unexplored by other systems of Indian Music is intrinsically personal in country also ? dance and emotional inspiration and out- music. This Music Journal will be a valua character. Music in this country has But music makes a more permand to a resurgent nation. The work of the ble factor in supplying missing links of fallen from its high estate and to effect a peal to the elemental emotions of jdian Music conferences and Indian explanation needed for inter-national appre renaissance, careful study of its past and its woman. There is no artistic pleasn [usic Academies and Sangbams as well as ciation of aesthetical and spiritual tmfsio possibilities is required. I, therefore, consi can derive sweeter than that from : schools and exhibitions will do the expression. Thus it may fulfill a necessary der the Journal one of the most timely and our good musio. But we must pr* use valuable service in India in this 'and honourable share in both national and useful contributions to the Hew Life that great as our heritage is, we cannot a ptical time of nation-building for national intcr-natiorial Peace, Purity arid Prosperity. Iministration. is coming to being. live on that except at the peril of sta Moreover. I consider it an honour to be connected I congratulate the Madras Music Aca- with the initial number of the Journal and imy on the way it is moulding public I wish it and every activity of the_ Madras Mr. M. R. Jayakar, Bombay:—I am in lought. regarding the revival of Indian thorough sympathy with the object of your Academy of Music ever-increasing influ Jrlcl - .jji ■>. .usic on a basis of common-sense, reform ence and success.. musical journal. - Its want has been felt for id popular ’organisation. Madras Presi a long time and I hope you will succeed in (I , ; . .dency . has------reason1------— to —be f.vuu proud ofiuc the ueieruy celerity your effort. You have my best' wishes for I look forwatd to the journal conmgfith which it has secured the inclusion of its success. fresh fields and pastures new in' the Mrs. Ethel Rosenthal F.R.G.S., A.R.C.M: lian Music in the curricula of schools /.I Author o f ‘ The story o f Indian Music and its of music, i wish the journal a long,'1 I • Jndthe university. This though imperfect |instruments ’, ‘ Polish Music and its com perous and epoch-making career. ’pdetails ensures Academical honour for , Mr. S. Satytnurthy Iyer M. L. C .:—I am posers’ etc :—With a thrill of artistic satis J7R Bart of Saraswathi. It also safeguards very happy that, the Music Academy, faction I learnt the decision of the Music the scientific aspect of Music. The publica Madras is bringing out a quarterly journal Academy7 Madras to inaugurate a quarterly tion of a quarterly Music Journal will doaliug.with the science and art of music, ■ musical journal. With 1 its soul-stirring Mrs. Margaret EL Cousins.—Dachelo!.jninenscly strengthen the whole move under, the able editorship of Mr. T. V-. ■'0 beauty and elaborate science Indian music M ask, Royal University o f Ireland, &ment for the advancement cf Music - fjubba Rao. • I notice with pleasure that the -merits universal. appreciation and of a India. It will also prove a bridge over object of the journal is nothing less than to tural Nation-B uilding There' certainty, the proposed journal, with its • . , *ix-^bich Western and Eastern musicians may. serve as an authoritative medium of ex- more authentic evidence of the- m noble-aims, will become known outside the X ■ ■ . * . is? to view one another’s musical king-^ confines of India pj oper. The new publica- pression of their thoughts for the Lest minds. national revival than the enthusu om?. tion thcv.tforo can ;’look forward to the time 76 THE .1 OJj K N A L OF THE MUSIC ACADEMY GREETINGS AND MESSAGES" 77 when it will liav.; t!io satisfaction of Bahmasri Vidwan Swaminatha lyeri gpur'i'i woricc of music in its theoritical Frofessor D. Ven katas wami Naidu, Via- furthering the Cause or India’s Divine Art Umayalpuram:—I am extremely delfl U practical side. Ion/.it and profeasor o f mutic Vizya- in the West as well as in the East. ed over the Journal of the naf/arain College:— l heartily commend Academy Madras. I shall write the idea to start a journal devoted I esteem it a great honour that I a musical matters in the Journal. [Brahmasri Vidwan Vedantha Baga- exclusively to our. music and I foreigner should be permitted to greet the Ithar, Kali idaikurichi:—May God bless feel highly honoured 