The Music Academy Madras

MADRAS

A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCt&NCE AND AM* OF MUftC

Vol. XXX 1959 Parts I-IV

• rtt TOTfir I nwfar *nr fay**- -**5 it

"I dwell not in Vaikuntha, nor in the hearts of Yogins, nor itf'the Sun; where my Bhaktas sing, there be I, Narada! ”

EDITED BY V. RAGHAVAN, M.A.. PH.D.

1960

PUBLISHED BY THE MUSIC ACADEMY, MADRAS 115.E, MOWBRAY’S ROAD, MADRAS-14. Annual Subscription—Inland Rs. 4. Foreign 8 sh. Post paid. THE JOURNAL OF THE MUSIC The Indi*nB*frm:- ■** The resumption OPINIONS ; of the Journal !■ an event of'.the first ' The Oriental Literary Digest, Poona, npiagpitudnih the^tnaslcai] world.1’ ; 7 writes: The Hindu: "The -revival of this . Valuable Journal devbted'to-tbe study “ A journal of all-India character, and promotion of Indian Music will be solely devoted to music has been a welcomed by all lovers and exponents serious and long-standing detfderatum. of thfe art.?’ Though the Sangita, a quarterly pub lished front the Marris College, ifTAs Madras M ail: "W e are glad-to Lucknow, and the Jburnal of the Music note the revival of the Journal of the Academy, Madras, (JMAM), were starts Madras Music Academy (a quarterly ed in 1930, both had unfortunately, to devoted to the advancement of the be suspended after issuing a few excel science and art ofjmutic).....Fulfilling as lent numbers. The re-appearance of the it does a real need of music lovers, we JMAM will therefore be welcomed by are sure all lovers of art and eulture all thoughtful lovers of Indian music will support it.” and culture with no small amount of H.H.The Maharajah of Dharamfiut p atification. The volume under review, "...His Highness is alio delighted to Sough dated 1934, was published only read the articles in your magazine which a few months ago, and the promise of are undoubtedly very interesting and soon bringing out tbe volumes due for instructive. He is also pleased to read each of the yearsT934 to 1938 resumes the proceedings of tne Academy’s the thread of its publication from where Music Conference...” it was broken. The Adyar Library Bulletin: "The " Though naturally it is devoted resumption of the publication o f this chiefly to South Indian Music, there are journal devoted to the promotion of features which make it indispensable for research in the field of music must be serious students and lovers of music welcomed by all lovers of Indian culture. throughout tbe length and breadth of The Journal fulfills a real need as it is India. Publication of original articles the only Journal of its kind in India.” on music by experts, and of classical S. N. Battachorya, Benares Hindu works of Indian music are instances in University : “ A glance at the Index for point. Authoritative reports of the the last ten years’ articles in your Maga annual conferences of the Music zine reveals to me.the keen interest in Academy, Madras, are to be found only music taken by the South Indians. in the pages of this journal, and em There is no such Journal in the North.” bodying as they do the discussions on The Visva-Bharati Quarterly, Santi- important topics by experts and “ Thu present issue of this acknowledged authorities, they cannot niketan: be overlooked by serious students of Journal like itf'i>redecessors, maintains a Indian music. uniformly high level of musical research. The contributions exhibit variety and " This alone should suffice to draw- present music as a rich cultural pattern the attention of all scholars, societies characteristic of the genius of our and institutions concerned with Indo- country. Those who care to study logy to this important Journal. Indian music seriously, especially its Southern School, would be happy to dis " We wish the Journal a long and cover that each article in this Journal brilliant career of service to the cause embodies some aspect of faithful re o f Indian music.' Let all lovers of search in the domain of music...... Tbis Indian music , make common cause Journal should inspire the- lovers and With those in charge of the Journal to patrons of Hindustani musk to start a ffc its growing prosperity.” similar magazine from the Horth,” THE JOURNAL OF THE MUSIC ACADEMY MADRAS

A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC

Vol. XXX 1959 Parts I-IV

*rr? qurftf *r i r ^ trt *nr siwfcci ?nr fasrf* s ir ? ii

“I dwell not in Vaikuntha, nor in the hearts of Yogins, nor in the Sun; where my Bhaktas sing, thei'e be I, Narada ! ”

EDITED BY

V. RAGHAVAN, m .a ., p h .d .

1960

PUBLISHED BY THE MUSIC ACADEMY, MADRAS 115-E, MOWBRAY’S ROAD, MADRAS-14. Annual Subscription—Inland Rs. 4. Foreign 8 sh. Post paid * ADVERTISEMENT CHARGES

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Pages The XXXIInd Madras Music Conference, 1958, Official Report 1—48-J Devi Prabhava Kirtanas of Sri Tyagaraja (in Tam il): M. Subrahmanya Iyer, Pudukkottai 49—62

Svarasthanas and their Nomenclature : S. Ramanathan 6 3 -69 Ideals in Violin Technique in relation to Karnatic Music : C. S. Iyer 70—77 Melodic Tensions and Musical Aesthetics: R. C. Mehta 78—86 Tillana (in Tamil) T. JV. C. Venkata Narayanacharyulu 87—91 History of the Music tradition of Maharashtra with special reference to Dasopant’s Padas: G. H. Ranade 92—100

Some aspects of Kathak Dancing : Nirmala Joshi 101—105 The Vaishnava Music of Assam : Maheswar Neog 106—116

The Choral Music of Yugoslavia : Mirka Pavlovich 117—124 The Process of Vina-fretting : Smt. Vidya Shankar 125—129 Notes—Music of Java 130—132

Two New Kritisof Sri Muthusvami Dikshitar : Edited by A. Sundaram Iyer 133—137 A Rare Tillana of Maha Vaidyanatha Iyer : Edited by Mudikondan C. Venkatarama Iyer 138—139 CONTENTS

A Tamil composition of Ramaswami Iyer of Tiruvayyaru : Edited by Mudikondan C. Venkatarama Iyer ... 140—141 Some Padas in Notation : Edited by T. Visvanathan ... 142—149

A Further note on the Date of Subhankara Kavi: Maheswar Neog ... 150—154

Book Reviews: V. Raghavan (Ed.), Sarvadeva Vilasa: P. Samba- moorthy ; C. Ramanujachari and V. Raghavan, The Spiritual Heritage of Tyagaraja : R. Srinivasan ; Srimati T. Balasarasvati and V. Raghavan, Bharat a Natyam\ G. Venkatachalam ... 155—160

Index to the Journal of the Music Academy, Vols. 21-30 ... App. i-xlix

NOTICE

All correspondence should be addressed to Dr. V. Raghavan, Editor, Journal of the Music Academy, Madras-14. Articles on subjects of music and dance are accepted for publication on the understanding that they are contributed solely to the Journal of the Music Academy. All manuscripts should be legibly written or preferably type written (double spaced—on one side of the paper only) and should be signed by the writer (giving his address in full). The Editor of the Journal is not responsible for the views expressed by individual contributors. All books, advertisements, moneys and cheques due to and intended for the Journal should be sent to Dr. V. Raghavan, Editor- THE XXXIInd MADRAS MUSIC CONFERENCE 1958

OFFICIAL REPORT

THE OPENING DAT

20th December 1958

The XXXIInd Annual Conference of the Music Academy, Madras, was held in a special pandal erected in the grounds of the P. S. High School, Mylapore, Madras, on 20th December 1958. His Excellency Sri Bishnuram Medhi, Governor of Madras, opened the Conference and the connected series of music and dance performances, and Vidwan G.N. Balasubrahmanyam, B.A.(Hons.), presided over the Conference and its Experts’ Committee meetings. The Conference was attended by musicians and musi cologists from other parts of the country and from abroad. The opening function was attended by distinguished visitors, members of Government, High Court Judges, musicians and rasikas. On arrival, H. E. the Governor was received by Sri Kasturi Srinivasan, Vice-President, and Dr. V. Raghavan, Secretary, and was introduced by them to Vidwan G. N. Balasubrahmanyam, President-elect of the Conference, other members of the Executive Committee and the Experts’ Committee of the Academy. There was a Group photc of the Office-bearers and the musicians and Experts of the Academy after which the Governor was led to the Dais. After prayer by Srimatis Visalakshi and Hemavati, Mr. K. Soundararajan, Secretary, said messages had been receiv ed from the Governors of Bombay, Orissa, Assam, Punjab, Kerala and Uttar Pradesh, the Maharajas of Travancore, Cochin and 5 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX Bhavanagar and Ministers of Union Government and from foreign musicians and musicologists, who included Dr. Henry Cowell, Dr. Mantle Hood and Dr. Jaap Kunst. Mr. J.C. Mathur, Director- General of the All India Radio, in his message, stated that the Music Academy had restored dignity and prestige to the profession of music artistes, and the research work done under its auspices had contributed substantially to a proper appreciation of our musical heritage.

Welcome Address Sri. Kasturi Srinivasan read and presented an address of welcome, on behalf of the President and members of the Academy, to the Governor. The address said : " We are deeply grateful to you for the readiness with which you kindly agreed to inaugurate our Thirty- second Conference and the connected series of concerts. We know you are keenly interested in music. Being conversant with Hindustani music yourself, you will find no difficulty in appreciat ing Karnatic music as well. For both are but phases of the same art. Karnatic music and Bbaratanatya are, as Your Excellency might have observed during your stay amidst us, two of the choicest art-forms which South India can offer. It is to safeguard these twin arts and to develop them on traditional lines that this institution was founded three decades ago. As a prominent Congressman you would be glad to know that this Academy is an outcome of the art-annexe of the 1927 Session of the National Congress in Madras.

"We are conducting a Teachers'College of Music recognised by the Government of Madras, a Model School and a Class for the teaching and singing of rare compositions. We are publishing an all-India journal devoted solely to the science, art and history of music and dance. We are publishing old treatises and rare compositions, and under our patronage is also conducted a School for Bharatanatya for teaching that art on traditional lines. At the Annual Conferences we bring together experts to clarify and codify the various principles of Karnatic music and you will be glad to know that in addition to our own Karnatic experts, musi PTS. I-IV] THE XXXII MADRAS MUSIC CONFERENCE 3 cians and musicologists from different parts of North India and also from foreign countries participate in learned discussions in the Experts’ Committee meetings. More than once, we have had participants from your own hcme-State of Assam. ’'Our programme of work is expanding, and in recent years, we have developed many international contacts both in the East and in the West. We have launched also on a building scheme, our endeavour being to raise an ideal auditorium in which a fairly large audience could listen to music without the help (or rather the hindrance !) of the mike and the loudspeaker. The Prime Minister of India, Pandit Jawaharlal Nehru, laid the foun dation stone of this new building of ours. We would particularly like to refer to the efforts made by us to discover new talent and encourage promising artists. We have not only a very large num ber of competitions for youngsters but we have two special series of performances for younger musicians, and during a session fifty new aspirants figure in the concert-series. "We are confident that you as the head of the State will take an abiding interest in our work. We request you, Sir, to inaugu rate this Thirty-second Conference and connected series of concerts.” Governor’s Speech Inaugurating the conference, Sri. Medhi said: " I thank the President and members of the Music Academy, Madras, for their kind invitation to me to inaugurate the 32nd Annual Conference and the connected series of concerts today. I am deeply grateful to you for your kind thought in asking me to associate myself with this function although I am not a musician. Of course, I do appreciate music. That it has pleased you to ask me, a layman, to perform the opening ceremony of your confe rence and series of concerts, is itself a testimony to the fact that you, who are very well-versed in the art of music and you, who have secured a high place in the pedestal of fine arts always solicit and secure the co-operation of the lay people in holding your periodical conferences and in conducting your learned discourses apd deliberations as well as musical performances. I 4 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX thank you for your cordial and affectionate address of welcome to me on this occasion, and I am happy to be here this evening when large numbers of musicians and other exponents are assembled together for this inaugural function. “ You have in your President of the conference, a distinguished musician who has secured a high status in an assembly of artistes and who has dedicated his services for the advancement of music in this part of the country. In Sri Balasubrahmanyam, one finds a master in the traditional style of Karnatic music as well as one with a high degree of scholarship in modern science and art of music. You have been fortunate in securing his services to preside over the deliberations of your conference and I am sure that his contribution in guiding the discussions of this year’s con ference will play a vital role and an effective part. I am glad to hear that Sri Balasubrahmanyam is also a composer and a producer of Karnatic music. With such experts, as the President of your deliberations, taking active interest both in the theoretical and practical aspects of the problem, I may say that the future of music and other fine arts are in very safe hands in our State. " The Muic Academy has a long history of devoted service to the cause of music and I would like to pay my own tribute of admiration and gratitude to those who have been guiding the destinies of the Music Academy and those who have endeavoured ceaselessly for the advancement of the science of art and music. I note what you say in your address of welcome about the Academy coming into existence in 1927 during the session of the Indian National Congress in Madras. Though it looks like a casual coincidence, I may tell you at the outset that it is but right that your Academy should have sprung into existence during those momentous days of national struggle for the liberation of our country from foreign bondage. “Everything indigenous and traditional in art and culture has to be carefully preserved and enriched and I am glad a beginning was made in your case as far back as 1927. Since then you have been trying to resuscitate and revitalise the fine arts, music and dance so that they might shine in their pristine glory. It is, therefore, a matter'for gratification to pot$ that you have been PTS. I.-IV] THE XXXII MADRAS MUSIC CONFERENCE 5 putting forth sustained efforts in order to make your Academy as broad-based as possible and cover various fields of musical enterprise. The hard work that you have putin has rightly won you popular appreciation and you have been expanding your activities gradually and progressively and now you have a journal, which is devoted to the advancement of the science and art of music, your own publications, a library and a Teachers’ College of Music, besides holding these conferences annually and having discussions on the theory and practice of music in an Experts' Committee. I am happy to see that you are taking pains to publish old treatises and rare compositions and that you are conducting a School for Bharata Natyam also with the aim of popularising the correct school of dancing. It is good to note that in addition to these, musicians practising theKarnatic style of music and other artistes from the various parts of our country as well as from foreign countries attend your meetings of the Experts’ Committee and take part in the learned discussions. These steps will help in co-ordinating the activities in (his line in different parts of the country and in making rapid the progress of Indian dance, drama and music on sound, scientific and systematic lines.

“It is very kind of you to have referred in your address particu larly about the participants from my home State of Assam. Assam has got a traditional style of*music and all the musicians here may be aware of the particular style which obtains in that part of the country. It was Mahapurush Shri Sankardcv who placed before the people of Assam the results of his deep study and experience in the realm of our ancient art and culture which he obtained in the course of his long years of pilgrimage some 500 years ago to all the centres of religious and cultural importance in the various parts of India. He was responsible for not only giving a form of new universal Vaishnavite religion to the people of Assam but he was also the real father of the Assamese cultural renaissance which covered poetry, drama, music and li terature. In fact the 15th century is known as Sankarian age be cause of the great spurt of activities in Bargeet, dance, drama, etc. This ancient style of music is still in vogue in the various Sattras. Mahapurush Shri Sankardev, the great Vaishaatiye reformer, 6 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX realised the efficacy of purifying one’s mind and body by devotional music. He utilised the music dances and dramas in language as understood by the people as vehicle for popu larising his new Vaishnavism amongst the people.

"Our music—I do not say particularly Hindustani, Karnatic or any other style, but I refer to the Indian musie in general— is mainly emotional, serene, contemplative. This accounts for the predominance of bhakti-rasa in our music as most of the songs are but ecstatic expositions of the souls immersed in deep devotional fervour. We have great saints and philosophers among our musicians who have interpreted, through the melody of song, through the rhythm of dance, and through the harmony of musical compositions, the great truths of Vedanta. As a matter of fact, Nada is Brahman and that is how musical compositions have come to be the solemn vehicles of transcendental thoughts and sublime philosophy.

"I feel that there is nothing in the world which can act as a living force, as a unifying bond, as a messenger of peace and good-will, as a source of unending charm, as music. It ’ cuts across all barriers of religion, caste or creed and in this respect it has a unique cementing power. It is through music, in all its branches, that the sages and savants of ancient India have throughout the ages sought to realise God. India, a land of diverse languages, has a deep underlying unity. The contribu tion of literature and music and art and culture of different States of India towards the building up of this common unity and heritage is very great. The theme of unity is the product of harmonious blending of music and fine arts of different people inhabiting this great country of ours.

" Our civilisation is an old and time-honoured one. Our cul ture is being handed down from generation to generation and it is our duty to preserve and enrich our culture and our arts, music and dance and hand them over to the succeeding generation in its pristine purity, so that the posterity may experience the same rapture, the same harmony, rhythm and melody in their very fives, and if institutions like yours take on themselve? this nob)$ P t s . I-IV) THE XXXII MADRAS MUSIC CONFERENCE 7 task of not only preserving our heritage, but also striving for the development of our arts in all aspects, on sound, scientific and systematic basis and for co-ordinating the activities in this line in different parts of the country, they will secure the gratitude of the present generation as well as of the future ones. We are beholden to the great composers like Saint Tyagaraja and other great masters who have contributed so richly to the advancement of music which touches the fine chord and helps them in their striving for spiritual uplift. ''Music is considered sacred. The best source of obtaining solace and comfort is listening to music. In this competitive world where people are engaged in perpetual struggle for exis. tence, the ruffled and disturbed thoughts can be tranquillized by the melody of music, and if it is devotional music, I am quite sure it will have a better effect on man and his work.

"I am particularly pleased to note that the Experts’ Committee will have opportunities to discuss the various aspects concerning the theory of music, Karnatic and other style", and it would be good to concentrate the research work not only on musical compositions, the various Ragas, Talas etc., but also on the history of the different styles of music, how they evolved from what was probably a common root. I am sure the origin of the several Ragas etc. of the different styles and schools of music in our country can be traced to a common source and this is really a binding force. It is good to note in this connection that the bonds of unity will be strengthened by the fact that music appeals universally to everyone irrespective of geographical or other limitations. It is a great unifying force, and lovers of music, apart from those who practise music, dance, etc., will feel the oneness every time they are treated to music in any part of our country. "I am happy to note that foreigners also take part in your deliberations. You have, therefore, opportunities to compare the various styles of music, study them carefully and come to conclusions based on constant research and take necessary steps for enriching our music so that it may occupy its rightful place in the music world in its pristine glory. What has particularly 8 THE JOURNAL OF THE MADRAS MUSIC ACADEMY (VOL. XXX attracted my attention is your efforts to discover and encourage promising artistes and give them active help and assistance in order to draw out their latent talents and place them before the pub lic for their approbation and appreciation. The new artistes are generally shy and timid and unless a helping hand is given by established institutions like your Academy or by senior musicians who have established a reputation in the music world, it will be diffi cult for young artistes to come out in the open and to bring out their best and thus make a name for themselves. It is good, therefore, that you encourage the budding artistes to become professionals and I have no doubt that the young artistes will avail themselves of the opportunities which you offer in this matter and work their way up. “Culture and art, dance, drama and music, to my mind, should not be confined to a limited few. O f course, a higher standard can be achieved only by a limited number of persons, who may be called experts or specialists, but these fine arts and music must permeate the main body of the people to make it more popular and broad-based so that the people in general may be benefited by the elevating influence of music and other fine arts like dance, drama, etc. I am quite sure the Experts' Com mittee will go into all these matters and take appropriate steps to' bring dance, drama and music to the masses and help them to achieve a higher and higher standard just as we hope to do in the spheres of education and physical health. “With these words, I have great pleasure in inaugurating the 32nd Conference of the Music Academy and I hope the discussions and deliberations of your Experts’ Committee will help in devising ways and means for the development of art, music, etc. and contribute greatly to the advancement of knowledge in this field in general. I hope and trust that the long series of performances—vocal, instrumental, dance, drama and the like—which you have programmed will be greatly appreciated by musicians and music lovers alike and will be a source of popular attraction. I convey my very best wishes to you for the success of all your endeavours in your propagation of knowledge in the field of the science and art of music so that India may occupy her rightful place in the World of arts and music.” PTS. i-iv ) THE XXXII MADRAS MUSIC CONFERENCE 9 Vote of Thanks Dr. V. Raghavan, Secretary, proposing a vote of thanks, said : " Your Excellency, " On behalf of the Music Academy, Madras, I beg to convey to you our heartful gratitude to Your Excellency for readily acceding to our request and coming here this evening to inaugurate our 32nd Annual Conference and the series of music concerts and dance-recitals arranged in connection with this Conference. We are very much beholden to you for the words of appreciation and encouragement you have spoken in regard to our work. In the past, we have had the previlege of all the heads of this State as also the Ministers of this State and of the Centre associating themselves with our Institution and our annual Conferences. Our consistent work in the different lines has attracted the attention of musicians and musicologists all over the country and in foreign countries as well. On the occasion of our 32nd Conference, I desire to make a public announcement of a unique recognition and tribute which our work has gained abroad. Dr. Henry Cowell, the eminent American Composer who attended our Conference in 1956, composed his 13th symphony under the inspiration of Indian Ragas and Talas, and dedicated this symphony to our Academy and has endowed a prize out of the royalties of this composition to our Academy. It is needless to say how much such expressions of spontaneous appreciation strengthen us in our work ; as Kalidasa says:

