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THE DEVELOPMENT of Rsgalakgana with Reference To THE DEVELOPMENT OF RSGALAKgANA With Reference to Other Modal Systems by Ruby K* Mangahas B.A., cum laude, University of the Philippines M.A., University of Michigan A thesis submitted to the University of London for the degree of Doctor of Philosophy (Music) June 1967 ProQuest Number: 10673019 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10673019 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract This work traces the development of ragalak$a$a as prescribed and described in the Nafryasastra (jati- 1ak§a$a), Bphaddesi, Sangitaratnakara , Svaramelakala- nidhi, Ragavibodha, CaturdangLlprakasika , Bangita- parijata , Sangltasaramyta, and Samgrahacu&amani , The structural and functional aspects of thirteen ragalak^aija are analyzed, namely, graha, amsa and nyasa; tara and mandra; bahutva and alpatva; apanyasa, saipnyasa and vinyasa; antaramarga; §a<Java and au<Java, The analysis traces the growth and decline of the theory of these lak^apa between 500 A,D, and the 19th century. As comparisons of nominally and/or modally related ragas are made in terms of their lak$a$a, a new criterion for the proper identification of ragas emerges. In the process an attempt is made to solve the unsettled question of the identification of the BD basic ragas and the SR ragangas* Errata Page 25 "bhava" in llieu of "rasa": line 4. 58 Add to footnote: "For statistical purpose, the suddha jatis* note is also indicated underneath their names" 59 Add the footnote: "A dash between notes indicates a three-sruti interval" 71 "above" for "below": footnote 4, line 5* 101 "to" for "the"; paragraph 5? line 4. 106 "SR" for "SD": " 1, " 1 . 122 Insert "by" between "step step": para.2, line 5® 124 Add s to "present": paragraph 2, line 1. " "step" in lieu of "beat": " ", " 15* 158 Add "59" in footnote. 166 Add s to "show"; paragraph 1, line 1. 208 "realisation" in lieu of "translation"; para.2, line 2. 241 Insert "Ni" after "kakali" in second heading, 251 Add "57" in footnote. 255 Insert "as airisa" after "Ni": para. 1, line 6. 256 Bhatka^e misspelled in footnote 1. 275 "melodic" for "tonal" in last line of footnote. 286 Retroflex d in Samgrahacu<Jama$i which should also be underlined: paragraph 1, line 2. 512 "give" in lieu of "call": paragraph 1 , line 2 . 554 "raga" in lieu of "mode" and insert at this point, "in the Ayyar edition": penultimate line. " Edu^anilacite misspelled in footnote 2. 544 Manasuloni misspelled in the first example. 558 Add to footnote: "While Turks is the literal translation of Turu^ka, the reference here is perhaps to Muslims". Dedicated to ray Husband A J ' \ \ : ■ i ■ ' ' vI , 'T1' [ \ . ! !. V’ U- * l ' ‘ ’’ ' fr - ■ ’ I , . ^ . J. ■, [ ■ ■ ' . ' ' ' . ■ v- ■ i u \ ; I ' | '1 ;A ; j and In humble tribute to A.A. Bake (1899-1963) 4- Abbreviations BI) Bifhaddesi of Matanga BSOAS Bulletin of the School of Oriental and African Studies GDP Caturda$<Jxprakasika of Venka^amakhin EMDC Encyclopedic de la rausique et dictionnaire du Conservatoire. A. Lavignac,ed. 11 vols. Paris, Librairie Delagrave, C191J-51* GDMM Grove's Dictionary of music and musicians. E. Blom,ed. 5th ed. 9 vols. London, Macmillan, 1954-. JMAM Journal of the Music Academy, Madras JRAS Journal of the Royal Anthropological Society KPM Kramik pustak malika of Bhatkha£$e MGG Die Musik in Geschichte und Gegenwart. E. Blume,ed. v.1-15 in progress, Kassel, Barenreiter, 194-9- NS Ha^yasastra of Bharata RV Ragavibodha of Somanatha SC Sa^grahacu$ama$I of Govinda SD Sangxtadarpa$a of Damodara SMK Svaramelakalanidhi of Ramamatya SP Sangxtaparijata of Ahobala SR Sahgxtaratnakara of Sarngadeva SS Sahgxtasaramfta of Lulaja TK Tyagaraja's kritis 5 Acknowledgements This study on Indian music has come of a full six-year period of work at the School of Oriental and African Studies, with interludes given to attendance, at music festivals and conferences in Europe* to visits in India, and to the beginning of a new assignment at the University of the Philippines* For the privilege to have been able to undertake all this, and thus to begin to grow in knowledge, under­ standing and appreciation of both Western and Indian music, I hasten to acknowledge lasting obligation to the University of the Philippines, for unstinted study-leave with financial assistance; to the Rockefeller Foundation, for a four-year fellowship grant including travel and conferences in Canada, the U.S.A., and Europe; to the School of Oriental and African Studies, for additional financial support; to my sister, Bessie Kelley Poe, and her son, Ronald