'When you call musical quarterly at birth. Filled with L Journal of the Music Academy upon me to make contributions to it and I affectionate admiration for Indian Music I Brahrriasri Vidwan Tiger Varadacha L tr;,s with long life and success and shall help yon to the best of m v ability. sincerely wish the magazine the great Mail ran:—You have undertaken Ln,r to It the whole hearted and loving measure of prosperity and success that it task of editing, a journal in.. the] Lport of pll patrons of Art and Sangitha deserves and congratulate the Music Aca of Music for which I beleive, j Ivans. I shall help it to the best of my Brahmasri Vidwan Hulgur Krishna- demy Madras upon the progressive and music loving public and also ility- _____ charya, Bharat Sangeetka Sala, Hubii enterprising spirit demonstrated by this, sionals should be thankful, You have my full sympathies with the its latest venture. very important and it should be pq grahmasri Keerthanacharya C. R. Sree- activities of the Academy and I shall because itr is a long felt want among ira>a Iyengar, Mylapore :— I - heartily continuo to help it in whatever manner possible for me. I wish every success to Rev. H. A. Popley. Calcutta I am glad general public especially in the field tQ npathise with the objects of the quarter- the journal and hope it will have a long life to'hear from the President and Secretary South Indian Music. I promise that !] | and wish it godspeed and a bright of useful service to the public. of 4he Music Academy Madras that it has be giving you every possible help Ic a i Bore. been decided to start a quarterly journal dealicfe with the science and art of Music. Brahmasri Vidwan Ariyakudi Ramanuja 'Brahmasri Vidwan T. S. Sabeaal Brahmasri Vidwan Musiri Subramanya Since the demise of the Indian Musical ngar, K araikudi:— I am delighted to Iyer, Principal Rajah Sir Annamalai Madras:—I am extremely delighted to Journal some years ago we have had no far of the arrangements made for the hear that the Music Academy is starting a o f Music. Chidambaram:—I am] magazine whatever in India with any [blication of a journal from the Music journal of Music. When, owing to various glad to hear of the proposed Jo3 special interest in music. During the past causes, our glorious heritage of Music is and I shall heartily give it all] ademy which I think is an absolute few years Indian music has been receiving Icessity. I will help the journal by con help that I can. May God blessj apparently being affected by adverse forces, very much greater attention from both its torting articles to the best of my ability. the establishment of the Music Academy in journal with long life and prospe friends and its critics, and has come to have Madras with a view to preserve and improve career so that it may bring out fresh 1 a recognised place in the education of the the Art on proper lines is a welcome sign of ledge and be a source of immense. pleasm, , . . . _ young. It is therefore only right and proper . ,, ... ASaBrahmasri Vidwan Venuganam Saniee- great relief and hope to ther Music world. to the public. VJtl;- .. . , that a journal should be started devoted to Kao of Palladam :—All professions have All are watching with interest the useful this subject. i their respective journals. But till now activities of the Academy and the proposed I am quite sure that this journal will BrahmasriGayakasikhamani L. MutSi lre has not been any journal devoted to journal, a long felt want in the country is a help music scholars in different parts of Bhagavathar I am glad that a'mos"Music. It is a matter for great delight that new venture in the right direction and India to get into touch with one another Journal is to be started by the Academy Music Academy Madras lias come for- richly deserves the support of all. I wish and will also bd very valuable in bringing am sure it will be welcomed by the puM :r<^° undertake that task and fill up the all success and a glorious future for the before peoples of other countries something May it prosper. ’ /if; Dt; Dut writing about Music and put- journal. of the meaning aV.d value of Indian music. _____ Jfik £ into practice what is said and written It is dnly fitting that this Journal should ‘Ip i very difficult things. All the same, Prof. R. Srinivasan, M. A. Maharajah's be started by the Music Academy of Brahmasri Mahakathaka kantetf* Sculties must be faced and trouble must College, Trivawlrum :—Music is a Divine Madras