“ RTR: r r r r r % " The goodwill and appreciation of those who are eminent infuse confidence in our qualities.” The only aim and desire of this Academy is that it should continue to enjoy and gain in an increasing measure such esteem from eminent friends and colleagues.” Election of the President Proposed by Sri Musiri Subrahmanya Aiyar and seconded by other leading vidwans, Mr. G. N. Balasubrahmanyam was then elected President of the conference. Sangita Kalanidhi Musiri Subrahmanya Aiyar said that a vaggeyakara, Sri Balasubrahmanyam had contributed much for the spread of music. He possessed all the qualities to be the President of the conference. 2 io THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX Sangita Kalanidhi Maharajapuram Viswanatha Aiyar aaid -that Sri Balasubrahmanyam had risen to great heights in the music world, and he felt that this was due to the blessings of his father, Sri G. Narayanaswami Aiyar, who had helped a number of musicians in his days. Sangita Kalanidhi Dwaram Venkataswami Naidu said Sri Balasubrahmanyam had not only attained proficiency in singing, composing and production of music, but above all, had become popular and established a “ school of his own ” in singing. Sangita Kalanidhi Semmangudi Srinivasa Aiyar felt that it was but proper that Sri Balasubrahmanyam, who, after qualify ing himself for the Literature Honours degree, had taken to music as a profession, and by his characterstic style of singing, capti vated the hearts of thousands of men. Prof. P. Sambamurthi said Sangita Kalanidhi Sri Bala subrahmanyam belonged to the galaxy of men like A. M.Chinna- swami Mudaliar, Seshagiri Sastri and *‘B. A.” Varadachariar, graduates of the Madras University, who had attained eminence in the field of music. Sangita Kalanidhi Mudikondan Venkatarama Aiyer des cribed Sri Balasubrahmanyam as a gifted musician. Vidwan Balasubrahmanyam then delivered his presidential address, in the course of which, he said : Presidential Address “ Your Excellency, my musician friends, members of the Academy and ladies and gentlemen! “ Let me start this address with salutations to the Goddess of Music, but for whose blessings on me as one of her humble votaries, this much coveted honour of presiding over the Confere nce of this illustrious institution would not have been conferred on me. I offer my respects also to all my predecessors in this chair and to this body of experts whose blessings and co-operation I crave for making this year’s conference a success. I should express to His Excellency the Governor of Madras my gratitude for his gracious consent to honour this occasion with his presence and inaugurate the conference over whose deliberations I have been called upon to preside. This PTS. I-IV] THE XXXII MADRAS MUSIC CONFERENCE 11 Academy has been, for the past thirtytwo years, doing true service to the cause of Karnatic music and has been responsible for the propagation of authentic musical culture and science, as also for building up the career and reputation of deserving and promising young artists. The greatest service is that of giving timely and adequate encouragement to the younger generation of musicians and helping them in stabilising their career and progress. My memory goes back to my youth when I appeared for the All-India Music Competition sponsored by this Academy and got the first prize amongst the boy-competitors. I dare say that I am the only prize-boy of this Academy, who after three decades, has the privilege of being chosen as President of its annual Conference. “ On this occasion I offer my respectful gratitude tc Sri. K. V. Krishnaswamy Iyer, the President of the Academy, who has been showing a parental affection for me, and to all the office-bearers and expert members of this organization, who have always taken a brotherly interest in me. I should also express here my thanks to all the other various sister institutions and to other eminent colleagues of my profession, several of whom I had the good fortune to be accompanied by. I thought that I would have the pleasure of addressing this distinguished gathering in the new hall, which is rising in the Academy’s premises; I hope by God’s grace and the generous co-operation from the public and artists, the building will, ere long, be completed and we will have a magnificent hall befitting this institution. I express my deep indebtedness to this body of experts for the fostering care with which they have tended my career and growth as a musician. I am one of the many in this line. I feel that I shall be failing in my duty if I do not mention, especially in this regard, how much I owe to the late Sangita Kalanidhi Sri T. V. Subba Rao, whose demise is a personal loss to me. He was an unparalleled rasika and aesthete as well as a great scholar and musicologist. One can describe him best, as he did his hero, Sri Tyagaraja, as a conservative radical, combining in himself the apparent incompatibles—conservatism and progress. No other composer has sung of Sri Rama in such varied moods and attitudes as Sri Tyagaraja d id ; no other scholar enjoyed and interpreted 12 t h e j o u r n a l o e t h e m a d r a s m u s ic a c a d e m y [V o l . XXX the spirit of Sri Tyagaraja so well and effectively as Sri T. V. Subba Rao did. " Present-day music is not of the same kind as described in Bharata’s Natyasastra- It is none the less true that modern music is a highly evolved development of our ancient music. The earliest phase was the '‘Marga” system of music which was merely recitative. The Ramayana and the Mababharata are said to have been set to " J a tis ” and sung in the "M a rg a” style. These Jatis were the precursors of the modern raga. At about this time, the * Gandhara-grama ” seems to have gone out of vogue and out of the three original gramas, the "Shadja ” and " Madbyama ” gramas alone survived. There were only fourteen Jatis of the pure variety and four of a mixed type, in all eighteen. Raga, as such, had not come into being during Bharata’s days. The second phase which can be called " Desi Sangeeta ” signifies the introduction of individual and provincial interpretations of these Jatis and scales and hence can be said to have contributed to freer forms of melodies than in the previous phase. This was at the time of Matanga’s Brihad Desi. It is interesting that Matanga makes mention of " Bhashanga ”, " Upanga ” and “ Raganga ” ragas in his text. Curiously enough, out of the remnant two gramas, the " Madhyama ” grama then went into disuse. Thus the only grama left was the " Shadja ” grama. By taking each of the notes of the grama as the tonic, murchanas were derived which became Jatis which, being embellished with jiva and amsa swaras, paved the way for the eventual raga form. That modern and recent texts on music, almost without exception, point for all ragas the " Shadja ” graha is clear and unmistaka ble evidence that the Jati-Murchana system of ragas had become defunct. Otherwise the mention of " Shadja ” graha for ragas is needless. It was about the thirteenth century that the Sangeeta Ratnakara appeared. There is reason to believe that jthe music of the whole of India had its basis in one system till about the time this musical treatise appeared. The bifurcation into the Northern and Southern systems seems to have begun in the post- Ratnakara period. Modern Karnatic music, as the name suggests, starts its history from the Vijayanagara period and the basements for this modern edifice were laid by Sri Purandaradasa. The Northern system had at about the same period evolved the PTS. I-IV] THE XXXII MADRAS MUSIC CONFERENCE 13 “ Raga-Raginis.” The Southern system had evolved the Mela and Janya ragas, as is seen in the Swaramela Kalanidhi of Ramamatya (1550 A. D.) and Raga Vibodha of Somanatha about 1614 A. D. The cultural centre of music seems to have shifted then to Tanjore, ruled by Nayaks, who were first viceroys of the Vijayanagar kings. Now appeared the Sangeeta Sudha of Govinda Diksbita and later theChaturdandiprakasika of Venka- teswara Dikshita (Venkatamakhin). The latter presented the 72 melas or scales. It was still later than Venkatamakhin that one Govinda gave us the Sangraha Choodamani, formulating the modern 72 melas, in which, unlike in Venkatamakhin’s treatise, he gives each melaraga a regular ascent and descent with the full complement of the seven swaras in an octave. This had a very far-reaching repercussion in the sense that men of genius brought forth a considerable number of Janya or derivative ragas from these Janaka or parent scales. It seems to me to have been an act of providence that the great South Indian Musical Trinity should have been born about Tanjore and at about this time- It is almost unimaginable what modern music, at it is today, would have been, if these men of God and musical giants had not appeared on the musical horizon and left us such a rich legacy of musical compositions which are the main source and sustenance of such a phenomenal development and propogation of musical culture as is seen today. "Thus, it will be clear that the two systems,which we can call now the Karnatic and Hindustani, were brothers from the same stock. Whatever differences there are between the two are only in the classification, treatment and interpretation of swaras. There is evidence to show that mutual borrowings have been and are being made. During the past decade ragas like Sim- hendramadhyama, Abhogi, and Andolika have been taken up by our northern brethren. Varnas are being composed on the pattern of ours. In swara-improvisations too, besides their usual emphasis on the " Sam ” of the tala, North Indian musicians have started singing swaras for the " Eduppu ” or " Graha ” of the Sahitya in unchanging relationship with the Tala of the compositions. The National programme and the comparative expositions of South ■Indian and Hindustani Ragas on the A.I.R. have also con tributed much to the interest of our Northern musical brethren in 14 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX our system. We in the South, can, in my humble opinion, with advantage borrow their " Dhrupads ”, which some Kritis of Dikshitar resemble. The North with the help of great musicians will find that a revival of the Dhrupads and the creation of more Kalpita-sangeeta in the pattern of our Kritis, instead of " Khyals” which are one-line pieces and belong more to the Kalpana sangeeta, will go a long way in stabilising the spirit and form of their ragas. The standardisation of the form of each Raga, sung differently by different Gharanas, will give an impetus to this move. The strict adherence to the compartmental speeds of Vilambit, Madhya and Drut tends to loosen the grip of the musician on the lay audience and sometimes gives an air of sameness in the treatment of ragas. The Madhya K alaor medium speed seems to be the best for both the lay and the learned listeners. Valmiki, while describing Hanuman’s first meeting with Sri Rama, in his quest for Seeta, says that Hanuman spoke in a pitch which was neither very high nor very low and in a speed neither too fast nor too slow. Probably performing musicians of the pervious generation, for this same reason, did not sing Pallavis of slower speeds than 4 kalas. Nearly 60 per cent of Sri Tyagaraja’s Kritis are composed in Madhyakala. It has been found in experience that a judicious and clever juxta position and mixture of Madhya and Druta speeds in raga-improvisations hold the attention of big audiences more than singing them in compartmental, single speeds. We in the South, can adopt and emulate, not because we do not have our own methods for it, the northern system of voice culture. Our northern brethren display amazing control in voice production through which they are able to display and express subtle nuances, graces and beauti ful glides and shades of a raga. I am afraid there is a tendency amongst us nowadays towards mechanical voice production. Each of these two big musical Bystems has developed so enormously individually that an amalgam of the two seems well-nigh impos sible. Each can aborb and adopt, in principle, whatever is good and desirable in the other.

"When we turn to our occidental brethren, we find there is nothing in common between their music and ours. Broadly speaking, the music of the West is mainly secular, orchestral, PTS. I-IV] ThE XXXII MADRAS MUSIC CONFERENCE 1$ recitative and collective, as against ours which is spiritual, vocal, interpretative and individual. Barring their liturgical and spiritual music, their art can be said to be extroverted, springing from and trying to evoke physical passions and emotions like love, anguish, despair, joy etc., whereas ours is introverted, has its roots in and tries to evoke spiritual emotions and is used mainly as a means for uplifting the human spirit towards Godhead. The music of the West, till about the 17th century, was mainly modal in basis, when orchestration and the equal temperament swept away all the earlier musical trends. Even today Spanish folk-music uses embellished notes and graces that seem to remind us of our own system. The primary emphasis given to the vocal part or the sung-line in the music of the West and the subsidiary importance given to the instrumental accompanists, is typically oriental. Ita recent times, our rythmic variations seem to have caught the ima gination of the West as is very clearly evident in the rhythms of the American Jazz music of today. The very nature and spirit of their music is such that there does not seem to be even a remote and distant possibilsty of our music being influenced by theirs.

“ In music, as in other aspects of the culture we have inherited from the past, we have now come to a stage, when I am afraid, blind and unmeaning obedience and adherence to the past will no longer obtain amongst the younger and future generations. Unless we are able to understand and communicate to them the why and how of our past traditions and practices, there is every reason for our being nervous about the continuance of our inherited cultures. Therefore it behoves us to acquaint our selves, I mean musicians, and study intimately the science or lakshanaof music. We are now in an age of transition. I have a feeling that this being very much of an age of performing artists, and seeing as we do, the great dissemina tion and demand for music, dance and other arts, the future will be assuredly bright if the necessary impetus is given to good composers and men of genius, who can invent and present new, beautiful and aesthetic compositions and formBin these arts. If I can venture to make a suggestion, a new body of specialists from the country and from this Academy can be formed, who wil 1 judge and select these new creations purely on their merits and 16 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX pasB them on to the National Sangeet Akademi, for preservation and future propagation. Nothing new should be rejected merely on the score that it is novel. All cultural progress has been due to pioneers of new ideas and expressions, though at their own times they were called rebels.

"I am afraid I have drawn already more than I should on your patience. I close this with an appeal. This great organisae tion has been serving the cause of Karnatic music and musicians and has been responsible for the growth of real musical culture and the uplift of many young artists, manned as it is by a united band of selfless workers who have always striven with single-minded devotion for achievement of its noble ideals and aims, for the past thirty years and more. We musicians, therefore, owe it to ourselves to extend our hearty co-operation to his organization. Art is certainly higher than the artist and the institution greater than the individual. '‘Thank you, Your Excellency, ladies and gentlemen, Members of the Academy and my musician friends! ” After the Presidential Address, there was a concert on Naga- svaram by Karakuruchi Arunachalam, accompanied by N. P. Raghava Pillai and Needamangalam Shanmukhavadivelu on Thavil.

Conference Souvenir In connection with the conference, the Academy brought out an attractively got up Souvenir. The Souvenir carried, besides an account of the activities of the Academy and a detailed annotated programme of the conference, tricolour portraits of the famous Karnatic composers and photographs of distinguished persons connected with the Academy and its conferences, the following special articles: A tribute to the late T. V. Subba Rao, Vice- President of the Academy by T. L. Venkatarama Iyer, " Music for Listeners ” by K. Cbandrasekharan, " Kala-pramana in Raga Singing” by Mudikondan Venkatarama Iyer, “Music, Dance and Drama and the preservation and propagation of their traditions ” by Dr. V. Raghavan and the “ Cowell Symphony ” dedicated to the Music Academy. Experts’ Committee Meetings THE FIRST DAY 21st December 1958

The Experts’ Committee meetings convened in connection with the 32nd Conference of the Music Academy began today at the P. S. High School hall with Vidwan G. N. Balasubrahmanyam, the President, in the Chair. The gathering of experts included two foreign musicologists, Prof. M. Pavlovich from Yugoslavia and Dr. Renshaw from Canada. The proceedings began with a recital of select pieces from Thiruppavai, which was given by Vidwans B. Rajam Iyer and B. Krishnamurti, accompanied by Vidwan Ramnad Venkatachalam on violin and Vidwan Ramnad Raghavan on Mridangam. The following pieces were rendered: Margazhi Thingal, nattai, adi; Vaiyattu, gaulai, adi; Mayanai, sri, adi; Pullinvai, atana, chapu; Undumada, saveri, chapti; and a Raga-malikai in senchuriti, nadanamakkriyai and manirangu. Thanking the musicians, the President of the Conference Sri G.N. Balasubrahmanyam observed that the beginning of the pro ceedings with the singing of Tiruppavai was like a blessing for the whole Conference; he added that an additional appropriateness was that the musical settings of these pieces of Tiruppavai were given by their veteran musician Sangita Kalanidhi Ariyakudi Ramanuja Iyengar who was worthy of their veneration as a guru.

Veena Demonstration

The President then requested Vidwan Devakottai Narayana Iyengar to give his demonstration on practising and playing on the Veena.

Sri Devakottai Narayana Iyengar demonstrated the practi sing of Svaravali (Sarali) and the first exercises in mayamalava goula in three octaves and four speeds. He showed also the employment of soara-meettu in akara-meettu. He said that according to tradi tion the stress was to be more on the left hand, though the right hand had its own place. The production of the gamakas and 3 18 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX subtle nuances depended on the left hand, and right hand plucking should be sparingly used. The Vidwan then played a raga (kamboji) and demonstrated raga-development and playing tana in three tempos ; he said that the madhyakala was the main tempo to be used. He then continued tana in the five ghana ragas and concluded his demonstration with the rendering of majanaki in kamboji and a jaoali of Swati Tirunal in saindhavi {iti sahasamulu). The President of the Conference, thanking the Vidwan, referred to the two styles of veena-playing, the one following the vocal technique and the other instrumental technique. He said that the vidwan who had just given the demonstration was the pupil of the great vainika Mahavidwan Karaikudi Sambasiva Iyer who gave to Veena an augmented tonal volume.

Devi-Kritis of Tyagaraja He then requested Sri Subrahmanya Iyer of Pudukottai to read his paper on the Devi-kirtanas of Sri Tyagaraja. Sri Subrahmanya Iyer who had in the previous Conferences dealt with the different sets of the songs of Tyagaraja took for his paper in this Confe- rence the set of pieces of Tyagaraja on the different forms of Devi in the shrines visited by him. After explaining the concept of Devi as the Supreme Mother, he pointed out the devotional ideas expressed by Tyagaraja in his prayers to Devi, and elucidated the vedantic ideas embeded in the Devi-pieces. Explaining the concept of maya, the lecturer brought out the advaitic trends found in some of the pieces. The lecturer also compared Tyagaraja as seen in these Devi-pieces with the two other members of the Trinity, Dikshiiar and Syama Sastri both of whom had sung of Devi more extensively. The Devi shrines visited by Tyagaraja, the lecturer said, were Trivottiyur, Sirkazhi, Lalgudi, Kanchipuram, Nagapattam and Tiruvaiyaru. The President thanked the lecturer for his informative paper and said that as Devi had been conceived as Narayani, sister of Narayana, one could well-understand Tyagaraja’s devotion to th Goddess. There were, he said, many rare mythological and philosophical data embeded in the compositions of Tyagaraja. PTS. I-IVj THE XXXII MADRAS MUSIC CONFERENCE 19

THE SECOND DAY 22nd December 1958 When the Experts’ Committee re-assembled today under the chairmanship of Sri G. N. Balasubrahmanyam, there was a paper on the Soarasthanas and their Nomenclature by Sangita Bhushanam S. Ramanathan and a paper on and demonstration of Violin technique by Sri C. S. Iyer.

Svarasthanas In his paper Sri Ramanathan examined the nomenclature of the 12 svarasthanas as obtaining today in the field of Karnatic music with a view to find out how far it accorded with tradition handed down from the days of Bharata’s Natya Sastra. Showing that the shadja grama of Bharata approximated to the modern Kharaharapriya, he located its seven notes at O, 3rd. 5tb, 9th, 13th, 16th and 18th srutis. He then explained the conception of soara-sadharana. According to Sarngadeva he said that the notes at the 6th, 7th, 19 th and 20th srutis were called Sadharana Gandhara, Antara Gandhara, Kaisika Nishada and Kakali Nishada. While Lochana Kavi in his Raga Tarangini showed that the Suddha Ri of the Shadjagrama and Komal Ri were distinct, Rama- matya mistook them to be identical. With regard to the nomenclature pancha sruti, the speaker argued that on the basis of Ramamatya’s own fretting of the Veena, the rishabha on the second string would not be a pancha sruti, but only chatussruti because one got the panchama (a chatussruti) on the same fret on the first string. The mistake, the speaker said, was due to Ramamatya’s mistaken identification of the shadja grama with mukhari, the modern kanakangi. Prof. P. Sambamurthi said that he agreed with the speaker on the mistaken nomenclature of Ri and Dha, and poited out that this mistake had somehow come to stay even before Ramamatya’s time. Sri Anantakrishna Sarma said that it was a difficult thing to fix the exact position of svarasthanas especially in Karnatic music. While we could say that, in regard to some svaras, we could 20 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX be more or less approximately correct, in respect‘of others, the rruli-values were always elusive; in a given range they were always a little to this side or that, as they were always rendered with gamaka.

Sangita Kalanidhi Mudikondan Venkatarama Iyer said that he agreed with Sri Sarma’s view. Dr. V. Raghavan observed that in the name Kaisika Nishada, the word Kaisika was to be understood just as in the case of the name Varali madhyama. The etymology based on kesa and the explanation that it differed by hair’s breath was not the correct O D e; Kaisika referred to an old popular raga of highly poignant quality which Kalidasa and Sudraka had mentioned. Thanking Sri Ramanathan, the President Sri G. N. Bala* subrahmanyam, commended the keen interest which the young musician was evincing in the pursuit of research in music and mentioned his recent publication on the music of Silappatikaram.

Violin Technique

The President then requested Sri C. S. Iyer to give his talk and demonstration on the ideals in Violin Technique in relation to Karnatic music. Sri Iyer first gave a demonstration and his paper was then read by his daughter Smt. Vidya. The ideal set up by late Sri Govindaswami Pillai (who passed away in 1931) both as an accompanist to the high-pitched flute of Sri Palladam Sanjeeva Rao, and the low-pitched silvery voice of late Bidaram Kittappa and also as a solo player towards the end of his life was stressed upon by the lecturer.

To obtain such a standard of su-svara, grace and laghava (ease) to be associated with the looseness of the wrists, arms and shoulders, Sri Iyer dealt in detail with the following aspects of handling the four-stringed violin; The sitting posture, the grip of the bow by the right hand, the hair of the bow and the bowing technique, the fingering work by the left hand, attention to the sound post, the bridge 9pd rhythm, and finally the facjal expression pf the artist, PTS. l-iv ] THE XXXII MADRAS MUSIC CONFERENCE 21 The various factors of “ Gamaka Suddha ” had already been demonstrated by the speaker in 1955. He drew the attention of budding violinists to bring these factors into their violin play. Finally the speaker stressed the importance of the aesthetic look such as that of the late Sri Govindaswami Pillai; the composure of a Yogi transported by the Nada was necessary. Thanking the lecturer, the President of the Conference paid a tribute to the researches carried on by Sri Iyer and the very valuable hints he had given to the violinists. He added that he also endorsed the lecturer’s appeal to violinists to follow the example of the late Govindaswami Pillai, particularly in the plying of the bow over the strings.