Allan Poe, for more substantial material aid; and to my family whose encouragement and patience sustained me in spirit for the duration of my absence from home. While wholly and alone responsible for the conclu­ sions and limitations of this study, I wish to acknowledge 6 no less my eternal indebtedness to my advisers, the late Dr. Arnold A. Bake and Dr. John R. Marr; to my mentors, Nazir Ali Jairazbhoy and John E.B. Gray; and to Prof. Dr. Wilhelm Rau of the University of Marburg. All of them, at most every step of my work, gave me the full benefit of the resources at their command to enable me to pursue the object of my study with fruitful under­ standing. R. K. M 7 - Table of Contents - Abbreviations................................ 4 Acknowledgements ............................ 5 Preface ....... .................... 9 Introduction ................................ 19 Lakgapa in the NS, BD and SR Graha, Aipsa and Nyasa in the Ja t i ............. 27 Jatis1 scales notated,39 Jatis notated,44 Graha, Amsa and Nyasa in the Ra g a ............. 49 BD raga-scales notated,52 Suddha and Bhinna ragas notated,60 Summary of BD scale-types,70 Tara and Mandra.............................. 85 The Jatis* ambitus notated,110 Alpatva and Bahutva................... 120 Antaramarga.................................... 127 §a<Java and Autjava ................. 131 The Jatis* scale-forms notated,143 Apanyasa, Samnyasa and Vinyasa ................ 154 SR svara theory and r a g a s ...................... 172 SR ragas:List 1,187 List 11,193 Adhunaprasiddha and desl ragas,196 Ragahgas,200* scales notated,223 SMK, RV and GDP svara system................ 225 Ragalakgapa in the SMKt RV and CDP ...... 235 Svaras notated,240 SMK melas notated,241 RV melas notated,242 CDP melas notated,243 Mela concordance,244 Graha, Amsa and Nyasa . L . L ..... 245 Vadx, Samvadx, Anuvadx, Vivadx,256 Mandra and T a r a ........................ 267 Apanyasa, Samnyasa and Vinyasa... ............ 270 Bahutva and Alpatva 274 8 Ragalakga&a in the SP, SS and. S C ........... 286 SP ragas,288 SP scale-types notated,291 SS melas notated,292 Graha, Amsa and N y a s a ...................... 293 Survey of 18 r a g a s .......................... 295 Mela concordance,296 Srlraga,299 Saindhavl,3°l Suddhana^a,305 Malavagaula,507 Ssavari or Saverl,312 PurvI,316 Gaula,319 Suddhavara'tl or Varali,324 Ramakrl,326 £aiikarabhara$a, 331 Kambhoji,335 Na£anaraya$i, 33® Hindola,3^1 To ^I,3^5 Bhupall, 34-8 Desakhya or Desak§I,352 Saraftga,354 Kalya$I,358 Summary.................................... 364 Select Bibliography ........................ 369 9 Preface The music treatises on which this work is based are printed editions of Sanskrit manuscripts* Like the manuscripts of music treatises found in various monasteries of Europe, these manuscripts are hand copies of the originals in various state and private libraries in India* In their printed form, the treatises have undergone much needed emendations and format revision. As other MSS of a treatise come to light, the work of collation and revision remains a continuing one* As a result, the latest printed edition of a work is usually, although not necessarily, an improvement over the earlier one. Where a text has had only one printed version, comparison can be made only with its manuscript* The most important of early music treatises on Indian music is the Natyasastra(NS), attributed to i Bharata* As a compendium of the ancient writings on the art and science of the drama, the NS contains six chapters (chaps. 28-55) on music which serve as the model of subsequent treatises on Indian music. 1 This could be either a proper name or a title conferred upon one proficient in the art and science of drama. 10 The NS explains the structure and nature of the jatis by means of ten features or characteristics, the lak$a:g.a, namely, graha, aqisa, nyasa, apanyasa, mandra, tara, alpatva, bahutva, §a£ava and au^ava. These jati- lak§a$a become ragalak^ana when the raga supersedes the jati as India's model of classical music* The jati or raga is at once a scale and a mode, the former consist­ ing of seven notes tuned to various pitch levels, the latter being the effect produced by the traditional and imaginative use of at least five of these notes* In its present form the date of the NS has been fixed at possibly the 5th century A.D.1 There have been four editions of the NS: the Gaekwad Oriental Series, Baroda edition with commentary by Abhinavagupta, in four volumes, as follows, vol*I, chaps* 1-7 (Series 36) 1926, a second edition, 1956; vol*II, chaps.
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