and I trust it will come to have a Chidimbara Bhagavathar : - I fully appi £ ken- If trouble is taken there is bffund gift to man: it is the finest of the fine eHs recognised place among the music journals ciate vour idea of: starting the Jou rnal Pinnsqre. I shall give what help I and enables n>;:in to rise from the national •of the world. ~ long felt want, and a good medium to efisf tf the journal, to the spiritue'i regions. India disabled as the benefit of the best minds engaged ifl’t* ------she has been (tnd perhaps is still sojfoi long 78 THE .JOURNAL OF THE MUSIC ACADEMY The music academy madras 79 has all the time treasured this Divine gift. Academy at Madras ha ve started a qu®;| K.pam phlets of a highly educative cal and critical focus, embracing'all schools With life awakening around us in all phases ly journal dealing with the science i|00 received of late from the Academy of thought but converging to a common re the confidence that the Journal has ideal The journal deserves the sympathy of our national activity it is but natural that of Music. &P> a new era of increased vitality should dawn >reat future before it, if it deals with the and support of the public in a large even in the field of music. The proposed Assistant Secretary, the Krishi lStructive side of Music. At such a measure. journal of Music is a sure indication that Sabha, Trichinopoly:—We heartil; cture as at present when there is not We sincerely join with the Editor of tho the heart of our musical culture is sound gratulate the Music Academy, Madr$3 jy trading upon Music but also dumping journal, Mr. T.V. Subba Rao, .in praying for and the votaries at the shrine of the great their adventurous enterprise to starl {counterfeit goods, one of the sad duties a long healthy life to the young and greatly muse are not wanting. May this endeavour January, 1930 a quartarly Jouri journal shall have to perform would be [purge much of the trash that is of late promising magazine. be blessed with all success and may the M usic. idly and increasingly devoured by many. journal be verily a messenger sent from on May “ Saraswathi ” the presiding Deity Public mind is growing ever High to soothe the hearts that are hunger it cherish the hope the journal will of the Fine Arts shower her bounteous favour of Musical Education andl ing for the nectar of music. ,g Musical literature into quite a histori blessings on this young baby ! are insatiably athirst for knoj Music, a^s an art, ought to find a proS Mr. P. S&mbamurti, B. A„ B, L„ Lecturer place in tl\e National life of our Cj in Music, Queen Mary’s College, Madras:— Under its protecting wings, the I look forward with great eagerness to the find shelter; in its expansive surfa£ THE MUSIC ACADEMY MADRAS. publication of your journal. A well con acrimony and animosity submerge, j ducted Music journal has been a long felt its medium, the jubilant sing their < Id brief resume o f its origin, aims and achievements with an appeal fo r generous support). desideratum in our country. I hope it will triumph. help to collate research work and bring Every effort, therefore, to an BY into existence a useful and valuable litera downward progress on the inol T he Hon’b l e Dr . U. R ama R au. ture on the.subject of Indian Music. I wish musical degeneration in our Pri the new venture all success and a long life will be bailed with joy as the presenS President of usefulness. ditions in that respect are appalling; In this momentous and auspicious occa- The aims of the Academy conscience. Musical Sabhas as ours, of the birth of the Journal of the presidency are by nature fit for only- usic Academy, Madras, it will be my The Aims of the Academy have been Mr. Varaha Narasimhacharlu (Coco- work. It maybe argued they do^ asant duty as the President, to give a clearly set forth in several ’of its previous' •nada):—It gives me immense pleasure elevate the standard of taste to av4l mme of tt)e origin, aims and acliieve- publications ; but it will not be out of place* to hear, after all, of the long felt want of a But the work of pioneering; : op Music Magazine being filled up and :nts of the Academy and to urge its claims to reiteratehaife some of the more import rest in such an executive body,*.: ■generous support from the charitably- ant among"'them. They are (1) to arrange I will do all the .help that I can Music Academy with a wide field ;fpf inded and music-loving public and musi for exposition of the Art