THE THIRD DAY 23rd December, 1958 At the meeting of the Experts’ Committee of the 32nd Conference of the Music Academy held today with the President Sri G. N. Balasubrahmanyam in the chair, there was a talk on and demonstration of certain kritis of Tyagaraja in controversial ragas and another talk illustrated with tape-recordings on the inter-relations of eastern and western systems of music. Tyagaraja Kritis and Their Correct Ragas Sangita Kalanidhi Mudikondan Venkatarama Iyer who spoke on the first subject said that in course of time, for several reasons, there had occurred changes in certain kritis of Tyagaraja either in the names of ragas or in their renderings. There was an item on the agenda of the present Conference relating to the implementation of the decisions of the previous Conferences of the Academy and in view of that, he thought it was appropriate to speak on that subject, as some of the ragas that he was going to speak about uad been discussed in the Academy’s conferences. There were of course, Vidwan Venkatarama Iyer said, several pieces of this type requir ing correction of the raga or check-up of the correct patha but on the present occasion, he would touch upon only eight pieces and njerely present his views or versions which other vidwan; 22 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX might consider or discuss further. The pieces and points involved were explained by Sri Venkatarama Iyer and rendered by two o f his disciples Kumaris Vedavalli and Kausalya, First he mentioned the kriti Girirajasuta in Bangala (28th me la) Kakali nishada would of course come unavoidably in the rendering but it was not proper; Kaisiki nishada alone was proper. Bangala was a raga not discussed by the Academy in the previous years and the Vidwan suggested that it might be taken up for discus* sion. Sri C. S. Iyer observed that Sabhesa Iyer had taught only Kakali in the piece. The President of the Conference said that in the pieces Rama rama learnt by beginners, in Bangala, only Kakali was used. Sri Ananthakrishna Sarma observed that it would be difficult to assert whether they were using the one or the other ni precisely in the raga. The second piece mentioned by Venkatarama Iyer was Nee dasanudasa which according to the books and manuscripts was in Hamir kalyani ; it was wrong, the Vidwan said, to render it in Kalyani as it was being done now. Next the Vidwan mentioned Sitamma mayamma which was given in the books including the Sampradaya Pradarsini in Lalita; it war wrong to sing it in Vasanta. Rama neeyada was found in the Tillasthanam school and other sources as Dileepakam (22nd Mela), with sa ri ma pa ni da ni pa da ni sa, sa ni da pa ma ri ga ri sa. It was wrong to sing it in the more popular Kharaharpriya. Bantureeti was in Hamsanada but Shatsruti dhaivata was to be used and stressed here. In the case of vivadi-twara ragas, there was a tendency to slur those notes, hence the changed versions that became popular. Chelulara was not in Bhairavi in which it was sung now ; its correct raga was Kharaharapriya. Dayachutakiti was in Ganavaridhi, janya of Soolini with Shatsruti ri. There was also a chittaswaram composed for this piece by Dolak Nannumiah of Nagoor which, the vidwan said, he had learnt. Lastly he mentioned Evarani (22nd) which was in Devamrutavarshini there the phrase mani da ni was to be stressed.

Thanking the Vidwan, the President G. N. Balasubrahmanyam said that Mudikondan Venkatarama Iyer was a sastraic authority and bis views always merited careful consideration. Change had occurred in pieces because of their being sung by those not strictly PTS. I-IV] THE XXXII MADRAS MUSIC CONFERENCE 23 following the sampradaya or by the vogue the pieces gained on the stage or in Harikatha. The question which the speaker had spot-lighted was important and it would indeed be desirable if such pieces were correctly rendered with short raga-introductiona and recorded for the use of posterity. The points raised by Sri Venkatarama Iyer should be considered further in their discussions. The President then requested Dr. Renshaw to give her talk. Introducing the lecturer Dr. Raghavan said that the lecturer Dr. (Miss) Rose Madeleine Renshaw was a graduate in Music of the University of Toronto, where she took also her Doctorate in Music. She was then awarded Post-graduate scholarships for composition and research by the French and Canadian governments and further fellowships from the Canadian and International Federations of University Women. She had done research in Medieval and Renaissance Music in Paris and London. Currently she was lecturing in Mediaeval, Renaissance and 20th century Music at Montreal and McGill University and was music commentator at the Canadian Broadcasting Corporation. She studied Indian music in the School of Oriental and African Studies of the London University and had been in touch with the Indian musicians who had visited foreign countries. She was responsible for the Television presentation of Ravi Shankar and Chathurlal. At present she had come out to India under the joint auspices of the Unesco and Indian Government for a year’s work. Music of East And West Dr. Renshaw said it was a privilege to address the Conference of the Music Academy, Madras, soon after her landing in this country where she had met with the most cordial welcome. She said that she was taking as the theme of her lecture ' Music of East and West—Two Sister A rts’. She quoted from the address of the President of the Conference, Sri G. N. Balasubrahmanyam, his observations about the nature of Western music as contrasted with that of Indian music and said that while what he said was correct, she would present the other side of the picture which was equally correct; it was a question of what 24 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VoL. XX* one was going to emphasise, difference or correspondence. What G. N. Balasubrahmanyam had said would be correct with reference to the bulk of Western music of the modern period as generally understood. It was true that Western music did not have the tradition of a few thousands of years as was the case with Indian music, but by about 400 A. D. Church music in the West had already been well-organised and it had flourished all through the centuries; this Gregorian, liturgical music was purely melodic and religious with a free rhythm ; and in all these aspects it was perhaps more Oriental than Western. In the 9th and 10th centuries in the monasteries where they sang this music, they started the new experiment of singing in different levels, a point at which we might say the difference between East and West began and polyphony began to develop. Secular music in those ages was of the type of folk music which again was all melodic. There was also the court music of wandering minstrels which was however not preserved like monastic music. There were court musicians who handled both church and folk music. In the late 16th century, the peak of the Polyphonic period, there were Lassus, Palestrina and Victoria who should be mentioned in this connection. Even in the modern period it could not be said that the church music was set aside. Bach himself was very much associated with the church music. Handel for forty years devoted himself to religious music and Hayden and Mozart also were responsible for Masses and religious pieces. Similarly Beethoven and Brahms could also be cited for the persistence of the religious mood. In fact, even in the modern times it could not be said that Western music was all secular; Stravinsky for instance has composed the Psalm symphony, one of his masterpieces. Orchestra was of course the most dazzling Western contribu tion but it should be remembered that both its standardisation and its attainment of a gigantic proportion were quite recent in the history of Western music. The building up of an orchestra was an expensive matter. Naturally it could not be said that this was music for all people. For schools and homes and for other occasions, there were other solo instrumental music, of the pTS. I-IV] THE XXXII MADRAS MUSIC CONFERENCE 2$ piano, organ, lute, harpischord, guitar and of coune the violin which was also part of the Orchestra. There had been famous composers who had created music for these instruments and these did not form any negligible part of western music. These would show that western music did not lie solely in the orchestra. The President’s observation regarding the emotions, the lecturer said, would apply primarily to opera and programme music and to the works of some of the great masters, but there were also composi tions in which the emotions were not secular. It could be said that most contemporary composers who had derived inspiration from Central European folk music displayed oriental elements. The importance of the top melodic line especially in the Italian opera could not be missed. While improvisation is the life-blood of Indian music and they in the West had almost lost it, it could yet be seen that there used to be much improvisation in elements like the Cadenzas where the instrumentalists stopped at a point to show their improvisation and mastery of the instrument. The French Organist Marcel Dupre often ended his recitals with the improvisation on a theme submitted by the audience. In their own times, Bach and Mozart as performers were applauded for their improvisations, just as much as present-day audiences applaud their compositions. In the field of rhythm, it was true, they could not boast of so much variety and richness. They could still cite some aspects of their music in which there was prominence of the a rhythm and its variation. As regards the last point which the President touched, namely, that it was unlikely that Indian music could ever be influenced by western muic, the lecturer said she would fain wish and hope that western music did not exert its influence. But unfortunately she had seen directions in which this influence had shown itself and about which, she said, she was not happy. One direction, she said, was the music of some Indian films which showed an undesi rable sort of influence. She also mentioned the experiment in orchestration carried on in the A.I.R. Regarding this experi ment, she said, she was reminded of the story of the maiden and the mouse. Dr. Renshaw was of the opinion that after flirting with this idea, Indian music might return to her own. In con clusion the learned lecturer said that Indian and Western music 4 56 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX were sister-arts and as sisters they bad both differences and resemblences. Her lecture was illustrated by tape-recordings of examples from Gregorian chants, Byrd, Victoria, Weiss, Scarlatti, Villa-Lobos, Bach, Beethovan and Bartok. Thanking the lecturer for her highly interesting and enligh tening discourse, the President of the Conference explained that his remarks were conditioned by his limited acquaintance with western music and referred primarily to orchestra. He how ever felt that on the whole he was correct in his estimate of the difference in the relative emotional bases of the two systems. Thanking the lecturer on behalf of the Academy Dr. Raghavan referred to the participation in the Conference every year of musicians and musicologists from foreign countries and presented to the Canadian musician a set of the Journal of the Madras Music Academy. THE FOURTH DAY 24th December, 1958 At the Experts’ Committee meeting of the Music Academy held to-day at the P.S. High School hall, Vidwan G. N. Bala- subrahmanyam presiding, three demonstrations were held. Mridangam Practice Vidwan Tinniyam Venkatarama Iyer, experienced teacher of Mridangam, gave a talk on the proper method of practising on the Mridangam. The demonstration of the different exercises explained by him was given by four of his pupils. The Vidwan stressed that in all the Talas, the student must be trained in six Kalas. This was illustrated by two exercises in Adi Tala (two Kalas) with variations of the counts, and by a third exercise in Chapu Tala. The President of the Conference thanked Vidwan Venkatarama Iyer and complimented him for the pains taken by him to inculcate Mridangam training to youngsters on proper lines.

New Compositions The seventy-nine year old Vidwan Ennapadam Venkatarama Bhagavatar then presented some of his compositions. The PTS. i-iv j THE XXXII MADRAS MUSIC CONFERENCE 27 veteran vidwan explained the circumstances in which, under a religious impulse, he began to compose 108 songs in 108 ragas embodying the 108 Namat of Lord Krishna as found in the Krishna AsbtottarasataNama Stotra. Some of the songs were cast in the Bhajana Sampradayc, and some in rare ragas. Four of the pieces from this collection were rendered by the composer’s brother Vidwan Viswanatha Bhagavathar and son Vidwan Rama, chandran accompanied by Duraiswamy Iyer on the violin and Ramanathan on the Mridangam. The pieces rendered were: ' ' Ide girija tanujam ” on Ganesa in Saoeri, " Sacchidananda vigraha ” in Mukhari, “ Madhughnam manasa ” in Kuntala- varali with Ragamudra and “Syamantakamaner ” in Punnagavrali. Thanking the Vidwan, the President said that compositions were best when the composers were themselves musicians. Sahitya Vidwan P. Veeriah Ghowdry of Guntur then gave his talk and demonstration. The Vidwan ^was introduced by Prof. P. Sambamurthi as a member of the Andhra University Music Board and one who had been continuously emphasising the import ance of the text in the song. Vidwan Veeriah Ghowdry said that he was not separating the text of the song or laying over-emphasis on it from a purely literary point of view. His point was that while singing songs, the musicians should render the pieces with an adequate knowledge of the meaning and the emotional signifi cance and when rendering or executing Sangatis or doing Neraval, etc., due consideration should be paid by them to the text and its significant portions. The tempo of the rendering should also be in accord with the sentiment of the piece. The words and the music were like the gem and the gold in an ornament. The vidwan said that unfortunately today a type of singing had come into vogue which he humorously characterised as “ Bush-coat sangeetatn.” Vidwan Ghowdry then rendered three pieces of Tyagaraja and one Kshetrajna pada. In the singing of Tana also he wanted to remind vidwans of today that in the past, there used to be Mridangam accompaniment. Thanking the Vidwan, Sri G. N. Balasubrahmanyam said that while singing in Harikatha etc., a specific emphasis could be 28 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX laid on the text, in concert-music no emphasis could be laid which would reduce the musical quality of the rendering. Agreeing with the President, Vidwan Chowdiah complimented the vidwans of Tamilnad for the high musical quality of their rendering of kritis. He would also accept the importance of the text but only as subservient to the music of the pieces. THE FIFTH DAY 25th Deetmber, 1958 At the Experts’ Committee meeting convened in connection with the 32nd Conference of the Music Academy, Madras, with Sri G. N. Balasubrahmanyam, the President of the Conference, in the Chair, Vidwan T. N. C. Venkatanaryanacharyulu of Guntur gave a talk and demonstration on Tillanas, Prof. Sambamurthi and Mrs. Saraswathi Ram gave a talk and demonstration on the life and compositions of Neelakantha Sivan and there was a discussion on Tyagaraja kritis in controversial ragas. Tillana Vidwan Venkatanarayanacharyulu traced the interesting history of this composition which employed meaningless syllables expressing rhythm, and was especially suited for Zoya-instruments and dance. It was * Konukol ’ fitted to particular ragas and talas and its origins could be traced to those parts of kirtanas which had separate jaft-passages. It was during the times of the Maratha Raja of Tanjore, especially Pratapasimha and his son Tulaja, that the composition called Tillana took shape as a separate form and one of the great composers of this period Veerabhadriah was responsible for suitably adapting this form to Karnatic music. There was an old Tillana in praise of King Tulaja in Kalyani beginning * Tai Tai ’ which used to be sung at the very beginning of the dance recitals. The Vidwan sang this Tillana and followed it up with another in Parasu-Adi on Venkatesa. Another devotional Tillana in Sahana ‘Tanom Tanom ’ was then sung by the Vidwan. There was a Tillana in Vasanta-Adi on the King Krishnaraja of Mysore. While the above pieces had an appreciable amount of Sahitya, there was also a class of Tillana where Sahitya was almost negligible and the PTS. I-IV] THE XXXII MADRAS MUSIC CONFERENCE 29 Vidwan sang a Tillana of this type in Taman and Eka. Among well-known Til/ana-com posers, the lecturer mentioned Veera- bhadriah, Pallavi Seshaiyer, Swati Tirunal, Veena Kuppier and Ramnad Srinivasa Iyengar. Thanking the Vidwan the President of the Conference said that the Tillana was originally a part of the Prdbandha and was then developed as a separate art-form in the last 200 years. Mr. C. S. Iyer observed that it was pertinent in this connection to observe that when musicians employed consonants in their alapana the habit of using the harsh combination 'T a R a ’ should be given up, and they should use more musical consonants and syllables. Neelakantha Sivan Prof. Sambamurthi then gave a talk on Neelakantha Sivan (1839-1902), one of the noteworthy composers of Tecent times. The composer whose real name was Subrahmanya, was born in 1839 in Padmanabbapuram near Trivandrum. Becoming religious-minded, he resigned government service and after an extensive pilgrimage, started composing songs on devotional and didactic themes and giving religious discourses. His compositions were in chaste Tamil and he composed into songs the stories of the 63 Saiva saints also. In some of the songs he had introduced the raga-names in a dexterous manner. Accompanied by Sri Kumbakonam Thangavelu on the violin and Sri Ramani on Mridangam, Mrs. P. L. Saraswathi Ram, of the family of the Neelakantha Sivan, then rendered the following 10 pieces of Neelakantha Sivan: Chandrasekarane—Nattai—Chapu; Sivanamam— Bhairavi—A di; Karunai puri idu—Varali—Chapu; Pizhaigalellam— Nayaki—Adi; Darisaname ~ Todi—Adi ; Adi Sivanarul—Begadai- Rupakam; Maname Unakku—Sama—Chapu; Paradevi—Ananda Bhairavi—Rupakam; Akila loka—Ragamalai—Rupakam; and Paramasivanukku (man gal am) Madhyamavati—Adi; Correct Ragas of Kritis The subject of the earlier talk and demonstration by Sri Mudikondan Venkatarama Iyer relating to the correct Ragas or 30 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX renderings of certain Kritis of Tyagaraja was then taken up for discussion. Sri G. S. Iyer observed that somehow changes had occurred and they had to accept them. As for authoritativeness of certain versions, he could say that the late Sabhesa Iyer had taught him Girirajasuta in Bangala with Kakali Nishada and the piece Nee dasanudasa only with Kakali. Incidentally Sri Iyer said that he had always doubted the correctness of calling the raga of Etavunara K alyani; it was according to him Taman Kalyani.

Sri S. Parthasarathy, representing the Tillastbanam School, affirmed that Giriraja and Bangala belonged to the 28th Mela and the Ni was Kaisiki; in actual singing Ni might automatically go a little higher up but the Kaisiki alone was correct. When they were out to find the correct version, there was no point in explaining how a change had come into vogue. Sri R. Ananthakrishna Sarma observed that the N i here was like the Ni in Kamboji; it was too much for them to say emphatically that it was the one or the other variety.

Sri Venkatanarayanacharyulu said that though a teacher might insist that Kaisiki was correct, it was difficult for the student to use Kaisiki; Kakali was more appealing to the ear. Prof. Sambamurthi said that in Rara Rama in Bangala, a piece of Garbhapurivasar, Kakali was used. In books, eg. Perambalur Srinivasa Iyer’s (1914), Kakali had been used. The two other pieces of Tyagaraja Munupe and Sakshiledanuehu, Kakali was used according to him. Sri Semmangudi Srinivasa Iyer said that Kaisiki was correct according to the Umayalpuram School, but Kakali had come into practice; he added that the ear and the aesthetic effect were also to be taken as guide.

Sri Parthasarathy stressed that it was not a question of Kakali being in greater vogue. If Kaisiki was correct for Bangala, he asked, were they not called upon to distinguish that raga from that where Kakali was used and which had become more popular. PTS. I-lv) THE XXXII MADRAS MUSIC CONFERENCE 31 Mudikondan Venkatarama Iyer who initiated the discussion disputed the fact that the Kaisiki did not have the sanction of the teachers of the earlier generation. His owapatha went to Simizhi Sundaram Iyer who learnt it from Sabhesa Iyer himself. Also he had listened to Umayalpuram Swaminatha Iyer himself sing Sakshiledanuehu with Avara-improvisation, using Kaisiki, and not Kakali. The great Subbarama Dikshitar had printed all the three pieces in Bangala with Kaisiki. It was one thing to explain how students and singers came to use Kakali, and another to investi- gate the correct Lakshana. The latter was the purpose for which they had met. Winding up the discussion the President said there were two things which sometimes pulled in opposite directions, Sravyam and Sastram. It was the latter which was the subject of the discussion in their sadas. According to himself it was Kakali that was used in Rara Rama. He would therefore give his sum-up thus: While the current practice was in favour of Kakali, the correctness of Raga-lakshana required Kaisiki and it should be the endeavour of students and singers to approximate to the latter. Further discussion of the subject was adjourned.

THE SIXTH DAY

26th December, 1958

When the Experts’ Committee meeting convened in connection with the 32nd Conference of the Music Academy, Madras, met this morning at the P. S. High School hall with Sri G. N. Bala? subrahmanyam in the Chair, Smt.Saraswati Bai gave an appealing rendering of select pieces from Gopalakrishna Bharati’s “ Nandan Charitram ” in connection with the holy occasion of 'A rdra Darsanam She was accompanied by Smt. Komalavalli Srinivasan on the violin. Speaking in a recapitulating mood, the veteran Harikatha performer said that in her SO years career, the largest number of performances she had given was of Nandan Charitram. The demand for this charitram showed the beauty and appeal of the composition of Gopalakrishna Bharati. 32 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX Musical Aesthetics Requested by the President Prof. R.C. Mehta, Principal, College of Music, Dance and Dramatics, M. S. University, Baroda, then read a paper on Melodic Tensions and Musical Aesthetics. The lecturer illustrated his points by rendering different Hindustani Ragas. Referring to the mention in the books about Ragas and Rasas and also to the belief in the philosophy of JVado and the therapeutic value of Ragas, Prof. Mehta said that he was approa ching the subject without any presupposition or prejudice, and purely from the point of view of the music material used in singing and what they actually experienced out of that. A Swara in music, he said, did not stand by itself but should be understood with reference to its tonal quality; just as the so-called synonyms in language, while having a particular object or idea as their common general meaning, laid on each of them its own emphasis on a particular phase of the object or idea, so also swaras emphasised different aspects according to their tonal qualities. These tonal relations were the basis of musical significance and the tonic becomes the gravitational point in tonal movement. Tension takes various shapes when a note was either adjacent or far away from the tonic. The effect was also varied by the variation of the tempo. Similarly emphasis and volume also changed the impres sion. In different rhythmic patterns, the same melodic form produced different effects. In illustration, the lecturer sang Darbari and Todi in slow and fast tempos. Refering to the attempts of some musicians to characterise certain Ragas as mas culine and others as feminine, the lecturer sang Behag in different tempos and showed how by different ways of rendering it might produce different impressions. The lecture was followed by some lively discussion. Dr. V. Raghavan pointed out that it was not correct to think that Bbarata’s text laid down dogmatic principles which were not subject to alteration. Before associating Jalis with Rasas, Bharata had spoken of the i2am-values of each Svara. The association of Rasa with Laya, he said, was recognised by Bharata and it should also be remembered that Bharata dealt with music as an accessory of drama and that the question of Raga and Rasa should be looked at from a different angle in pure art-music. PTS. I-IV) THE XXXII MADRAS MUSIC CONFERENCE 33 Thanking the lecturer for his learned paper and demonstra tion, the President of the Conference said that their own Karnatic composers had negotiated the question of diverse emotional significances of ragas through the variations of the tempo and varna-mettu. The great Tyagaraja, for example, had created different pieces in the single Raga Todi, each of which expressed a different mood. It was like sisters and brothers in the house ; while all of them were born of and were governed by the common and fixed relationship to their parents and a basic similarity, individually they expressed also distinct characteristics. THE SEVENTH DAY 27th December, 1958 At the Experts’ Committee meeting held in connection with the 32nd Conference of the Music Academy, Madras, at the P. S. High School hall with Sri G. N. Balasubrahmanyam in the chair, Prof. R. Srinivasan gave a talk on New Ragas and their possibi lities and Mr. Robert Brown gave a talk on different World- systems of Musical Notation. New Ragas Prof. R. Srinivasan speaking on the subject of new ragas observed that in music as in other fields, the law of the survival of the fittest was in operation. Several old ragas found in text books had remained undeveloped, while new ragas like Kharaharaptiya had come into great vogue. What was necessary were men of genius and capable performers who could impart life and polish to these ragas. While the integrity of the cultural soul of a nation should not be disrupted, it should be recognised that the expression of the soul in time-space context takes continuously fresh forms. This was true also of music and the different arts. Different sets of ragas could be collected from the older texts, and in texts which appeared after the coming into being of the me/a-system, particularly after the period of Venkata- makhin and the Sangraha Choodamani, the possibilities of new ragas had grown on a much larger scale. As many as 366 ragas were found in the last mentioned work. The lecturer said that the melas themselves could be multiplied and by further mathe- maticl calculations Beveral lakhs of ragas could be envisaged. 5 34 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VoL. XXX When the theoritical possibility of such nature had already been set forth, what was it that was new and what was the meaning of calling a raga new ? Musicians could devise new ragas which could be examined and identified with some little-known raga in old texts. For example, Prof. R. Srinivasan cited a Kummi composed by him which on examination turned out to be in the raga Agnigofia found in old texts. Prof. Mehta of Baroda pointed out that from the point of raga-content this was in the northern Bhimpalas. As an example of an old raga mentioned in the texts to which fresh compositions had added flesh and blcod, Prof. R. Srinivasan mentioned the late Muthiah Bhagavatar’s compositions in Gowda Mallar and Vtjayangari, and his own composition in Bhogavasanta. Examples of newly created ragas could be cited in the recent past as well as today: Hamsadhwani of Ramaswami Dikshitar and Kadanakutuhalam of Pattanam Subrahmanya Iyer and Vandanadharini. New ragas could be created by fresh patterns suggested by well-known ragas with the omission or addition of particular notes. Simi larly admixture of phrases of two ragas would result in Misra ragas such as were common in the North. He gave an illustra tion of this with Gowrivasaata in which he had composed a new piece and which showed a mixture of Gowrimanohari and Vasanta. Illustrations of the new compositions of the lecturer were sung by his daughter Smt. Kamala Krishnamurti. The President said that ragas were numberless. What was necessary was that there should be Rakti and the principle of Vadi and Samvadi agreement, and as observed by the lecturer, capable musicians and composers should clothe them with the necessary personality. He gave examples of some of the new ragas employed by himself in his compositions, Amrita Behag, Sama-kadambari coming under Dheerasankarabharanam and Chayamanjari. The President also suggested that in addition to handling the well- known ragas, musicians should render at least one apoorva raga in the course a concert. He thanked Prof. R. Srinivasan for his stimulating address. Dr. Mehta drew attention to the fact that the two systems of music of the North and South could get further enriched by PTS. I-IV] THE XXXII MADRAS MUSIC CONFERENCE 35 mutual give and take. Prof. Ranade of Poona observed that Swaros were not the only consideration in the form of a raga. There were, for example, in Hindustani music sometimes three different ragas with the same Arohana and Aoarohana. The teach ing needs in the new educational method had resulted in a rigid and mechanical conception of ragas. The compositions and singing of the masters were the most essential things in giving the forms to the raga. What were mathematically equal need not always be equal also aesthetically.

Systems of Notation Mr. Robert Brown of the University of California, Los Angeles, then delivered an interesting lecture on the different systems of musical nototion used during the centuries in different parts of the world. Mr. Brown said that the syllabic notation used in India was among the oldest type to be found at the present day, but the use of letters or syllables for notation was one of the widest practised systems, both chronologically and geographically. There were, the speaker said, two essential elements in Indian melody, the Srutis and Gamakas, and any notational system devised for Indian music should adequately reflect these two, as well as the subtleties of rhythm. Notation, the lecturer defined, was an attempt to symbolize visually some thing that is heard and as such it could not be completely accurate. All systems of notation prevalent in the world fell into main groups, the ‘ phonetic ’ which used words, letters or numerals and was the largest, and the ‘ diastematic ’ or the * graph-like ’ one to which modern notation belongs. Some notaions of Japan and medieval Europe belonged to a sub- variety of the latter called * neumes In illustration of his talk Mr. Brown projected slides depicting these systems of notation and in some cases played also tape-recodings of the concerned music and corresponding notation signs..

Among the systems of notation presented by him in illustration were the Solonese cipher notation and Jogyakarta kraton checkered script from Java, Greek instrumental and vocal notation, and Chinese vocal notation. Several types from Japan 36 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX were shown, including notation for music to the classical Noh drama, for the biwa (lute) and the koto (a stringed instrument), and ancient Gagaku court music of the 9th century. The development of western notation was traced from the neumes of Gregorian chant through the mensural notation of the Renaissance with a brief analysis of the fundamentals of modern western notation. Tape recordings illustrating music of the Javanese orchestra, several types of Japanese music, and vocal and instrumental types of Medieval and Renaissance periods in Europe were pliyed. Mr. Brown played also several recorded selec tions from Haydn piano sonatas which the audience was able to follow in notation on the screen, and' concluded his talk with an explanation of a notation which he had devised for recording the rhythm patterns of the mridanga. THE EIGHTH DAY 28th December, 1958 At the Experts’ Committee meeting today, forming part of the 32nd Conference of the Music Academy, Madras, Yidwan G. N. Balasubrahmanyam presiding,there was a paper on the music of Assam, a demonstration of rare Tillanas and a talk and demon stration on Purandaradas and the original Varna-mettus of his padas. Music of Assam Introducing Dr. Maheswar Neog, Dr. Raghavan said that he was a Reader in the Gauhati University and one who had done extensive research work in the music of Assam. Some of his papers on these subjects had been published in the Journal of the Madras Music Academy itself. In his paper Dr. Neog traced the history of the music of Assam from the times of the great Vaishnava teacher Sankaradeva in the last decades of the 15th and the beginning of the 16th centuries. In the pre- Sankaradeva period the two epics were rendered into verse and sung. TheRamayanaof Madhava Kandali (Nth century) had been set to a number of old ragas, some of whose names were somewhat intriguing. Similarly a large number of ragas including some obscure names were found used in the Usha Parinaya of Pitambara Kavi of the time of Sankaradeva (1449-1568). PTS. I-IV] THE XXXII MADRAS MUSIC CONFERENCE 37 Sankaradevawas the greatest figure in the Neo-Vaishnava move ment of Assam as well as in the renaissance of music and dance activities. He and his pupil Madhavadeva composed a great number of songs of various types, bargit of high dignity, ankiya git for dramas, kirlana-ghosha for narrative, nama-ghosha for bhajans etc. Different sets of talas, main and subsidiary, could also be seen in these compositions. The practice relating to these differed from one devotional centre to another. The lecturer referred in this connection to an article of his on this subject published in the Journal of the Madras Music Academy, Volume XXII. The instruments employed were wooden drums (Mridangam), khol, cymbals, rabab and sarinda. Sometimes the vin and tokari were also used. The songs were in the form of a dhruva and several charanas. Some scholars had tried to identify the bargit with Dhrupad. It might be noted that in these and subsequent times several new ragas were added. Whatever the actual identity of the school, according to the lecturer, Assamese music was different from the raga music of north India and perhaps from that of the south also. The lecturer referred to a scheme of research in Assamese music sponsored by the Central and State Sangeet Natak Akademies and a committee was already working on the tape-recording of different specimens of Assamese music. A preliminary report on Bargit by the Board had already been issued by them. Thanking the lecturer Sri G. N. Balasubrahmanyam pointed out the great fillip which the religious movements had given to the growth and development of music and dance in different parts of the country. Rare Tilianas The President than requested Vidwan Mudikondan Venkatarama Iyer to give his demonstration of rare Tilianas. The Vidwan assisted by Vidwan B. Krishnamurthy and accompanied by Sri T. N. Krisbnan on Violin and Madurai Krishna Iyengar on the Mridangam sang the following Tilianas: Kamas-Adi-YaUanam Subrahmanya Iyer; Panthuvarali- Ragavardhana - Ramanathapuram Srinivasa Iyenger, Kanada• Simhanandana-Maha Vaidyanatha Iyer ; Mohanam-Hanumatkumbha 38 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX Maha Vaidyanaiba Iyer; Vasanta-Desadi - Tiruvazhundur Kannuswamy Pillai; Kapi - Lakshmeesam - Ramanathapuram Srinivasa Iyengar; Sankarabharanam-Desadi-Srirangam Sesha Iyengar; Mohanam - Adi (Tisragati) - Tirvazhundur Kannuswamy Pillai; -Btgada-Rupakam-Pattanam Subrahmanya Iyer; Sindhubhai- ravi-Desadi-Pattanam Subrahmanya Iyer. He ended the demons tration by singing Krishnananda, Gowlipantu-Chapu-TlWahitaT. The rendering of thess Tillanas were greatly appreciated. The chairman appealed that these Tillanas should be learnt by younger Vidwans and preferably tape-recorded. Purandaradasas’ Padas. Introduced by Dr. V. Raghavan, Vidwan Padmanabha Rao of Mysore then read a paper on the life and contribution to Karnatic music of the great Puradaradasa. The main point of the paper was the Varna-mettus and the identity of ragas in which the well-known padas of Purandaradasa were rendered. Sri Padmanabha Rao said that he had made some effort to visit some of the Maths and examine some manu scripts to find out the oldest Pathos of the padas. He had suc ceeded in the case of a number of Padas and he presented through two of his lady pupils 12 of these padas in their original and tradi tional Varna-mettus. The Padas rendered were : Satata-Gananatha Nati - Khanda Chapu ; Saranu Siddhivinayaka - Sowrashtra - Misra-chapu ; Eesabeku Jddu Joyrrairfar-Dhanyasi-Adi; Gummana Karayadire /4mma-Mukhari-Adi; Thalu Thalelo Rangaiah-Sankara- bharana-Adi; Ikkalere Kai enjalu-Purvi Kalyani-Misra chapu Naivedyava Rollo Nayanaswami - Anandabhairavi-Adi; Lolalotte- Nadanamakriya-Misra-chapu ; Devabanda Nammaswamyu Bandano- Madhyamavati • Adi; Jojo Srikrishna - Navaroj - Misra chapu : Dangurava San-Va santa-Adi and Jay a Mangalam-Bhairavi- Khanda chapu. THE NINTH DAY 29th December, 1958 When the Experts’ Committee convened in connection with the 32nd Music Conference of the Music Academy, Madras, ^T S. i-iv ] THE XXXII MADRAS MUSIC CONFERENCE $9 the P. S. High School with G. N. Balasubrahmanyam in the chair, met today there was a presentation of songs from the dance-drama tradition of Kuekupudi, further discussion of Tyagaraja kritis in controversial ragas and a lecture on the Music of Maharashtra. Kuchupudi Songs Prof. Vissa Appa Rao introducing Kumaris Gopalaratnam and Lakshmi spoke about the Kuchupudi tradition of dance- drama which was the prototype of the dance-drama tradition of Melattur and other villages in Tanjore district. Both the traditions had been sadly neglected ; the last great authority on the Kuchupudi sampradaya was Vedantam Lakshminarayana Sastri. At present there was Chinta Krishnamurthi from whom some of the songs of the Kuchupudi dance-drama had been taken by Sri Voleti Venkateswarulu and other artistes for broadcasting at the Bezwada station of All India Radio. The actual musical settings had been as far as possible kept. Kumaris Gopala ratnam and Lakshmi then rendered from the play Bhamakalapam eight compositions: Bhamane Satyabhamane—Mukhari—Chapu ; a Raga-Tala-malika, Madana 0 Madana\ Ranguga Nameda; Endu- bothivo which showed different Tala gatis; Vadamela which had an admixture of Kamboji and Tadukula Kamboji; Karpura—Yadu- kula Kamboji—Misra Chapu; Sekunalu—Mohanam—Adi and Enninerchinavora Rajagopala — Devagandhari Adi. Thanking Prof. Appa Rao and the young musicians, Sri G. N. Balasubrahmanyam said ihat in dance-drama traditions which had the inspiration of the Gita Govinda and had different forms in different parts in India, there were rare ragas like Ahiri, Ghanta and Dvijavanti. Tyagaraja Kritis The President then proposed that they might continue the discussion on Tyagaraja kritis in controversial ragas. Sangita Kalanidhi Mudikondan Venkatarama Iyer presented his view that the piece Needasanudasa was in Hameer Kalyani and not Kalyani. Sangita Kalanidhi Tiruvizhimizhalai Subrahmanya Pillai agreed with this view. Turaiyur Rajagopala Sarma, who sang the piece as taught by Narasimha Bhagavatar, said that the 4 0 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [V o l . XXX raga was Harnett Kalyani. Sri S. Parthasarathi was also of the same view. Sri G. S. Iyer said that in different types of compositions like varna, kriti, etc,, composers followed different lines of develop ing a raga and he thought that the raga in Needasanudasa was Kalyani though the treatment of the raga in it was a little different. Smt. Brinda sang her Patha and opined that it was only Kalyani. Sri Parthasarathi observed that the point to be noted was that even in the Patha said to be in Kalyani there was a distinct difference in the structure of the raga, even apart from the use of the Suddha madhyama, and this confirmed that the piece was in a different raga. The President said that he had heard the piece from the late Chitsabhesa Iyer who used to render it in fast tempo, but the raga could be made out aB Kalyani. His own personal view however was that the piece was in Hameer Kalyani and the late Tiger Varadachariar also sang it in this raga. Accordingly the meeting decided that the piece was in Hameer Kalyani. Sri Mudikondan Venkatarama Iyer then proposed that the piece Sitamma Mayamma was in Lalita and it was not proper to sing it in Vasanla. Vidwan Karaikudi Srinivasa Iyengar said it was in Vasanla. Smt. Brinda who sang her Patha was also of the same view. Sri Padmanabha Rao of Mysore said that he had heard it only in Vasanla for the last thirty years. Sri Mudikondan Venkatarama Iyer submitted that it was during this period that it had changed from Lalita to Vasanla. Turaiyur Rajagopala Sarma said that according to Umayalpuram Patham also, it was Vasanla. The President winding up the discussion said that while sources showed Lalita was the raga for this piece, the current vogue was Vasanta and that the discussion was to be adjourned till more material was available for arriving at a decision.

Music of Maharashtra Introducing Prof. G. H. Ranade, Dr. Raghavan recalled his participation in some of the previous Conferences of the Music Academy and his contributions in the Journal of the Music Academy, Madras. Sri Ranade who was a Physics Professor, PTS. i-ivj THE XXXII MADRAS MUSIC CONFERENCE 41 was connected with the Sangit Natak Akademi and was a leading authority in Maharashtra on music and the author of a book on the Physics and Aesthetics of Indian (Hindustani) Music. Prof. Ranade said that there was a wrong impression about the continuity and contribution of the Maharashtran to the main current of Indian music and that recently he had taken this a9 a special subject of investigation. In the immediate past, in 1864, Mandlik devised a notation adapting the staff system, and print ed music books and this was eight years before the work of Raja S. M. Tagore. The Khyal was a later importation into the Maharashtra, but Dhrupad was well cultivated. There was also touch with South Indian music and in the times of Sivaji and Samartha Ramadas in the 17th century, Marathi Padas composed in South Indian ragas were found. The Dasabodha contains musical material. The Padas of Daso Panth of the Datta sampradaya, 16th century, numbered several lakhs and they were all set to Ragas and Talas. At least 5000 of these were available now and 1600 had been printed with Raga-names. The celebrated author of the Sangita Ratnakara, Sarngadeva, though coming of a Kashmirian family, was born in Maharashtra and Marathi words were found in his work among technical terms used by him. Damodara Pandit of about 1280 A.D. composed both in Marathi and Hindi and his songs show about 12 ragas. Much before the time of the Peshwas or Sivaji, Maharashtrians went to different parts of India, mainly due to a great local famine, and thus Maharashtra had contacts all over India. The great Gopala Nayak of the time of Allauddin Khilji was a Maharashtrian and as seen from Venkatamakhin, he had exerted influence on Karnatic music. The writings of Daso Panth in particular, the lecturer said, were interesting not only because of about 32 ragas used by him, but because in some of the songs, of the Chaturanga type, even Svaras were given. In conclusion the lecturer observed that he was speaking as a research scholar and not out of any provincial enthusiasm and that Maharashtra had a local tradition in which both the South and the North met and mingled. Prof. Mehta of Baroda said that there were similar local traditions in all parts of the country from which Ragas etc. were taken by classical composers. Prof. 6 42 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX Ranade added that it was the institution of pilgrimage and patronage of courts which lead to the mingling of the regional cultures in the past. Thanking the lecturer Sri G. N. Balasubrahmanyam said that Maharashtra was the meeting place of the South and North, but according to him, the music of Maharashtra was more southern than northern.

THE TENTH DAY 30th December, 1958 When the Experts’ Committee meeting of the 32nd Conference assembled this morning with Sri G. N. Balasubrahmanyam in the Chair, there were two Hindustani demonstrations and one demon stration of Kathak dance. Smt. Nirmala Joshi, Secretary, Sangeet Nataka Akademi, introduced the North Indian vidwans. Sarod Recital Amjad Ali Khan, the young son of Ustad Hafiz Ali Khan, first played on the Sarod, the raga Gurjari-Todi. The President of the Conference complimented the boy on his extraordinary sadhakam. Ustad Mustaq Hussain The eighty-two year old National Award holder, Ustad Mustaq Hussain, followed with a masterly and enjoyable exposi tion of rare Hindustani Taranas (Tillanas). He was accompanied by Gulam Jaffar on Sarangi. He opened with a Tarana in the raga Suha-Sugrai in Tintal by Amir Khusru. The second one was in Alaya Bilawal in the same Tala by Pyar Khan. Pyar Khan and Bahadursen Khan were brothers and descendants of Tansen. They composed Tillanas in the manner of musical-duets and referred to as Saval-jaoab and Mustaq Hussain sang a duet of this type in Taman. Of these two brothers who flourished in the last century, Bahadursen Khan was an eminent composer and inventor of the instrument Sursingar. Mustaq Hussain rendered two Tillanas of his own father-in-law, Inayat Hussain, in Jenjuli and Behag. The exposition included three other Taranas also, one in Jenjuti by Wazir Khan, one in Behag by Pyar Khan, and another in Desh by Bahadursingh. PTS. I-IV] THE XXXII MADRAS MUSIC CONFERENCE 43 Kathak Sint. Nirmala Joshi then presented a paper on Kathak, tracing its history and emphasising some of its essential features. She referred to the schools of Kathak and the surviving teachers thereof. She then introduced Padmasri Sambhoo Maharaj, national award-holder for Kathak. First Sambhoo Maharaj and Nirmala Joshi explained the different gats and gat-bhavas which represented movements and portrayed specific characters or motifs and these were illustrated by the student of Sambhoo Maharaj, Kumari Maya Rao.

Then Sambhoo Maharaj took up a song depicting Krishna- Gopi love, somewhat simliar in theme to the familiar Madhura nagarilo figuring in Bharata Natya recitals. This was a piece of Sambhoo’s own uncle, the great Bindadin. Taking the Pallavi of the piece “ Why are you obstructing the way Sambhoo Maharaj interpreted the Bhava in more than a score of variations; all this was expressed through facial expression chiefly of the eyes, which he said was to precede expression through Hasta Abhinaya. He pointed out that the abhinaya through limbs should be characterised by dignity, refinement and subtlety, and distinguished it from what was called film-abhinaya; imitating the latter and other kinds more popular action, he characterised these humorously as folk-bhava.

Explaining how different situations demanded variation in one and the same kind of expression, e.g., ‘looking’, Sambhoo Maharaj showed how a Nayika would look for a lover who was near, for one at a short distance and for one at a great distance. Demonstrating the change of mood he depicted in a marvellous manner, with his eyes and facial expression alone, the Gopi getting indignant first on the approach of Krishna and then slowly softening herself into affection.