by competent* to the organ of the Academy. It is periment. A Sunday performance!; cs in India and in other parts of the artists and to encourage new and deserving a laudable attempt ■ of the Academy pleasantly beguile the afternoon >rld. talent, (2) to provide facilities for wide and I pray to'God that it may meet with holiday. Only a journal of the kind that spread instruction in Music on proper lines great success. It is also a boon to appear with the dawn of the “ New Ye < The Origin of the Academy. by esiablihing a College1 of Music and Music lovers. we trust, will lift all lovers of Music The Music Academy was established in otherwise, (3) to promote the studj' and the rest of a weekly . routine to a feS: . . < idras in August 1928, in pursuance of the practice of music by instituting competi-. ing,.atmosphere of Art and Literaturejt tommendations of the All- Mr. K. B. Deval of Sangli. Hon. India Music tions and scholarships and awarding prizes 'Secretary, philharmonic Society o f Western We think so' far as the keeping afercnce, held at Madras in ii 1927 duing- (4) to'fo. -in and maintain a" Music library . . . ’...... i _.nr__u ___ . ■ India':—I am very glad to bear from your maintenance of a high ideal is conof Congress Week and was registered in and museum, (5) to, collect and preserve.- .'■letter dated 2nd’ Dec.’ that your Music the journal will be frankly propagandi 3 under the Societies Registration Act. compos.tions in Music, (6) to organize: THE MU.SIC ACAbEMY M A Dll AS 81 80 THE JWUKNAI. OF THE MUSIC ACADEMY > iwr~. and more of other members of the-Academy, u patron lias to pay not annual conferences and (7) to construct a (.niemoj-1-, and practice of Music, to standaraizs the Academy and enrich its coffers, it? less than Rs. 500. a life member lls. 100, an Music Hall. various srutis, ragas etc., and genera; ess cannot be easy. I therefore make ordinary member an entrance fee of Rs. 2 advise the Academy in its work. Some of the Achievements of the 1 arncst appeal to all music lovers and and half yearly subscription of Rs. 5 or a , academy Conferences are being orgainzed ai 1 icians to take an abiding interest monthly subscription of Re. 1. Ladies are first Conference held during Eastei Ithi' premier institution and contri- .admitted as members on a monthly sub- The Achievements of the Academy year was a grand success, thougl even during this short period of it? existence liberally to its funds so that scription of annas 8 without any entrance financially hut from the point of vie] have been many and varied. There have may go on doing its t useful fee. The Office of the Academy is at pre learned discourses held and scholarly pj Uj unhampered by considerations of sent located at No. 323, Thambu Chetty been 25 musical performance? given under on the technique of music read at the the auspices of the Academy up till now knee, Under the rules and regulations Street, G.T., Madras. Three competitions in Music were hel and the best artists in Music have been medals awarded. Last, but noj invited. In addition to the exposition of least, is the launching of this Joui the Art by leadingand well-known profess Journal of the .Music Academy, Modi ional Vidwans, many a new and deserving voice forth the views of the Musio talent has been brought out. Amateurs and interpret the right kind of Music] of a high order have also been encouraged readers. In consequence of the and a healthy competition has thus been demand for space, the lay press are setup. The University of Madras having to help us in this direction and 8 J< included Music in the curriculum of studies intended soley for the discussion of REPORT OF THE MADRAS MUSIC CONFERENCE 1929 prescribed for Examination, the establish topics and for the enlightenment of: ment of a College of Music becomes (Organised b y T h e Music a ca d em y) lovers who can be counted .in urgent and imperative. At Chidam thousands, is a groat desideratui Published by The Music Academy Madras As. 8 per Copy. baram, the patron of our Academy, Raja Journal will be issued quarterly fe SELECT OPINIONS. Sir S. R. Ijtl. Annamalai Chettiar, has present and when it acquires founded a Music College, aud more Colleges The Hindu’ :—“ The Music Conference organised by the Music Academy contains much support, it may be converted into a mqj are needed in Madras and elsewhere. But mised by the Music Academy in Easter week food for thought for those intented in the reviya. The