Sri G. N. Balasubrahmanyam paid a tribute to Sambhoo Maharaj and hailed him as " Abhinaya Chakravarti”.Thanking Sambhoo Maharaj Dr. Raghavan said that that was not the first time the Academy was arranging for the exposition of Kathak in their Experts’ Committee or in their concerts series. These 4 4 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX expositions of Kathak would dispel the popular notion that the Kathak did not have much Abhinaya ; Kathak was not only rich in Abhinaya but certain ways of employing Abhinaya as preser ved in Kathak by expondents like the genius they witnessing that morning, were worth careful study by those here devoted to Bharatanatya. In Kathak the Abhinaya and the Hastas were intertwined and integreted with Nritta. Bharata in his Natya Sastra bad expatiated upon jtx-fold Abinaya (Shadanga Abhinaya), the first of which was Soocha and which was the advance-inter pretation through facial features, and the eyes especially, of the meaning of the song. The scope of this as well its practice and tradition were to be found in Kathak such as could be seen in the exposition of Sambhoo Maharaj. He drew attention also to Sambhoo Maharaj’s observation that the expressions through the limbs should be soft and delicate, a point which Kalidasa had emphasised in his appreciation of Malavika’s dance where he says mridur abhinayah. On behalf of the Academy Dr. V. Raghavan also thanked Smt. Nirmala Joshi and the Office-bearers of the Bharatiya Kala Kendra for participation in the Conference and bringing these eminent artistes from the North.

THE ELEVENTH DAY 31st December, 1958 The last meeting of the Experts’ Committee of the Music Academy convened in connection with its 32nd Conference was held in Wednesday the 31st December. Sri G. N. Balasubrah- manyam, the President of the Conference, presided. There was a display of two newly devised Tamburas. There was also an illus trated talk on the Choral Music of Yugoslavia and then the Concluding Function of the Experts’ Committee sessions was also held. Tamburas Vidwan Narasimhamurthi of Dharwar exhibited a Tambura devised by him on a piece of bamboo without the kudam. The main purpose of this new invention was portability and cheapness. The sound quality was good. There was however no rest for the P t s . I-IV] THE XXXII MADRAS MUSIC CONFERENCE 45 arm. The Vidwans present examined the Tambura and com mended the effort of the musician. A similar and much more easily portable model but made in wood was exhibited by Sri Sankaran of Kumbhakonam Brothers which though a little costlier than the bamboo one was considered by the Vidwans more convenient in several respects.

Western Music Prof. Mirka Pavlovich of Yugoslavia gave first a talk on how to listen to western music and explained the features which Indian listeners should particularly note if they wanted to under stand and appreciate western music. Similarly she said there were certain features which western listeners should note if they wanted to understand and enjoy Indian music. The first difficulty of western music for an Indian listener was its massiveness or quantity of sound. So far as Indian music was concerned, for a western listener, the main factors to be borne in mind were the melodic type with its strict Arohana and Avarohana, the basic drone, and the rythmic structure. A second element in western music to be remembered was timbre and the colours created by the combinations. A third element was augmentation and diminition of loudness, and the fourth was the variation of expression which was, in Indian terminology, a regular change of melakartas. A further element related to the range of the octaves used.

Choral Music of Yugoslavia Speaking on her main subject, Choral Music of her country, Prof. Mirka Pavlovich said that the subject was interesting as it had parellels in Indian choral singing. Choral music became the first form of art-music in Yugoslavia. People there liked more vocal music than instrumental. Many forms of group-singing were current in the churches and the homes. Church choral music was of different varieties, the Byzantine, the Greek, the Serbian and the Glagonian. The Serbian had folk-inspiration and had a resemblance to Vedic chanting. There was also the singing of the Protestant church. Secular choral art in Yugoslavia had a more recent growth and gained a great fillip in the last century, with 4 6 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX the growth of nationalism. There were societies for the promotion of this choral music like the First Belgrade’s Choral Society. Among the repertoire of this choral music were elaborate compositions in contra.point style, e.g., by Mokraniatz. The performances of choral music were now very popular, the preference being for the works of the Cantata and Oratorio types. The most characteristic choral form was the Rookovet, meaning ' boquet of flowers a vocal composition in Polyphonic style, based on folk lore. The lecturer played a number of tape-recordings, illustra ting samples of the choral music described by her.

Condolence Resolution The meeting then adopted a condolence resolution recording the Academy’s sorrow and sense of loss at the demise during the year 1958 of the following personalities in the field of music and dance: Karaikudi Sambasiva Iyer, Alattur Venkatesa Iyer, Tanjore Lakshminarayana Bhagavatar, Dwaram V. Krishnama Naidu, Tiruvalapputtur Kalyani Ammal, Vazhuvoor Veeraswami Pillai and T. V. Subba Rao.

Concluding Function The proceedings of the 11-days’ Conference were then brought to a close by the President who gave a resume of the papers, discussions and demonstrations held during the sessions. The President expressed his gratitude to the various vidwans and scholars and fellow-musicians who had participated in the experts’ meetings and concert series and made the discussions and the festival a success. He stressed the importance of these academic activities of the Conference and mentioned the help rendered by Dr. Raghavan. Speaking on behalf of the foreign musicologists taking part in the Conference Dr. Renshaw of Canada emphasised the great significance of the work done by the Academy in creating these contacts between musicologists all over the world. She said that she had derived utmost benefit from attending the Conference and would carry the message of Indian music to the West and her own country in particular. Prof. R. C. Mehta, Principal, j?TS. I-IV) THE XXXIl MADRAS MUSIC CONFERENCE 47 College of Music, Baroda, speaking on behalf of the North Indian participants, complimented the Academy on its work. He observed that the Journal of the Music Academy bad been acting as an ambassador abroad, and though he had known the Academy’s work for several years through the journal, this was the first year of his visit to the Academy. He had no hesitation, he observed, in saying, like his predecessors who had visited the Academy, that here was the most impressive music confe rence in the whole country, and there was nothing comparable to it in the field of Hindustani music. Vidwan Veeriah Chowdry of Guntur spoke on behalf of the musicians of Andhra and Vidwan Padmanabha Rao of Mysore, on behalf of the musicians of Karnataka.

The President was then garlanded by the Principal of the Teachers’ College of Music, Music Academy. On behalf of the Executive of the Academy Dr. Raghavan explained the work and organisation of the Annual Conference of the Academy and thanked the individuals and institutions, whose cooperation made the Conference a success. He complimented Sri G. N. Bala- subrahmanyam for the excellent way in which he had conducted the proceedings of the Conference as President and thanked the vidwans who had taken part in the discussions and demonstrations and had acted as judges in the competitions. Emphasising the large background of the work of the Academy, he mentioned the regular participation in the Conference every year of musicians and scholars from North India and from the West. In this connection he expressed the gratitude of the Academy to the Central Sangeet Natak Akademi, Delhi, and Bharatiya Kala Kendra, Delhi, for enriching the 32ndConference with the performances and demonstrations of the musicians and dancers from the North. The Academy, he said, had been recently building up a second line of performing musicians and rearing up junior talents. The junior and sub-senior concerts series had been becoming increasingly important and they had not only recently instituted prizes for the best junior musician and Mridangist, but they were also receiving help from the Central Akademi thanks to which they could now persevere -in 48 THE JOURNAL OP THE MADRAS MUSIC ACADEMY [VOL. XXX this line of encouraging fresh talent.Dr, Raghavan then thanked the donors of the various medals in the competitions and the Press which had given wide publicity to the activities of the Academy, particularly the , Hindu the authorities of the Madras Corporation and the Government, the All India Radio, authorities of the P. S. High School, the Dhanvantari, Subrahmanyam and Rama Scout Groups, and Messrs T. V. Rajagopalan, R. Eswaran R. Ranganathan and S. Natarajan. The function terminated with a group photo of the Experts, foreign delegates, musicians and the Executive.

Members Day

The Members day of the Academy was celebrated on New Year’s day at the P. S. High School premises. After refreshment there was a variety programme of music by the members and their children and Dr. Renshaw, musical mimicry by ' M. O. K ’, and a farce entitled “ Rehearsal ” by the boy scouts. PTS« I IV] THE XXXII MADRAS MUSIC CONFERENCE 48-A THE SADAS The Sadas of the 32nd Conference of the Academy was held on January 1st, 1959, under the Presidentship of H. E. Dr. B. Ramakrishna Rao, Governor of Kerala. The function commenced with invocation by Sri K. V. Nara- yanaswamy. After the convoking of the Sadas, Sri K. Soundara. rajan, Secretary, read messages received for the occasion. Sri K. Balasubrahmanya Iyer, Trustee of the Academy, welcomed the President of the Sadas, Dr. Ramakrishna Rao, and the Sadasyas, and requested Dr. Ramakrishna Rao to confer the distinction of Sangita Kalanidhi on the President of the Conference, Sri G. N. Balasubrahmanyam, and award the other honours, prizes, medals and diplomas to the different recepients. The President of the Conference Sri G.N. Balasubrahmanyam was then introduced by Sri S. Venkateswaran, one of the Vice- Presidents of the Academy. He read the following citation : Vidwan G. N. Balasubrahmanyam The Citation Born on 6—1 —1910 of Sri G. V. Narayanaswamy Iyer, well- known educationist, connoisseur of music and Member of the Academy’s Expert Committee; passed his B.A. (Hons.) in English literature in 1931 from the Madras Christian College ; learnt his first lessons in music under his father, and later had training under Vidwan Madurai Subrahtnanya Iyer and Sangita Kalanidhi Tiger Varadachariar ; decided to take music as profession in 1931 ; had his debut in the Music Academy in 1937, and became one of the top-ranking vocalists in a very short time; was appointed as producer of Carnatic music in the All India Radio, Madras in 1955; is also an original composer; with a 6- A 4 8 -b t h e j o u r n a l o f t h e *m a d r a s m u s ic a c a d e m y (VOL.-XX* unique style of his own and a speedy virtuosity of voice, he gained a great popularity and a school of followers and pupils.

The President of the Sadas then conferred the title of the Sangita Kalanidhi on Sri G. N. Balasubrahmanyam and presented him also with the Birudu Patra and the Insignia.

Sri T. V. Rajagopalan, Member, Executive Committee, then presented Vidwan Sri Ennappadam Venkatarama Bhagavatar for the award of the Academy’s recognition for the services rendered by him to music.

Ennappadam Venkatarama Bhagavatar

The Citation

Born on 21—2—1880 at Ennappadam village in Cochin State, of Padmanabhier and Sitalakshmi Ammal, of a family devoted to music and Sanskrit learning ; started learning music when he was eleven under Noorani Ayya Bhagavatar pupil of the famous Paramesvara Bhagavatar, and his own elder brother Ratnagirisvara Bhagavatar; began giving concerts along with his elder brother; after his brother’s demise gave concerts separately and perfor med also Harikathas; has been honoured at the courts of the for mer States of Kollengode, Cochin, Travancore and Mysore and music assemblies; has composed several new pieces including a Ragamalika in 108 ragas.

Sri C. K. Venkatanarasimhan, Secretary, then presented Mridangam Vidwan Sri Tanjore Ramadoss Rao, for the award of the Academy’s recognition. PTS. I-IV] t h e XXXII MADRAS MUSIC CONFERENCE 48-C

Tanjore Ramadoss Rao The Citation

Born on 2—4—1899 of S. Subba Rao and Lakshmi B ai; learnt Mridangam under Tanjore Babu Rao ; started his career as Mridangam accompanist for the Harikathas of all the leading Bhaga- vatars ; had later accompanied the vocal and instrumental concerts of all leading musicians ; from 1950 on wards, has been Professor of Mridan gam in the College of Music of the Annamalai University.

Sri R. Eswaran, Member, Exe cutive Committee then introduced Mridangam Vidwan Sri Tinniyam Venkatarama Iyer for the award of the recognition of the Academy.

Vidvan Tinniyam Venkatarama Iyer The Citation

Born in 1900 at Tinniyam village, Trichy District, of Vaid- yanatha Sastrigal, of a family devoted to Veda-adhyayana and Tamil studies ; started learning in his eighth year vocal music and Mridangam from Sethurama Iyer of his own village; later specia lised in Mridangam and took special training in the intricacies of laya from Subrahmanya Iyer of Tiruvayyaru; had his first performance as Mridangist in 1912; later accompanied many 48-d the journal of the madras music academy [VOL. XXX well-known performers of both Harikatha and vocal music; earned a name as a capable teacher of both Mridangam and vocal music ; has trained a large number of Mridangam artists and vocalists, several of whom are well-known today in the field of Karnatic Music.

Prof. P. Sambamurti then presented Prof. Vissa Appa Rao for the award of the Academy’s recognition.

Prof. Vissa Appa Rao The Citation Born in April 1884 at Peddapuram, East Godavari District; graduated in Physics from the Government College, Rajahmun- dry, and the Presidency College, Madras; rose to the position of Prof, of Physics in the Madras Educational Service, Principal of the Arts College, Rajahmundry, Training College, Rajahmundry, and of the Andhra University College, W altair; member of the Music Academy, Madras, from the very beginning ; has co-opera ted in the Academy’s Teachers’ College of Music by organising teaching and himself lecturing on the physics of sound and theory of music ; connected with Music and Dance institutions in Andhra ; member of the Advisory Board of the AIR, Vijayawada, and Andhra Pradesh Sangeeta Nataka Academy; took initiative in publishing rare Kritis and exposi tions of Tyagaraja and Kshetragna, and himself published several articles on music and dance ; has consistently worked for the promotion of music and dance activities in Andhra Pradesh. The President of the Sadas then presented Souvenirs to th? above four musicians and scholars. PTS. I-IV] THE XXXII MADRAS MUSIC CONFERENCE 4 8 -e Then felicitations were offered to the above recipients of honours by the following speakers: Sangita Kalanidhis Sri T. Ghowdiah and Tiruvizhimizhalai Subramania Pillai, Vidwan Palani Subramania Pillai, Sri Annaswami Bhagavatar, Vidwan Madurai Mani Iyer, Vidwan Vceriah Chowdry of Guntur and Dr. Renshaw of Canada.

Sangita Kalanidhi Sri G. N. Balasubrahmanyam then replied to the felicitations. Then Vidwans Ennapadam Venkatarama Bhagavatar, Tinniyam Venkatarama Iyer and Prof. Vissa Appa Rao, replying to the felicitations, thanked the Academy for the honour done to them.

Prize Winners in Competitions

The President then awarded the medals and prizes to the ladies and gentlemen who had come out successful in the diffe rent competitions conducted by the Academy during the 32nd Conference and who were introduced by Messrs. T. V. Rajagopalan and P. S. Ramachandran.

Special Awards

Dr. V. Raghavan, Secretary, then said that a special award was being made from that year onwards, namely, the prize in the name of the late Sri T. V. Subba Rao, Vice- President of the Academy, for the best singer in the Junior Concert Series. He then presented Vidwan B. Krishnamurti as the recipient of the prize for the year and the President presented him with a silver plate. Dr. Raghavan introduced Sri A. Eswaran as the recipient of the Dr. Henry Cowell Prize for the best Mridangam player from among the junior Mridangam Vidwans. The President presented him with the prize.

Teachers’ College of Music

Sangita Kalanidhi Mudicondan C. Venkatarama Iyer, Principal of the Teachers’ College of Music conducted by the 4 8 -f the journal of the madras music academy [Vol. XXX Music Academy, then presented the successful students of the College for the award of diplomas. Dr. Ramakrishna Rao presented the diplomas to the successful students. The Raja Annamalai Chettiar Prize for the student standing first in the examination was won by Kumari K. P. Bhagirathi.

Madras Symphony

Mr. John Wiggin, Public Affairs Officer, U. S. I. S., Madras, then formally presented to the Academy the full score of the Madras Symphony on behalf of its composer. Dr. Henry Cowell, who attended the Academy’s Conference in 1956 and composed the Symphony under the inspiration of Indian Ragas and Talas. It was also announced that the Academy had arranged for its world premiere of this composition in the beginning of March, 1959, in Madras under its auspices. Mr. Wiggin said that it was a great pleasure to him to associate himself with the Academy and to present the full score of the Symphony at the important function of the Sadas of its 32nd Conference.

The score was accepted by Dr. V. Raghavan on behalf of the Academy.

President’s Address

The President of the Sadas, Dr. Ramakrishna Rao, then offered his felicitations to Sangita Kalanidhi G. N. Balasubrah- manyarn, who combined in himself not only Sangita but Sahitya. Sangita and Sahitya were inseparable and if a talented musician combined in himself not only the art of celestial singing but also that of composition, then that musician deserved the highest honour that could be conferred. From what the citation stated of G. N. B., he was inclined to believe that he was one of the foremost musicians the State had produced. The other Vidwans who had been honoured on the occasion had made significant contributions to Karnatic music. The contribution of Prof. Vissa Appa Rao had been mainly towards the science of music and he had been responsible for propagating the cause of music in Andhra Desa. pT S. i-iv ] THE XXXII MADRAS MUSIC CONFERENCE 48-G

Referring to the “ Madras Symphony ”, the Governor said that it was an imaginative gesture and expressed the hope that this was only a beginning for more abundant cultural and intellec tual co-operation between the United States and India. He also urged the Academy to institute research in comparative musicology.

Madras, Dr. Ramakrishna Rao said, had always distinguished itself for its intellectual and spiritual attainments and for its various attempts to preserve and maintain the purity of their culture. The Music Academy and its Expert Committee was doing wonderful work in the cause of music. They must pay their homage to the memory of the late Tiger Varadachariar and late T. V. Subba Rao for the valuable services they had rendered to the cause of scientific music.

The guru-sishya sampradaya, Dr. Ramakrishna Rao said, still prevailed in the field of music and he considered that the lack of that personal relationship between the guru and sishya in other fields of education had been a tremendous loss the country had suffered. It was lack of that personal relationship and contact between the teacher and the taught that was responsible for the calamitous things that had happened in the field of general education.

But so far as musical teaching was concerned, still that personal relationship between the guru and sishya remained unalloyed and it was that relationship which gave its greatness to this parampara. He hoped that this tradition would be continued, in spite of the fact that more people might be attracted towards the study of music, and it might become necessary to open music colleges and schools throughout the country.

Dr. Ramakrishna Rao said he was glad that the Music Academy had extended its activities to the comparative study of 4 8 -h the journal of the madras music academy [Vol. XXX music that was prevalent in the country. There were significant indications that the activities of the Academy would be further widened and extended towards the study of the musical systems prevalent io the whole world.

Mr. V. K. Ramaswami Mudaliar, Trustee of the Academy, proposed a vote of thanks. PTS. I-IV] t h e XXXII MADRAS MUSIC CONFERENCE 48-1 Winners First : M. S. Lakshmi Second: V. Susila. Second : Second : Lalita Sesbadri. First: S. Sampath Kumar. First: K. Rama Devi. Second : T. R. Radba V.Lalita & First: N. C. Sundaravalli. T. P. Vaidyanathan. Donors MUSIC COMPETITIONS AWARDS Endowed by Sri T. Sadasivam Iyengar Medal. Awarded by Sangita Kala- nidhi the Hon’ble Justice Sri T. L. Iyer in memory of late Vidwan Sem- mangudi Narayanaswami Iyer Awarded by P. R. Swami Iyer Awarded by Sri M. Sudarsanam Venkatarama Iyer "Kalki Ninaivu Parisu ” Tambura... P. P. A. Ramaswami Iyer Memorial Prize L. Muthiah Bhagavatar Memorial Dhanam Memorial Medal. Endowed by Sri Semmangudi Srinivasa Rajalaksbmi Memorial Medal Awarded by Sri K. V. Ratnam Iyer Competitions Modern compositions ... Tamil songs Vocal Music for Gents ... Veena Vocal Music for Ladies... 6-B 48-J MUSIC COMPETITIONS AWARDS (Contd.) THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX [VOL. ACADEMY MUSIC MADRAS THE OF JOURNAL THE

Competitions Donors Winners

Purandaradas Padams ... Endowed by V.S.S.K. Brahmananda, First: M. S. Lakshmi Tobacconist, Jaffna. Second : T. P. Vaidyanathan

Pallavi singing Dr. Sankaranarayana Iyer Memorial First: Rajalakshmi Jagannara- Medal. yanan. Awarded by Dr. S. S. Krishnan, Second: V. Jayalakshmi Junior Musician Sangita Kalanidhi Sri T. V. Subba Vidwan B. Krisbnamurti Rao Memorial Prize. Awarded by the Executive Commute of the Music Academy. Junior Mridangam Awarded by Dr. Henry Cowell of U. S. A. Eswaran. Vidwan

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sr6iruî^)eo, a/rin/aa&rrizîi), g§]uGuirgi Qeiuu/ib gi®ip. airtnias&rriL/w îi>utr(st^ssH-iu a 0 &O3T <2 uj t S r ^ i r esrih srm um îLjib sirLLQS!(V)ir. SWARASTHANAS AND THEIR NOMENCLATURE By Sangita Bhuahanam S. Ramanathan That there are seven notes and theae have twelve places in an octave is true of every system of music. In our Veena, we have twelve swarosthanas in an octave. The chromatic scale of the West has also twelve semi-tones. A'look at the piano will show that there are seven white keys and five black ones, thus making altogether twelve in an octave. In Hindustani music, except Sa and Pa all the other five notes admit of two variations each. They in the north have adopted a simple nomenclature; the lower variety is named komal and the higher tivra. In Western music, the white keys of the piano represent the notes of the major diatonic scale, C D E F G A B and the black keys are referred to as flat or sharp according to their pitch being lower or higher than the adjacent white key. In the Karnatic system, the present practice is to call the twelve swarosthanas as follows: (1) Shadja, (2) Suddha Rishabha, (3) Chatussruti Rishabha or Suddha Gandhara, (4) Sadharna Gandhara or Shatsruti Rishabha, (S) Antara Gandhara, (6) Suddha Madhyama, (7) Prati Madhyama, (8) Panchama, (9) Suddha Dhaivata, (10) Chatussruti Dhaivata or Suddha Nishada, (11) Kaisiki Nishada or Shatsruti Dhaivata and (12) Kakali Nishada. The purpose of this paper is to examine the nomenclature obtaining in South India and see how far it accords with tradition handed down from the days of Bharata’s Katya Sastra. Bharata has indicated the intervals of the seven notes of the Shadja grama, the fundamental scale, in terms of srutis, dividing the octave into 22 srutis. The srutis of the seven notes S-R-G-M-P-D-K are 4 3 2 4 4 3 2. To say that Shadja has four srutis means that it is at the fourth sruti from its lower note namely, Nishada. Sri Raja S. M. Tagore and some others have taken it as four srutis below the next, namely Rishabha. Says 64 the journal of the madras music academy [Vol. xxk Raja S. M. Tagore: “ The srutis of a note are are really those which separate it from the note above, and not from Jthe note below.” The experiment with Chala Veena and Dkruoa Veena which Bharata has prescribed for a proper understanding of the srutis shows clearly that the srutis are counted upwards from the lower note. Also Dattila who is mentioned by Sangita Ratnakara has categorically stated that Shadja is at the 4th sruti from Nishada:

~~Regarding the other notes also, he says :~~

rffi- 3*4 gcftaf: 3T5T II crert fatflqt tr^r*TW: i traprRl. u T hus:— Sa is 4 srutis above Ni Ri 3 II Sa Ga 2 II Ri Ma 4 II Ga Pa 4 »s Ma Dha 3 II Pa M 2 ») Dha Counting the sruti of Sa as Zero, the position of the seven notes of the Shadja grama will be as follows:— SRGMPDNS’ 0 3 5 9 13 16 18 22 In ancient days, if the swaras were referred to as simply Rishabha or Gandhara (unqualified), they meant the notes of the Shadja grama with the sruti intervals indicated above. But it is beyond doubt that Bharata was aware of the presence of other swarasthanas as is clear from his exposition of ‘ Sadharana ’. Let us try to understand this with the aid of an illustration. Counting Sa as Zero, we have seen that Ga is at the 5th sruti and Ma is at at the 9th sruti. Suppose there is a note at the 6th PTS. I-IV) SVARASATHANAS AND fHEIR NOMENCLATURE 65 sruli. You can say that it is Ga with 3 srutis from Rishabha or Ma diminished by 3 srutis. So it belongs to the regions both of Ga and Ma and hence * Sadharana ’ to both. Bharata cites the example of the seasons where you can have some days which . N may be said to belong to two seasons : •TW 1

Sangita Ratnakara of Sarngadeva deals with this problem in great detail and enumerates as many as 19 swarasthanas. At this stage, it will be helpful if the sruti values of the Shadja grama are expressed in terms of vibrational ratios. Taking the vibration number of Sa as 1, Pa is 3/2, as it is obtained at 2/3 of the vibrating length of string. Ma is the fifth below Sa ; 1-^3/2= 1 x 2/3 = 2/3. Bringing it to the middle octave, it is 2/3 x 2 = 4/3. The interval between Ma and Peis 3/2 x 3/4=9/8. So there is a major tone interval (9/8) between Ma and Pa separating the two tetrachords, Sa-Ma, and Pa-Sa. As Pa is four sruits above Ma, a chaiussruli interval is the equivalent of a major tone. Now Sa and Ma are also chatusruti. So the ratios of JVY and Ga cah be calculated. JVt is 1 x 8/9 x 2 = 16/9. Ga is 4/3 x 8/9 = 32/27 ; this is a comma less than 6/5, the minor third of Western music. It should be noted that the values of the lower JVt and Ga (Komal) as they are fretted on the Vina today are exactly the same as 16/19 and 32/27. Mr. C- S. Iyer in his article “ The wonder of fretting the South Indian Veena ” has shown how JVt (Komal) is fretted from the Ma fret, 4/3 x 4/3 = 16/9. It can also be substantiated by the fact that opposite to komal Ni on the first string, you have Suddha madhyama on the Panchama string of the Veena. Now we come to the trisruti which has baffled Ramamatya and many others after him. Lochana Kavi (1162 A. D. ?), the author of Raga Tarangini has taken the Suddha scale (Shadja grama) to be the equivalent of Kapi (Kharaharapriya of Karnatic Music). His description of Todi will prove beyond doubt that the trisruti 9 66 THE journal of the madras music academy [Vol. XXX Ri o f the Shadja grama was not the Komal Ri as taken by Ramamatya: ntst- tcrqf: fN t ^ " In Todi only Ri and Dha are Komal, all the other notes are Suddha.” Thus Suddha Ri and Komal Ri cannot be the same. In the commentary on the Tamil classic, Silappadikaram, the seven notes of Stmpalai correspondidg to Harikambodhi are represented in a Zodiac, the twelve houses standing for the twelve swarasthanas. The sruti values for the seven notes are given( dividing the octave into 22 srutis. Mr. N. S. Ramachandran rightly refers to this contribution as epoch-making as we are able to locate the exact swarasthanas among the 22 srutis. Ri has four srutis and Ga 3 srutis. As the Ga of Harikambodhi is obtained at 4/5 of the string, Ga is 5/4, and so the interval between Ri and Ga = 5/4 x8/9 = 10/9. Thus a trisruti interval is the equivalent of a minor tone (10/9). A dvisrtui interval is 16/15, for 4/3 x 4/5=16/15. It may be noted that just as Shadja grama takes 3 chatussrutis, 2 trisrutis and 2 dvisrutis, the major diatonic scale also has 3 major tones, 2 minor tones and 2 semi tones. Now the ratios of the seven notes of the Shadja grama will be as follows:— S R G M P D N 1 10 32 4 3 5 16 9 27 3 2 3 9 This will approximate to the Kharaharapriya scale of today. The notes of this scale represent the Suddha swaras. Now let us turn to Sarngadeva’s exposition of the oikrita swaras, i.e., swarasthanas taking srutis other than the above. Sarngadeva calls the Ga at the sixth sruti Sadharana Gandhara and the Ni at the 19th sruti, Kaisika Nishada. The justification for the term sadharana has already been indicated. Kaisika Nishada is so called because it is slightly higher in pitch than the Shadja grama Nishada by a hair’s breadth. The note next to the Sadharana Gandhara (i.e., at the 7th sruti) is Pts. i -iv] svarasthanas and their nomenclature 67 right in the middle between Ga and Ma, and hence called Antara Gandhara. Similarly the At at the 20th sruti was called Kakali Nishada: ^ 3RIT: ^C:l Thus we see that Sadharana Gandhara, Antara Gandhara, Kaisika Nishada and Kakali Nishada are terms used by Sarngadeva to denote the notes at the 6th, 7th, 19th and 20th srutis in the octave. Now we shall turn our attention to the vexed question of the Chatussruti Rishabha. To our knowledge, it was Sarngadeva who first used this term. He says that Ri becomes chat us sruti in the case of Chyuta Shadja. Be it noted that the Ri had not changed its place ; only Sa was fallen by one sruti; i.e., Sa was at the 3rd sruti from Ni instead of the 4th sruti. Similarly in the case of Chyuta panchama in the Madhyama grama, Dha was chatussruti, though its place in the octave was least affected ; it still retained its 16th sruti from Sa. Ramamatya in his Swaramela Kalanidhi equates the Shadja grama with Mukhari, the modern Kanakangi. His statement that this was Sarngadeva’s view has no basis whatsoever :

~~gtsrtf i arfw; i|% nwcrnsj i~~

~~Swaramelakalanidhi, Melaprakaranam, 10 It was Ramamatya who named the Tivra Ri as Pancha sruti Rishabha.~~

igycfrtWfq-: — } 54 Let us examine his statement with the help of his own expo sition of the Veena fretting. The string nearest to the player was tuned to Ma, and the 2nd to Sa. At the second fret, Pa is obtained ______Ri on the first string and Panchasruti Ri on j the second string. If he says that Ri is ______1 panchasruti, he must grant that Pa is Ma Pa also a panchasruti; but he is clear that pa is a chatusstruti, faithful to the Bharata Sutra. So Ri has 68 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX to be a chalussruti. It will be seen that At is Panehama of Panehama, 3/2 x 3/2 x 1 /2=9/8. Also Pa is at the 13th srtUi. So At is at 13 plus 13 -26th, i.c., at the fourth. In the Silappadika- ram commentry too. Tuttam the equivalent of At has four srutis. It might be argued that Ramamatya counted Sa as the first sruti and hence the Tivra Ri was at the 5th sruti. Granting that. Pa should be at the 14th sruti which is not the case. Ramamatya was driven to this step because of his initial mistake, viz-, the identification of the Shadja grama with Mukhari (Kanakangi). He had to take the Trisruti At to mean the Komal Ri and so the Tivra Ri got enhanced by one more sruti in the bar gain. We have already seen that a trisruti interval was a minor tone 10/9 and not 16/15 as stated by Ramamatya. It is curious that Venkatamakbin who has taken him to task for several acts of omission and commission faithfully echoes what Ramamatya says in this regard. If we were to take the notes of the Shadja grama as the Suddha swaras, the present nomenclature for Komal Ri and Dha (Suddha Ri, Suddha Dha) would be obviously wrong. Ramamatya enumerates 14 swarasthanas. He has one Gandhara and Nishada slightly higher than and in addition to the Antara Gandhara and Kakali Nishada. He names them Chyuta Madhyama Gandhara and Chyuta Shadja Nishada and even formu lates melas on the basis of these 14. Later he himself identifies them with Antara Gandhara and Kakali Nishada, thus reducing the number of Swarasthanas to 12. Sangraha Chudamani adopts the nomenclature of Ramamatya except in the case of panchasruti Ri and Dha. Here they are shatussruti Ri and Dha. It seems unfortunate that notes were named in terms of srutis. For we have the anomoly of having to state that Bhairaoi takes the Chatussruli Dhaivata which is trisruti'. The Tivra madhyama (the present Prati Madhyama) was called by Venkatamakbin as Varali Madhyama. There seems to be a misconception that Venkatamakhip wapted to distinguish the madhyamo of Varafi Pts. i-iv] svarasthanas and their nomenclature 69 from the madhyamas of other Prati madhyama Ragas. He only names the 12th sruti (Chyuta Panchama) as Varali madhyama and prescribes it consistently to all his Uttara melas! It would be of interest to note that Venkatamakhin uses only 12 swarasthanas for his scheme. He does not, for example, make any distinction between Skatsruti Ri and Sadharana Gandhara and he assigns the 6th sruti to both of them. We have already seen that the Ni and Ga of the Shadja grama are exactly the same as the Komal JVt and Ga as they are fretted on the Veena today. So it would be erroneous to call the JVi and Ga of Kanakangi as Suddha Nishada and Suddha Gandhara. The present arrangement of calling the lowest of each note as Suddha dates from the time of Ramamatya. It might be a con venient one but it is based on the mistaken identification of the Shadja grama with Mukhari, the modern Kanakangi. IDEALS IN VIOLIN TECHNIQUE IN RELATION TO KARNATIC MUSIC By Sri C. S. Iyer To obtain a good standard in violin play, various factors in the production of sweet sounds have to be observed. My ideal in this is the standard of late Sri Govindaswamy Pillai whom I have heard from 1918 to his last days (1931). Apart from his being a solo player in public towards the end of his life, he had accompanied the high-pitched flute of Sri Palladam Sanjiva Rao and also the low silvery voice of the late Sri Bidaram Kiitappa. In his solo play, he played to the pitch of F or F sharp—(4, 4| Kattai) and not to a low pitch as pre- velant nowadays. My talk is intended for young violin players who aspire to obtain a good technique of handling the violin and it is not inten ded for violinists playing on the platforms, whose hand, bowing methods etc., have all set, and become rigid by habit. Our President of this year’s conference, Sri G. N. Balasubrah- manyam, in his talk in 1955, on the All India Radio on "Bani" of Karnatic Music emphasised certain points in relation thereto. Firstly, Gamaka Sudd ha, and secondly the very large number of Gamakas existing in Karnatic music, besides our special Gamakas. A few of his observations are quoted below :— " ...... The most noteworthy feature of Karnatic music is the gamakasuddha. Our sampradaya recognises the prayoga of gama kas and anuswaras while rendering ragam, swaram or tanam. It is possibly for this reason that tana-varnas in quicker tempo and rep- le e with gamaka suddha are given great importance by our vidwans. Similarly it is the gamaka suddham in rendering tanam that gives the characteristic individuality to the Karnatic style. The gamakas of the Karnatic system may be said to be more empha tic. There are some gamakas peculiar to this system. Regarding pTS. I-IV] IDfeALS IN .VIOLIN TECHNIQUE 71 the three Kalas, there are features of Kola Pramana or Sarva laghu in the Southern system, that we mix all the three and introduce Sangatis in all tempos. " ...... It is common knowledge that one and the same note acquires different values and shapes due to sthayi nyasa, amsa bhedas etc., bhairavi and manji for instance. Similar instances of twin ragas are janaranjani andpurnachandrika, arabhi and devagandhari ”. I call upon the budding violinists to observe and pratise all these factors in their violin play. I delivered on this aspect of ragas a lecture in the Christmas week of 1955 with a demontration on the violin. The acme of production in South India, of melodic music on instruments, is its correspondence with the pre-eminent human voice. The violin has become an adjunct in our music concerts from about the year 1800 when the violin practice was started by Indian musicians. It is no good playing the violin, producing a sound either like a Veena or a Nagaswara, nor the Veena like a sitar, as en joyed today by some of the public, because they belie correspon dence with the human voice in Karnatic Music. At the same time, the timbre and the tone of the several instruments have got to be shown at their best. Even in such production there should be a necessity of ease or laghava. I have heard it said on good authority that when Govinda- swamy Pillai sought Tirukkodikaval Krishna Iyer (1854-1912) to bless him, Tirukkodikaval had remarked about Govinda- swamy’s technique as one of laghava (ease), while his own was belaboured. I shall, describe, as far as my knowledge will permit, how the present-day violinists can maintain the standard of Govindaswamy Pillai. Instrumental music needs not only a large and heavy practice at the instruments but there are various physical factors both of the instrument and of the player in the matter of production of good and highclass classical music. I refer only to the four-stringed violin. These features are:- (1) The Sitting Posture; (2) The Grip of the bow by right 72 THE JOURNAL OF TrfE MADRAS MtJSIC ACADEMY (VoL. XXX hand; (3) The hair of the Bow and Bowing Technique; (4) Fingering work by the left land ; (5) Attention to the sound- post and the bridge and rhythm ; and finally, (61 The facial expression of the Artist.

1. The Sitting Posture. The European’s hold of the violin against the chin, the player himself standing, and his different tuning of the violin strings, need not be dilated upon. We, however, squat on a flat surface. The late Pazhamaneri Swaminatha Iyer held his violin against the chin—but he was more a vocalist as he played the violin as an accompaniment to his voice.

(a) The squatting posture which we have adopted looks necessary for a certain fixity of the violin for production of Gamakas. The South Indian places the violin against the chest and the scroll should be on the foot, near the anklebone of the right foot, not on the toe. It is here that a certain laghava or ease is required.

(b) The violin should not be pressed against the chest but only the edge of the violin should rest thereon. Even the back ribs should not touch the chest to ensure eliciting the proper tone of the violin.

(c) In the Aryan Path of October 1958, a writer has noticed an Indian (perhaps Hindustani) violinist placing the scroll against the foot, and on the ground. I have also seen a similar case in South India and the player fumbles until he gets the grip against the foot. There is a pressure on the violin ribs in that position by the chest, which should be avoided.

(d) The right foot should not also be stretched out too far, as the violin should not be in a very bad angular position from the body. This will affect the bowing of the strings by the right hand and a or slipping of the hair of the bow is generally then noticeable. There are instances where the chest leans on the violin and the body bends while playing, though the sitting posture is right. In this squatting posture, generaly the left foot Pts. i-iv] ideals in violin technique 73 should not be pressed by the right thigh, but the latter should sit light on the left foot, so that a cramp may not develop.

2. Grip of the Bow by the Right Hand. (a) The thumb ought to rest near the base of the nut, so as to avoid the movement or slipping of the stick up and down, while bowing ; the index finger should slightly press the bow and the little finger should relieve the pressure, the middle two fingers helping in the process of bowing as a whole. One ought to be in a position to bow the strings to the full length of the bow, without scraping or scratching the strings, which a fine ear feels very harsh. (b) Bad casesof the grip are: (1) where the little finger is insert ed between the hair and the stick of the bow; (2) and the four fingers almost act like a monkey’s grip of the stick. Though the four fingers catch the bow above the stick, correctly and softly, if they however are held far away from the nut, and say, when only three quarters of the bow is played, the right shoulder has not the necessary “ looseness” to play on the strings and the bow to its full length. (c) A European who attended our Academy Conferences has noted in the London Times that the South Indian violinists played with the tip of the bow only and frequent changes of a very short bow length. This, in my opinion, has brought about a good amount of scraping of the violin strings and fall in standard. 3. The Hair of the Bow and Bowing Technique The hair of the bow should be clean, properly spread wide, ard sufficiently resined. All the good features of violin play are brought about by the pliancy of the human wrist, both right and left, and the ease of the whole arm. The bow should remain at right angles to the strings, and run always parallel to the bridge ; the bowing should always be between the bridge and the finger board. The hair of the bow should not travel below the T holes themselves while bowing and must go up when the finger goes up to higher positions on the strings. This is the judicious method of

1 0 *74 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX handling the strings. There is also the need to stop the bow dead on occasions, without killing the higher harmonics; even advanced violinists produce a sound akin to belching when they propose to stop. In fact, the sound then is just like the falling pitch of the 'Othu’ of the Nagaswara. 4. Fingering work by the left hand I believe in the four-finger technique of playing on the four strings as far as possible ; e.g., on the Shadja string Ri Ga Ma and Pa including Komala ssaras should be played by the index finger, the middle finger and ring finger and the little finger respectively. This is the first grip of the neck in English denomination. The third in the same denomination on the Shadja string is Ma Pa Da and Mi, by using in the same way the index finger, the middle finger, ring finger and the little finger. Occasionally in producing a Komala Gandhara and Komala Mi the three fingers, the index, the middle and the ring fingers have to be used fairly together on both the Shadja and Panchama strings. I have seen that all these positions seem to give the vivara (distinctness) including Gamakas for the Karnatic music. Everyone may have his own methods developed, but they are not standard in my opinion. For instance, an advanced violinist plays only with two fingers, the index and middle finger, both on the Shadja and the Panchama strings. To produce the correct effect of the Kriti “ Maa Jeeva Dhaara ” of Tyagaraja, this style would not help him. There is also nowadays a serious attempt to play by a single finger technique on the entire string. There is nothing produced but a travesty of Karnatic music. There is a fourth grip which has to be used on the steel Panchama string, where the Ri Ga Ma Pa are produced by the index finger, the middle finger, the ring finger and the little finger. For instance in Dhanyasi sndBegada in the higher pitches. The nature of the grip by the left hand of the Dandi may be referred to here. The tips of the fingers while not touching the Pts. i-iv] IDEALS IN VIOLIN TECHNIQUE 75 string, whether the bow is playing or no, should not be far away from the finger board for facility of reach. In the first grip the position is just within the “ V ” formed by the left thumb and the left index finger, but it does not wholly rest within the *' V”. The violin rests between the first joint of the thumb and the base of the index finger. An incorrect way of holding the Dandi is between the joint of the thumb and its tip. This makes the fingers ache. Further, this method would make the fingers rest fiat upon the finger-board in the sitting posture but not in a fairly vertical position, which is very essential for eliciting of the harmonies of the violin. In the third grip position, the lower part of the left hand generally touches the violin and it i9 good to do so, since steadiness is assured in fingering work in the upper reaches. The flexibility of the thumb when the hand moves up and down is also an important factor. The change of position of grips should be effected in an inaudible manner. It is absurd to follow the finger technique, as in the Veena, of travelling over a very large portion of the strings, because thereby you strangle the tone. The slavish imitation of the Veena technique by crawling as a caterpillar over the strings, though some times it may be fast, should be avoided as far as possible.

5. Attention to the Sound-Post and the Strings The strings are generally of foreign origin, and have been manufactured and tested to the necessary tension for getting the proper pitches, for G (Silver string), D, A and E (Steel string) as they are named. They should not be frayed when playing before the public, as there is harshness in the tone and lack of suswara. The fixation of the sound-post is a matter which should be specially cared for by violinists, though it is put in by a mechanic with the help of a sound-post setter. The fitting of the top and bottom of the sound-post against the back and belly of the violin must be a9 conscientiously executed as the fitting of the bridge-feet. It must not be jammed into its place and it should slide into its place without any force. The verticality should be seen to by 76 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX looking through the * f ’ hole as well as the tail-pin hole. The exact fitting of the top must be looked into by means of reflection in a thin mirror slipped into the ' f ’ hole. These are instructions which the violinist himself has got to attend to. " If the sound- post is too tight, the tone will be tense and h ard ; if too far forward, the tone will be loud and shrill without quality; if too much to the right of the fiddle, the E or first string will be loud and coarse, and the fourth or G string dull; if too much towards the centre of the fiddle, the E string will suffer and the G become loud and strong.” The sound-post should be just behind the right foot of the bridge. Nor should the sound-post be tampered with very often.