subscription has been fixed :ted considerable attention at the time, not that means money and the present resources of Indian Music...... ”. as to be within the means of even the ml iy because of the performances given by emi- of the Academy do not permit of its im class people, it being, Inland Rs. 4; Fqj ,t Vidwans gathered for the occasion, but mediate accomplishment. The Academy, ‘Matrimonial Review’ :—“ Only a year ago 8 sh. a year; single copy Rs. 1-4 po (REGISTERED U.NDER ACT XXI OF 1860.) Your Favourite House for GRAMOPHONES, RECORDS, HARMONIUMS, MUSICAL ^ INSTRUMENTS, PERAMBULATORS, GO-CARTS, Patrons. CYCLES AND TRI-CYCLEC, ZEISS-IKON The Hon’ble Raja Sir S. R. M. Annamalai Chettiar. CAMERAS AND FILMS. Mr. S. A. A. Annamalai Chettiar. The Hon'hle Mr. M. R. Sethuratnam Iyer. » The Zamindar of Seithur. The Name for EXECUTIVE COMMITTEE (1929) HONEST SERVICE, RELIABILITY AND TRUSTWORTHINESS. BACKED WITH President: The Hon’ble Dr. U. Rama Rau. A REPUTATION OF MANY YEARS. Vice-Presidents: (v.-y • R c - H O M E R & Co., 175, Broadway, Madras The-Zamindar of Seithur, M.L.C. Mr. S. Satyamurthi Iyer, B.A., B.L. M, AUTHORISED AGENTS FOR * HIS MASTER’S VOICE.’ . Mr. W. Doraiswami Iyengar. Mrs. Venkatasubba ,Rao. » N M . A - AND SOLE AGENTS IN GEORGE TOWN FOR The Famous ZEISS-IKON CAMERAS. Trustees : fc S Dewan Bahadur M. Balasundaram Naidu. Mr. K. V. Krislmaswamy Iyer, B.Al Joint Secretaries: Mr. E. Krishna Iyer, B.A., B.L. Mr. S. Rajagopalachariar, B J , B.L., j Treasurer: & Mr. T. V. Subba Rao, B.A., B.L. MALLI CO AUCTIONEERS Other Members: AND GENERAL & COMMISSION AGENTS, Mr. Allathur Nathamuni Chctty. Mr. M. Bakthavatsala Mudaliar, B.A.;BJ „ T. L. Venkatrama Iyer, B.A., B.L. „ T. S. Rngagopala Iyer, B.A., B.L. 14, Ayya Pillai Street, Madras. „ S. P. Aiyaswamy Mudaliar. „ K. S. Viswanatha Sastri, B.A., B .L :$ P. Sambanioorthy, B.A., B.L. K. Narasimha Iyengar., B.A., B.L. Mrs. Alamelu Jayarama Iyer. ., G. K. Seshagiri. PROPRIETORS : VASA-VARADIAH CHETTY, T. B. CVRUNATHAM. II THE'JOURNAL OF THE MUSIC ACADEMY THE JOURNAL OF THE MUSIC ACADEMY . HI 1 eltgran-is ' K.r! EN CAr Telep.'one No. 2072 (APRIL) ESTABLISHED 1893 Sovereign gold, Pure silver and Contents. Genuineness of Pfecious stones guaranteed- Veccunis P l e a fo r an a l l -I ndia Sy s t e m o f Nota tio n and Classification and FOR INDIAN MUSIC.—By Rev. H. A. Popley. and silversmiths. S y a m a SASTRI.—A Short Sketch. (1763-1827).—By Mr. P. Samba- moorthy, B.A., B.L., Madras 112 & 113, China Bazaar Road, SOME ANOMALIES OF SOUTH INDIAN MUSIC.—By Pandit S. Subramanya Sasfri of Tanjore MADRAS. ' “ • _ A NOTE ON Na DA, SRUTI, and S v a r a .—By Pandit V. Venkatarama X Sarman, University of Madras. ... & THE IDEAL G a YAKA.—By Mr. A. Narayandas, Principal, Maharaja’s • T College of Music, Vizianagaram ♦. SANGEETA SUDHA.—(Translation of the Music Passages only) F o r SANGEETA SUDHA SANSKRIT—(continued) . i Tr a n sla t io n o f S a n g eeta S u d h a .—(continued) ‘‘ - DIAMONDS PURANDARADAS.—(in Tamil.) By Bhagavathar Sownthararaja Aiyangar i t Blue Jagers Greetings and Messages Correspondence Notes and Comments VEECUMSEE CHABILDOSS & SONS., « DIAMOND MERCHANTS, 112 & 113, China Bazaar Road, Madras. i » 4|» « 4|» * 4I» « -«P • ■*!► ♦ 4I» «4I» «4I»«4|»*4|»*4I»*4I»'»4I»«4UI IV AiSniaRtaai (Tamil) Ratnavali Sangita *Adi *Adi Sangita Chitrambari (Tamil), Chitrambari Sangita *Adi (Tamil) Rasarnavam Sangita ♦Adi Madras. Ai agt uabdi (Telugu) Sudambudhi Sangita ♦Adi Ai aaBakrm(euu „ (Telugu) each Bhaskaram Gana Tamil) & ♦Adi Telugu Kritis (650 Keertanams Thyagaraja *Adi *Adi Sri Thyagaraja Hridayam Hridayam Thyagaraja Sri *Adi d Snia avrh Citmn 1 o J o o p 1 Chimtamani Sarvartha Sangita Adi hrt eraas (Tamil) Keertanams Bharata (n dto revised edition (2nd • (with Swarams und Tatparyams)in Tamil t Eiina ef instructor. Self Edition—a 4th r Eiin eie n enlarged. and revised Edition 3rd * oe, os) i Tlg adTmlsprtl) (each) / separately) Tamil and Telugu (in Vols.) 3 Notes, «!► hs **k*hv be apoe f casueb h Tx Bo Committee Book Text the by use class r fo approved been l*'*jk-* These have " Esln e Appa Buli s Madras. M gs, uildin B a p p A de, splana E , 6 S 2 H 1 PUBLISHERS OF MUSIC BOOKS. MUSIC OF PUBLISHERS hn rtn t avries pes mnin hs Journal. this mention please advertisers, to writine When *4 Y IWN . . RNVS IEGR B.A. IYENGAR, SRINIVASA B. P. 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Zefoe Journal Zlbe /Ilbusic Hcabeme Flbabras. Ourselves