~~The Bridge I have already drawn attention to the fitting of the Bridge- feet. The bridge occasionally leans to the front due to the tightening of the strings and this should be arrested.~~

Rhythm The rhythm is exhibited very lightly in the movement and stress of the bow itself. The production of Swaras should be learnt in slow and fast tempo. In fact, in the early lessons, the play, especially in Alankaras and Varnas in three Kalas or time measures is essential. There is another important factor in violin technique of producing Anuswaras, besides Gamakas, where another finger touches a higher swara in unison with the swara played or just finished. This must be practised for emission of the full tone, as in human voice.

6. General Matters and Facial Expression of the Artist The two features of good music production on the violin are susvaras and sweet bowing, The violin has no frets like the Veena, where, by merely placing fingers at certain places behind the frets we get sweet sounds. But it is very easy to trip to unmusical sounds on the violin. There is no need to look at the strings or the violin, while playing and as one becomes mature he should look at the aqdj- Pts. i-iv] IDEALS IN VIOLIN TECHNIQUE 77 ence. The facial expression of the artist must be one of the ease in bearing, with a graceful look. There should be a general relaxation of the limbs and an absence of stiffness about the human body, while there is perfect control over the facial muscleB and a composure in the face.

Govindaswamy Pillai’s bowing for tanas, using the whole bow with pressure and jumps, is still inimitable. We do certainly want, in the least, a revival of his bowing and fingering technique of using particular positions and both taping of and travelling along the strings. There should be an elegance in play, and a high standard kept up throughout the recital. To my mind, Govinda swamy Pillai had the most aesthetic look, with the composure of a Togi transported by the Nada he produced. He is the supreme ideal I have heard and enjoyed on the violin. MELODIC TENSIONS AND MUSICAL AESTHETICS By Prof. R. C. Mehta, M. S. University of Baroda, Baroda. Poetics and aesthetics have attracted many for exploration but when we want to come to _grips with pure music and pure aesthetics, we find that the field of musical aesthetics is not much explored. Before I take up the general trends of aesthetic criticism in music in Modern India I would like to state in brief the necessity of aesthetic approach to music. In final analysis this has much to do with even holding of Conferences where musicians may play or sing to the gallery, with stylistic expressions, with narrow Gharana-vad. It has also much to do with tonal qualities of musical instruments, with the level of musical understanding or appreciation of listeners and also music-makers themselves, with the art of voice-training, with the art of manufacturing musical instruments, with Talim or music education, with perhaps anything conceivable under music. Normally and more so in the present days, we find that music is being bought for a price and the dictation comes from the person or persons who pay the piper. Under such circumstances the call for the dictation from within is hardly a thing artistes would think of or care for. The values, on account of this change is so much that we are confronted with the question : Is not the best paid musician, the best musician also? The layman is led to this logic, that the music presented by the musician who has charged the most must be good and it must be appreciated, clapped and garlanded. This logic is, I am sure, the basis of so much of present-day mass appreciation and this has, to an extent, led me to think more and more of the fundamentals of musical aesthetics. The dictates under the patronage of masses would deteriorate to the level of those under State patronage. The present-day musician is trying to find out whom to please and Pts. i-iv) melodic tensions and musical aesthetics 79 how to please. Instead of relying on the beautiful in music or musical aesthetics he is more often than not dependent upon external or extraneous objectives. This preamble is necessary just to emphasize the very basic qualities on which music sustains itself. This approach asks us to face realities. Each period in music makes a fresh demand, requiring re-valuation and re-examination of the basic material. In this paper I want to draw attention to certain basic material out of which our music is made. From Bharata onwards upto San git a Ratnakara, and to the present day, we have tried to apply the Rasa theory to music. Many attempts have been made to explain how music affects us. We are told that the Anahta Nada gives salvation, (aRTSrfttrtfJlRr^ TOT: ), but its relation to the music of the human beings is not explained, and, except in metaphysical terms, remains obscure. In a number of Sanskrit texts we are asked to dedicate ourselves to Nada or Music, because music is great, because music has led a number of Bhaktas or Saints to salvation, that there is no better medium of expression of love towards God. Airy one who wishes to attain Togasamrajya should better leave off everything else and concentrate upon Nada. We can find similar approach to Nada or music; and also for 51®^, TOT, 1$, etc., which in their own way become vehicles for sublimation and ultimate salvation or Moksha. Even different Swaras (3T. 3TT, f , aft, W etc.) have been ascribed relative musical pitches, and these in turn have been ascribed different Rasas. We are also told regarding the therapeutic uses or medicinal proper ties of sound or music. And in the same strain, we are asked to fit in Dipak and Malhar with physical phenomena. I, for one, wish to refrain from the metaphysical approach to music, only because I feel that such an approach has led to acceptance of music in its unaesthetic forms also. I want to approach music from the point of cause and effect, without presuppositions or prejudices, and would ask you to appreciate it from the world of your experience. From this point of view, let us examine the materials of our music. 80 THE JORUNAL OF THE MADRAS MUSIC ACADEMY [V oL . XX* Firstly, we make use of Swaras or pitch. Without any combinations or tonal qualities, a note, just like a syllable, has no formal significance, though it has some psychological signi ficance. As you may be aware pitch has some absolute entity also. Normally when we think of a note we are prone to think that a note emerges out of vocal chords or an instrument. This means that we are also thinking of a note at certain pitch having tonal qualities ; by tonal quality I want to draw your attention ■ to the fact that a note does not exist without its tonal counter part. Timbre or tonal quality of different instruments differ, and, to put it positively, thus achieves musical significance. It would not merely suffice to recognize the different tonal qualities by characterising them as just different, We have to recognise the different timbres as different significant data. To give an analogy from literature, the words-Tlf^T:, PWT, f^RWT etc., have their different meanings and connotations; at the same time they have a general meaning also, viz. night. But under different contexts they lend their particular meaning also and make the expression more meaningful. Similarly, in music a note on the same pitch having different tonal qualities achieves different aesthetic qualities or meanings with different contexts. / Similarly a given note with different tonal qualities or tonal structure with different overtones or partials, achieves different musical values. If this was not so there would not be any necessity of having different voices or having different instruments or having different combinations of voices and instruments. This does not refer to any other notes which under inter-relationship represent certain tension in themselves. A high note or a low note will thus provide the expression of physical as well as aesthetic tension. This tension is independent of direct tension]which comes out of notes that refer to tonic, i.e. those which refer to different focal points. The psychological response to individual tones is, in some parts, physiological, if we remember that any note would demand first of all attention. Tension would be determined by the independent qualities of that independent note. The note would at once excite us and demand P t s . i - iv ] m e l o d ic t e n s io n s a n d m u s ic a l a e s t h e t ic s 81 attention. We are always, perhaps every moment, in the cycle of excitement and repose, elevation and depression, and this basis of psychological phenomena comes to life through the medium of sound also. Now let us take the tonal relations as the basis of musical significance. The tonic becomes the gravitational point in tonal movement. From the independent tone to the gravitational tonic note, is the most significant musical phenomena. It is the basis of the music of every region, whether it be folk or classical. After enjoying the independent tonal value, a note takes up the position of central gravitation. It gives inter-relation to all other notes whether they put in melodic line or come in chords. In Indian music this has great importance, but let us remember that even in Western music the basis of tonic is the main criteria in determining form, proportion and movement. The tonic by its very position becomes the chief potential of musical reference by relating other notes in a context. It provides the main basis for tension. Tension is dynamic and is the result of psychic force or pressure.

George Dickinson in his book The pattern of Music believes that a tone does not have any tension if it is not believed in some kind of relationship to a predominant tone of reference, while Styfen Pepper in his book Aesthetic Quality believes in independent tones having their own psychological tensions. These two view points are not reconcilable. I am inclined to agree with Styfen Pepper. If independently single tones do not represent any tension, then the same tone under inter-relationship of other tones or notes given also cannot achieve any quality of tension. A note becomes a tonic and the tonic achieves its position as focal point by virtue of its position to other notes by movement of other notes around and showing itself off as a constant material for reference. If we think of psychological response to the tonic, we at once have to realise that tonic puts our whole attention revolving round an axis. The tonic commands full attention, fills up entirely the musical canvas and just like the Sun it enforces our musical vision to the direction from where it comes. It provides balance for all movements. Aesthetically speaking it is a main 11 82 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VoL. XXX source of interest, expectation, fulfillment and pleasure. Take for example a major raga like Taman or Jemini Kalyan. The movement could either be in the lower region or in the adjacent region. Suppose we take Sa as the focal point for elaboration, or in the language of aesthetics, the central point for accentric tension. As a part of exposition of melodic form, i.e., the raga, we take a few alaps. Let us take one or two movements and ask immediately, what is the actual effect on the listener. How does he respond every moment ? The listener is least conscious whether Sa has any particularly defined rasa. If we remember the famous couplet of Bharata:

~~iTtalWRtTStHT JTiqfipajff r a«rr W hM ii Natya Sasira, 29. 13-14. there appears to be a fixation of certain moods or sentiments with certain swaras; as also the other couplet of Natya Sastra:~~

~~Tfsr&ft~~

~~Natya Sastra, 19. 38-39.~~

This means that in an(j we should make use of it, 7, In fa, 3T ft J in TO®!— ft, and and This readymade prescription appears to have lost its reference under the context of our present-day music. In the examination of the melodic movement, we are least conscious about the rasas and sentiments as they are normally understood in literature. If we try to analyse a listener’s response to a given melodic movement we find that it is difficult to ascribe the rasas as prescribed by Bharata to a given movement. Psychologically and aesthetically we cannot explain the listener’s response in any terms other than expectations and fulfilment, Pts. i - i v ] m e l o d ic t e n s i o n s a n d m u s ic a l a e s t h e t ic s 83 tension and relaxation, elevation and depression. These are the basic qualities in each psychological phenomenon. In literature these basic qualities achieve certain value which are expressed symbolically under human relationship. In our musical texts we find Jatis ascribed to different srutis, Wjsil, 3TWTI, q«TT and ijs^T. In Kavya Prakasa different gunas are ascribed to different rasas JTIgq(* afrst and sren^. The Vaishnava Rasajpstra ^ goes deeper into the subject and ascribes Vistara as the basic psychological state when and rasas are being experienced. It also gives Poorti or repose as the basis of as the basis of and as the basis of tft* and and ^ as the basis of ^ trtng? and sflgcff rasas. If we group together jqqng and and in other group and we can co-relate the gunas ascribed to rasas by grg; and avasthas to rasas by Rupagoswami. But to ascribe different aesthetic qualities or psychological states to different srutis is a very different matter. The quality of tension and repose are achieved through various phenomena and is a continuous process.

In our effort or anxiety to equate the sentiments evoked by music with those of drama or poetry, we think of the same emo tional tensions as represented under a sthayi and sanchari bhavas. We ascribe different rasas, sometimes even unmixed single moods, to different ragas. Instead of the data arising out of experience of a Rasika we go the other way round and try to find out an already ascribed sentiment or mood in a particular raga. This process is unacceptable, as in art, the very work of art is the mate rial on which any conclusions could be drawn. We have, only a while ago, tried find out certain determinents. Let us examine the issue afresh. These tension and repose, these two concomi tants, play their part in uncountable varieties. Tension takes various shapes and results into repose also through uncountable ways and means. This interplay is the very essence of achieving unity through variety. There is a different tension when a note is either adjacent or far away from the tonic. The same assumes a different Bhape in different time-values or tempo. If the time- value has tonal qualities also, the tension is also affected, Em 84 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX phasis and volume lend their own meaning and shape the quality of tension further. If the melodic movement is wavy or flowy or galloping, the quality of tension and excitement still undergoes changes. If the focal point changes, or if certain other notes play their own part as sub-focal points, a new quality is projected. Associations created previously play their part as supporting or contrasting material. J'h e same melodic line or a melodic form expressed in totally diflOTent rhythmic patterns would give diffe rent results. A melodic movement in a slow diffused tempo like Vilambit Ektala has a different entity than the same melodic move ment in Drut Ektal or Drut Trital. Let us not deny the fact psy chologically or aesthetically. We react differently in these two given situations. How, then, can we say that the raga Darbariot for that matter any other raga in slow tempo would keep up the same mood in fast tempo also ? That would be disregarding the meaning of tempo altogether. Further, the raga Darbart in spite of its having a definite form will always be in flux, because the move ment, the proportionate emphasis, the tonal qualities accompan ying all these, the tempo, the rhythmic pattern etc. are not pre determined. The word Darbart has some literal meaning, i.e. majesty, and on account of our association with the word and also because of its movements in the purvanga, the projected quality of majesty has become at least one of the parts in presenting the raga. But Minya Malhar also achieves the quality of majesty through similar process. Under different inflections tonal relati ons achieve different meanings. If you would appreciate my the sis that tensions in melodic movement cannot be pre-determined and subjected to a given order of moods, sentiments or rasas, you would agree with me that ragas cannot express the same mood if the tensions go on varying. We have already seen how tensions vary under different pressures. If we believe in varying tensions, we would not try to find Karuna Rasa or pathos in Todi, in a Vilam bit Laya or slow tempo and all its variations. We could only say that Todi in slow tempo with appropriate melodic flowy movement may germinate certain tensions, which we might name as pathetic or Karuna. But the same raga in spite of having a determined structural pattern germinates also totally different tensions in A totally different tempo. It is futile to name the tension created P t s . i - iv ] m e l o d ic t e n s io n s a n d m u s ic a l a e s t h e t ic s 85 in fast tempo as the climax of the tensions created in slow move* ment. The climax in speed accompanied by appropriate melodic movement creates excitement and tensions which have their own value. But these do not come as the resultant climax of the same aesthetic values achieved in slower movements. If it were so, Todi in fast tempo should give us a more poignant Raruda Rasa. I have heard attempts to ascribe particular sentiments found in different Nayak, Nayika Bhavas in Rasa Shastra, to different ragas, without taking into account the fact of varying tensions. Pt. Omkarnath in his lectures on Raga and Rasa, talks of music with words and in the same breath ascribes different moods to different ragas using the literary texts, and thus, prejudi cing the issue. He ascribes Paurushatva or Stritva to different ragas as if each movement, each emphasis, each inflection of voice, each tonal quality, each upward and downward movement isdetermi- ned and similar in each stylistic variations. Take for example another rag like Bihag. There is general agreement regarding the inter-relations of different swaras of Bihag. Its general struc tural pattern and movement is an accepted thing. Its certain focal points are also accepted. In other words, a pattern or a form having aesthetic values has been accepted as a Raga. But beyond this there is no further dictation arising out of aesthetie necessity or structural balance.

Suppose we attempt to determine the aesthetic values of one of our major ragas like Bihag; let us take different ways to deter mine them. Is it a ‘Purusha’ Raga or a 'Stri’ Ragal The word *Bihag’ ends in sr, so one might say, it is a ‘ Purusha ’ raga. All the quali ties which can be ascribed to Purushatva should then go with the Raga. By projecting this idea in the very texture of the Raga, the presentation may sound manly, heavy, bereft of tenderness, more angular than graceful and as a consequence, the presentation may sound as if the Raga is a ' Purusha ’ raga. But suppose, somebody believes it to be a Stri raga and gives it the same psychological treatment by giving a feminine treatment by pronouncing the swaras tenderly keeping the raga flowy and graceful. What will be the effect ? One might have to accept it as a feminine raga. This process in psychology is called projection. Instead of 86 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX examining the raga from Purusha and Stri Bhava or Raga and Ragini Bhava, the whole form requires to be examined from a different point of view also and that would be of varying tensions. Under this scheme, we would accept a piece of art as it is presented and then try to analyse the issues. So Bihag may appear tender at one time and manly at another time ; at one time happy, gay or stimulating and at another time restless or depressing ; for some few moments it may appear as soothing and relaxing, another time we might feel more expectant or irritated. The mental responses require to be recognised as such without falling into the trap of the entire raga, emanating one or two ragas during the entire presentation. This is the very essence of melodic movement, of * Variation and Unification These two stages are the very basis of any artistic process and in music the various forces must be taken into account when we want to determine aesthetic values. The realization of these values would make us more conscious about the essence of our ragas, and would provide good basis for the acceptance of stylistic expressions without imposing a parochial approach of gharanas or Schools.

~~Timbre, volume, tempo, in all their countless variety form the true foundation of musical data and musical aesthetics. $ so so u (s«) -Tillana By T. N. C. Venkata Narayanacharyulu, Guntur.~~

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On the secular side, music could survive and preserve its beauties because of the patronage it received from our Princes, though such patronage used to be either for pleasure or for a show of regal opulence. In course of time even this patronage became nominal and limited to temple-ritual and to the bolding of formal Darbars. There were however some honourable excep tions like the Maratha states of Gwalior, Indore, Dhar and Baroda, reputed for their traditional patronge-to music and for their care to preserve its high standard. It was in these States that many of our reputed artists of the last century received their music training under famous Ustads who were usually Muslims. These Ustads came to have very great affection and even a silent regard for their Maharashtrian disciples who in spite of many privations and mortifications, rendered menial household service to the Ustads and their families. It is no secret when I say that the great Haddu-Hassukhan brothers of Gwalior used to be proud of their Maharashtrian disciples for their unstinted loyalty to and veneration for their Guru, 'the Ustad \ in preference even to their own parents, with the result that it became an unwritten rule with them to teach music to Hindus, particularly to the Brahmin disciples from Maharashtra. It is these last who brought the Khyal style to Maharashtra in all its glory and it is no wonder therefore that it at once became popular among the educated and the elite of the time.

Simultaneously with this, the first batch of our University products had begun to figure actively in public life, and the awakening of their national and political consciousness induced them to devote their energies to the uplift of the country in general and of our ancient arts and music in particular.

Following Bhartrihari’s saying that a man without music is no better than a brute, they tried their level best to see that music formed a necessary part of the fundamental education of pvery citizen. With their efforts therefore begins the history of 9 4 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX music education in Maharashtra. Great men like Justice Telang and Dr. Bhandarkar were among the early pupils of the late Gayanacharya Balakrishnabuwa. This is enough to testify to the sincerity and enthusiasm of the educated section of the society for the spread of education in those days. Evidently they founded what are now known as Gayan-Samajas. Concerts of famous musicians, discussions on musical topics, publication of old and rare works on music formed some of their regular activities. In course of time they also published books giving new methods of teaching music and formulated a system of notation for our music. Through the efforts of Rao Saheb V. N. Mandalik of Bombay, a pamphlet called the ‘ Gita L ipi’ written by Shri G. L. Chhatre was published as early as 1864 A.D. It gave the laws of sound and the scales of European music in simple everyday language and framed a system of Notation for our music almost similar to that of Europe. In his introduction to the book R. S. Mandalik says that the book was prepared for use in teaching music in the Girls’ School of the Literary and Scientific Society of Bombay. According to all available information this happens to be the first book which framed and advocated a system of Notation for our music on perfectly modern lines. They also conducted classes in which music was taught by able professionals according to these new methods. The vitalising influence of their activities and the strong appeal they had to the educated and cultured sections of the society impressed the professionals themselves so much that the more intelligent among them adopted their methods voluntarily and over and above training a few Shagirds in the traditional manner, opened classes for teaching music on new lines.

Another factor which advanced this taste in very rapid strides was the free adoption of music on the Marathi stage. In the earlier part of the Drama-age, the actors were chosen from among good-looking young men, gifted with a sweet voice but they used to have no special training in music. But as tastes are bound to become finer, the music on the stage had to be given a new orientation. The random ways of elaborating a song had to be replaced by a more systematic way of elaboration ant) fc>TS. I-lv j MUSIC TRADITION OF MAHARASHTRA 95 presentation for which the actors needed some grounding in classical music. Naturally, in the choice of fresh aictors, preference used to be given to those who had received some training in classical music under the masters. The effect of this change was almost magical and the music of the Marathi stage reached its highlevel mark in about a generation’s period. Its tunes became so popular that the Haridasas began to adopt them for their Harikathas and the Tamashawalas and Powada singers for their Lavanis and Powadas. Thus Raga music of the classical style brought about a steady revolution even in the non-classical or folk form of music. The tunes of some of the beautiful Hindustani Ghija-s in simple but charming Ragas were adopted for the Marathi songs with which the audience could identify itself easily and so the desire to acquire the original Chija-s in Hindustani slowly took a strong hold of the minds of the educated section of the audience. Thus one often comes acrosss many persons, who, before receiving any training in classical music, had mastered the technique of Raga music through the medium of these Marathi songs. It may be mentioned here that some of the Marathi songs even excelled the original Hindi Chija-s in point of their faultless poetic composition and sweetness of tune, so muh so that well-known masters like the great Abdul Karim Khan felt highly enamoured of them and sung them for the gramophone records. These Marathi songs and the highly artistic and subtle technique of creating the desired effect on the listener within a very short time deserve greater attention of musicians all over India, as in themselves they are original contributions with improvement over the stock-in-trade of classical music.

Thus the standard of appreciating and mastering the art and technique of classical music improved by leaps and bounds. Some of the great artists from the North have paid the highest compliments to the Marathi audience for its sincerity and intel ligent appreciation of music and for the very high respect it showed for them. This is why such famous Hindustani musicians like the great Alladiye Khan and Abdul Karim Khan chose to reside permanently in Maharashtra. 96 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX But many votaries of classical music were lured to shoot over the mark and so classical music soon began to lose its hold over the common people who naturally felt more at ease with the novelty of the Talkies and the music of the duets in the films as their tunes were picked up from the very tunes which a commoner or a man in the street usually hummed. There was also a crop of budding poets who pined for publicity and they started a move ment of reciting their own lyrics in public meetings and other social functions. For this they exploited the folk tunes with some advantage and the study of classical music became more or less a subject of academic interest and was pursued by a limited but devoted section of the cultured public. Some of our own poets and scholars began to advocate that Maharashtra had no classical music of its own and had but borrowed it from the North after the latter part of the last century. It is however a matter for some satisfaction that since we became a free nation, the care bestowed on the revival of our ancient arts and the patronage given to them by our Government in various forms have induced even the commoner to take greater interest in classical music. This is the present stage of the music tradition of Maharashtra.

I now intend briefly to narrate the significant facts in the history of this tradition from the earliest authentic sources to those of the present day, with special reference to the music of the Padas of Dasopant (1551—1616 A. D.).

I start with the Sangita Ratnakara of Sarngadeva (1175- 1247 A. D.). The author belonged to a Brahman family of Kash mir Pandits. After migration to the South, his grandfather and father are known to have spent their lifetime in Maharashtra. Thus Sarngadeva was born and brought up at Devagiri in Maharashtra and after his father’s demise inherited the post of the Shrikaranagrani of the Yadava kingdom. After giving the general theory and principles of the science of music, he turns his attention to its practical side and has in detail described the music of his own times, which he mentions as Lakshya and in doing so has insisted that old theories and music traditions must be construed and interpreted only in such a way that they are PTS. I-IV ] MUSIC TRADITION IN THE MAHARASHTRA 97 able to explain the Lakshya or the current practices. Thus the Lakshya of Sarngadeva must have been the music then current in Maharashtra. Gopal Nayak who was later on forced by Amir Khushru to go to Delhi in 1294 A.D. was the Darbar-Gayak of the Yadava kings, and very probabaly in his childhood must have even seen Sarngadeva. It would be too far-fetched to suppose that his music differed from what was laid down and referred to as Lakshya in so respectable and authoritative a work as tha Sangita Ratnakara of his own times. So what Amir Khusru learnt under Gopala Nayak bad its roots in the music tradition of ancient Maharashtra and served aB the stem from which branched off many of the music practices current in the Northern system. Gopal Nayak is referred to by Venkatamakhin thus :

~~fcT: iftqTWTNTSi: II \ II~~

Madras Music Academy edition. From this we are led to believe that the Southern system too looked to Gopal Nayak as an authoritative source of the traditions then current in the South. Namdeva (1270-1350 A.D.) and the Mahanubhava Pandit Damodar, who with hiB wife became a convert to the Mahanu bhava sect in 1250 A.D., were contemporaries of Gopal Nayak. Some sixty Padas of Namdeva set to Ragas are incorporated in the Grantha Saheb of the Sikhs and have thus survived from oblivion. The number of Ragas employed therein is nineteen. Damodar Pandit was known even as an accomplished musician of his times. Some of his Padas in eight different Ragas are known today. The Ragas employed therein are found in contemporary music and music works of the succeeding centuries. From the account as given by Ibn Batuta who happened to visit Maharashtra and Devagiri within about a generation after the fall of the Yadava dynasty it is clear that the music tradition 13 98 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX continued to flourish as gloriously as in the past. Later on due to subjugation and consequent feuds and constant warfare, the culture of Maharashtra suffered heavily and was finally wiped off by the terrible seven years' famine, the Durga Devi famine, from 1468 to 1475 A.D., destroying all animals, birds, beasts, and vegetable life of the entire province. Most of the population died of hunger, and only some who had the means to , migrate went to various parts in the North as well as the South of India. There is thus a gap left in the history of the tradition, but from the works of immediately succeeding poets and saints we get enough evidence to show that there was neither any break nor perversion in it. Other independent evidence corroborating my statement above can be got in the Kitab-I-Nauras of Ibrahim Adil Shah II of Bijapur, which I have reviewed in three articles published last year in the journal, Sangit Kala Vihar, publish ed from Bombay. I therefore now come directly to Dasopant’s Padas. They are all in Ms. form. It is said that originally their number was one hundred thousand. Of these nearly 2000 were secured by the late Itihas-Samshodhak Rajwade of immortal fame. Just over 1600 of these 2000 were published by him through the numbers of the Maharashtra Saraswata Series in 1904. All of them are devotional, and in places, in Prabandha form in which the successive songs employ changing Ragas and metrical structure. Although we find Raga names assigned to them, no Tala names are mentioned. The number of Ragas employed is 33. The following is a list of them arranged in alphabetical order : Ahir, Ahir Mata, Ahir Malhar, Kafi, Kalyan, Kamboda, Kannada, Kedar, Goudi, Goudi-Dakshin Sala, Todi, Tondi, Tundi, Deshanka, Deshi, Dhanashri, Dhannasi, Mata, Bahiraoa, Bilawal, Bhairavi, Maru, Maru-Dakshin Sala, Maru-Dhanashti, Malagowda, i.e. Malavagoula, Mukhari, Mukhalis, Ramakri, Vasant, Shri, Sarang, Huseni and Malhar. The remark Dakshin Sala, made specially in the ca3e of nos. 10 and 23 goes to show that Dasopant’s music did not belong to the Southern school. Malagowda is a characteristic Marathi version of Malavagoula, and yet there is a separate Raga Bahirava PTS. I-IV] MUSIC TRADITION IN THE MAHARASHTRA 99 mentioned, which then must have been different from the current Bhairao or Malaoagoula of the South. Ramakri may not be the Northern Ramakali of today. Mukhalis may be a perversion of Musalik, which according to the Raga Manjari of Pundarik Vitthal is our old Malav. Huseni according to the same source is the Persian name for our Jijavanti. Sarang comes from Salang-Salak- Chhayalaga, meaning with various other touches or of ' variegated colours or shades ’ functioning like our present Bahar. There is no notation appended anywhere to the words of the songs. So there is no means for ascertaining the scales of the Ragas or even his standard scale. But fortunately for us, some Sarigama-s have of necessity crept into some of his compositions of the Chaturanga-class, so named because it must consist of the four Anga-s, viz., (1) Gita, (2) Swara-s or Sarigama, (3) Mridanga-Bols, and (4) a Tarana. Padas Nos. 1441, 1442, 1443 and 1444 are the successive Angas of a Chaturanga in raga Dkanashri as stated at their top. No. 1442, gives the following Sarigama :—

sa sS ni pa ni Sett p a ni sSga m a St at ft ar ft at 4 ft atat at ga sa ni pa sa ni nni ni ni Pa HI at ft 4 at ft ft ft ft 4 mS ga m m a pa ni ni sS ssa ni p a m m a at a fH 4f ft ft ar *ar f t 4 fa ga m m a pa sa. ga m m a pa sa m m a ga sa, a fH 41 at a fa 4f at f a a m m a ga sa g a m a pa ga m m a pa ni pa fH a at a a 4t a fa 4T f t 4t ni sa m m a ga sa ni sa pa sa ni f t at fa a at ft at 4 at f t nni ni pa m m a ga m a pa ni ni sa sa ni ft ft 4 fa a a 4t ft ft at at ft Pa m a ma ga sa II chha II 41 at at a at II 3 II

There are nowhere any dots or dashes employed in the original Devanagari notation, though I have used the dash in the 100 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX English version to indicate the long vowel " a Ri and Dha do not occur anywhere, and so the Raga is clearly pentatonic. Contemporary music works such as those of Pundarika Vitthal and others also omit Ri and Dha in Dhanashri, and mention the other notes as the legitimate notes of the Raga. I have traced the Sarigama of the Raga Dhanashri from the Sangiia Ratnakara onwards through all available old and new works, up to the current time, and found that its form has remained the same throughout. Lochan when he refers to Dhanashri evidently means the Puriya Dhanashri of the North which differs from the old Dhanashri. This therefore is another means of quoting the values of the notes as specified by ancient works for their various Ragas in terms of our present standard scale and unlocking the old treasures till now lying in oblivion. SOME ASPECTS OF KATHAK DANCING By Nirmala Joshi, Delhi. Kathak is not, as is popularly believed, a Mughal Court Dance. It was originally a Hindu devotional dance, performed in the temples by the devotees of Krishna. After performing the puja the devotee would sing songs in praise of the Lord and interpret it by dance movements. According to the saying—Kathan kart jo Kathak kahaye (he who enacts the story is called a Kathak), the dancer was called a Kathak. With the Muslim invasion Kathak receded to the background, till it was revived in a slightly different form by the Mughal emperors in the latter 16th and early 17th century. Kathak had by now lost its religious associations and become a secular court>dance. It was now an entertainment for the emperor and his courtiers rather than an art which portrayed the symbolic significance of life. Hence more stress was laid on the fast and intricate foot-movements, and the Radha-Krishna episodes were danced with more abandon and sensuality. The ‘ Kavitas,’ ' bhajans ’ etc. which were danced originally, were replaced by ' amads ’, ‘ parans ’ and ’ gats.’ In short, the skill of the dancer in displaying the technique of Kathak at record speed became the criterion. Kathak would once again have paled into insignificance after the Mughals but for the savants of the art like Shri Thakur Prasad of Lucknow and Shri Janaki Prasad of Jaipur, who strove hard to revive the ancient art. Through their efforts emerged a revitalised form of Kathak, in which the technique of dance based on the Natya Sastra and Abhinaya Darpana was influenced by the romantic fervour of the Mughal courts. Delhi was the centre of this school of dancing and after the decay of the Mughal court in the time of Mohammad Shah “ Rangila ” the able exponents sought asylum in Jaipur and Lucknow—both seats of culture and art. The styles survived depending upon the nature of encouragement and patronage. As the Kathak dancers of Jaipur were patronised by Rajput rulers \yho 102 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX maintained the devout character of the art, the 'Jaipur’ gharana developed a variety of intricate rhythmic patterns and foot work and a rich store of ' Kavitas.’ The dancers of Lucknow on the other hand, catered for Muslim patrons who looked for aesthetic pleasure only; hence this gharana has laid more emphasis on bhava, and grace, developing a rich treasure of lasya. Thus the difference between the two gharanas lies only in the interpretation while the basic principles are identical. My purpose here is to draw your attention to a particular aspect of it which is not generally noticed. I have touched upon a few salient points of its history only to dispel the mistaken notion regarding its origin etc. Now to come to the main point. The present-day Kathak dancers lay more stress on virtuosity—a few stances and wonderful displays of foot-work and a few breath taking pirouettes, that is all that is considered necessary for a performance. Of late we have been seeing also a tendency to add a little of high-jumps and low jumps and a few other acrobatic feats to add more colour to the performance, with the result that people in general get the impression that Kathak dancing means only a display of virtuosity. In other words Kathak is rich in Nr it and lacks Nritya and Abhinaya. It is also commonly thought that Kathak dancers do not make use of any Hastas or Madras as codified in the Sastras. Both these notions are incorrect. A careful observation will reveal that Kathak dance style is rich in Nritya and Abhinaya.

The essence of Nritya in Kathak is found in what is called Gat and Gat-bhav, features characteristic of Kathak dance. A Gat or Gati is a movement which conveys an idea of an object or abstract quality through a series of suggestive gestures without the aid of words. It is performed to the accompaniment of the tabla and sarangi, or any instrumental music which provides Lthra. In the Gat or Gat-bhav we find a definite system of inter preting gestures and expressions through a series of lyrical movements. A closer examination of a few Gats or Gat-bhav will show us the variety of gestural language (Hastas and Muefras) used in the Kathak style. P t s . i -i v ] s o m e a s p e c t s o f k a t h a k d a n c i n g 103 It is true that there is a lack of adherance to a rigid system of Hastas in Kathak dancing. Since a long time past the teachers of Kathak must have drifted away from the ancient treatises on dance. Hence they do not follow a system of imparting training in codified gestures as in Kathakali or Bharatanatyam, Nevertheless the spirit of the language of gestures is maintained and preserved in the rendering of Gat and Gat-bhav. In the Gat-bhav, episodes from the life of Krishna, Rama or Siva are rendered by a dancer enacting the roles of the various characters. In Gat-Mikas there is very little of Abhinaya because it only suggests the gait or stance of a particular subject. A single Gat can be shown in a variety of movements to bring out the poetic beauty. Thus a student specialising in Abhinaya must undergo a thorough training in Gat and Gat-bhav in order to get a good grounding in the expressive aspect of Kathak. ‘ The uniqueness of a Gat or Gat-bhav lies in its exhaustiveness as well as in the beauty of the subtle stances and postures which supplement the gestures and expressions. A careful observation will reveal an aesthetic blending of Hastas in depicting the subtle shades of Rasa and Bhava according to the Mayika or May aka depicted. For instance, the Chungoat ki Gat or the movement showing the drawing of the veil over the face by a woman and her looking through it can be shown in at least ten or twelve varieties, varying according to the temparament of the woman, i.e., the type of Mayika.

EXAMPLES: Hasrat: In the case of a dancer portraying the woman awaiting her lover with great longing the two hands depicting the veil are drawn over the face delicately and removed as slowly revealing the silent desire in her wistful eyes. 104 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX Shokhi : In the case of a dancer portraying a happy woman who is confident of her lover’s fidelity, the right hand depicting the veil is pulled rather brisk ly over the face and removed nonchalantly reveal ing a face lit with a triumphant smile. Similar instances can be found in the portrayal of the Gats of Krishna, Rama or any other hero for that matter. For instance : If the dancer wants to portray Krishna as a serene personality then there is a great solemnity in depicting the picking up of the flute and playing upon it. On the other hand if Krishna iB pictured as a mischievous youngster there is a boyish agility in the dancer’s picking up of the flute and playing on it. Now a few words about the Hastas in Kathak dancing. While rendering Gat and Gat-bhav Kathak dancers in their supple and flowing movements make use of various Hastas which a careful observer can easily discern: For example, in depicting Clouds, the Pataka Hastas are used. In the pulling of the veil over the face, the Katakamukha Hasta, in the portrayal of Rama with his bow and arrows, the Kapittha and Sikhara Hastas, etc. Unfort unately most of the modern Kathak dancers are not aware of these Hastas. The hastas they use are Swabhavika, i.e., what comes natural to them. For them therefore these Gats in which these hastas used are merely Bansuri ki Gat, Ghunghat ki Gat, Ram ki Gat etc. A deeper study of all Gats and Gat-bhavs is necessary to ascertain the various Hastas blended in them. I do not mean to say that all the Hastas depicted in the Sastras have ever been in use in Kathak style. It is difficult to say anything definite about this on the basis of a few limited Gats and Gat-bhavs prevalent among the Kathak dancers of today. Quite a number of Gats prevalent a century ago are lost now. Nawab Jani Sabab of Bilsi, in his book Naghmatul Hind mentions a valuable work on Kathak called Pothi Prakash written by Prakash Kathak in which 360 gats have been described. Incidentally it may be mentioned here that Shri Sambhoo Maharaj and Shri Birju Maharaj are descendants of Prakash Kathak. Ghunchae Raag another work on music written during the last century by Mohammad Mardan Ali Khan also mentions the same P t s . i - iv ] s o m e a s p e c t s o f k a t h a k d a n c i n g 105 number of Gats in vogue. Maadanul Musiqui written in 1853 by Munshi Mohammad Karam Imam, a courtier of Nawab Wajid Ali Shah, describes 21 Gats and says that the Nawab in his book Saut-ul-Mubarak has described only 14 Gats that are performed in his court. From all these accounts it is clear that quite a number of Gats have disappeared from the repertoire of Kathak dancers.

It can be surmised that a study of the 360 gats mentioned above would give us examples of more Hustas used in Kathak. However Kathak dancers did not depend on Hastas alone to depict various things. They followed what is known as the suggestive gestures for the depiction of an object. For instance, the idea of a river is conveyed by showing the rowing of a boat, or with the gestures of swimming or bathing. The idea of a deer is conveyed by showing the prancing of the animal with as much agility in the hand gestures as possible. The idea of Swan or rainy season is conveyed by showing all the favourite pastimes associated with the season like swinging on Jhoolas or applying Mehndi on the fingers etc. The joy of the peacocks also is shown to convey the happiness of the season. Many more examples of similar nature can be cited.

~~But this does not prevent us from using the hastas pres cribed in the ancient texts. There is scope to absorb more of the Madras in our expressive dancing.~~

1 4 THE VAISHNAVA MUSIC OF ASSAM By Dr. Maheswar Neog, Gauhati. We do not have any particular evidence to show what exact type of music was prevalent in Assam anterior to the spread of the wave of neo-Vaishnavism which was ushered into the valley of the Brahmaputra in the last decades of the 15th and the initial decades of the 16th century by S'ahkaradeva. We are left to our imagination in this matter; but this imagination can be based on the evidence of the writings of a few pre-S'ankaradeva poets, and the song compositions of at least two poets, Mankar and Durgavara, who seem to have remained outside of the neo-Vaishnava circle of S'ahkaradeva.

In the early period of Assamese literature preceding the neo- Vaishnava movement of the last part of the 15th century and the early part of the 16th, the Ramayana and portions of the Maha- bharata were rendered into Assamese verse; and these verses were put to ragas or recited in simple tunes. This is perhaps evidenced by the attempt of a 16th century poet, Durgavara Kayastha, to render the Ramayana of Madhava Kandali (14th century) into lyrics and add new ones, both of which total fifty- eight. These songs are put to the ragas-Ahir, Akashmandali, Kambdr, Gunjari.Chalarii, Devajini, Devamohan, Dhan.iri, Patamanjari, Varadi, Vasanta, Belovdr, Bhdthiyali, Manjari, Marovar, Meghamandala, Ramagiri, Srigandhakdli, Sngandhara, and Suhai. Meghamandala in this list may actually be Meghamallara; and on the other hand, the same reminds us of such ragas mentioned in the 17tb century biographies as Vayumandali and Meghamaydali. Mdlachi may perhaps be equated to Malavairt or Malasika. Chalani is perhaps Chalengi or Sdrangi. Devajini, Devamohan and Srigandhakali are somewhat unfamiliar names although we get such names as Deoaranjani in old Sanskrit treatises on music.

Madhava Kandali’s Ramayana mentions natas and natis, of course in a derogatory sense, while a great number of musical Pts. i -iv ] t h e v a is h n a v a MUSIC OF ASSAM 107 instruments are enlisted by the poet, Mardala, Khumuehi, Bhmachi, Dagar, Karatal, Ramtal, tabal, jajjhar, jtjiti, bheri, makari, tokari, do sari, ktndara, dotard, vtna, rudra-vipanci, and so on. Another poet of this period, Harivara Vipra, gives the names of some of these and other instruments.

Pltambara Kavi, a contemporary of S'ahkaradeva, uses these ragas in the lyrics in his Usa-Pariqaya: Ahir, Gurjari, Gondagiri, Dhana&ri, Mdga, Plata, Patamanjari, Pahari, Varadi, Vasanta, Bhathi- yali, Bhairavi, Mallara, Sakai. S'ahkaradeva and Madhavadeva employ the following ragas in their bar gits and ankiya-gits: Ahir, Asovari, Kalyana, Kanada, Kamoda, Kedara, Kau, Gauri, Tad, Tad- Vasanta, Tud-bhdthiyali, Dhanairi, Mata, Mata-mallara, Purvi, Varadi, Vasanta, Belovar, Bhathiyali, Bkupali, Mallara, Mahur, Mahur dhanairi, Ramagiri, Lalit, Syam, Syamagada, Sri, Srigan- dhara, Sri gauri, Sareng, Sindhura, Suhai. In this list Kau alone seems to be an unfamiliar name to the student of Indian mutic, unless it has got some connection in its etymology at best, with classical Kaiiika or Kakubha, the latter as in the Abhila$itarthacintamani and Safigitaralndkaro or Kahu found in Middle Bengali texts.

S'ahkaradeva, who lived the very long life of a Mahapurusa, that is 120 years, spreading from 1449 to 1568 A.C., founded a school of neo-Vaishnavism in Assam. His tenets of the religion are simplified to the extent of being extremely bare. He preached bhakli, but emphasised that Sravana and Kirtana, the chanting or muttering the glory of the Lord, and the listening to it, consisted of the simplest and, for that matter, the highest type of devotional activity as a way unto the Lord. Bhaktas found the greatest pleasure in mimicking and enacting the acts of the Lord as Krsna or RSmacandra in the form of dramatic performances. This in fact happened in different parts of India wherever this new reli gion spread; and it is this that gave a stupendous impetus to the creation of a variety of music and none-too-classical drama.

There was the efflorescence of a great literature and culture in this part of India with the advent of this new religion. S'ahkaradeva and his disciple, Madhavadeva, composed a number of songs of various orders-bargit (devotional lyrics, lit., noble songs), 108 THE JOURNAL OF THE MADRAS MUSIC ACADEMY, [VoL. XXX ankiya-git (songs of the dramas), kirtana-ghosa. (narrative songs), namaghoqa (devotional couplets), Bhatima (prasastis of God Visiju or Krsna, guru or a king), something like the South Indian varna in import, Payara (recitational verses), Sanskrit odes, etc. The Vaishnava music of Assam is rich and remarkable in its tone and variety. It helped the new religion to spread like wild fire. BhavSnanda, a rich merchant, was attracted to wards the message of the Vaishnava leader, at the instance of Bhaskara Vipra who used to sing the saim’s lyrics on the rabiib which is still to be seen in some parts of India like Rampur and Afghanistan. A great commander of the Koch army of Kama- rupa, S'ukladhvaja, who was responsible for the Saravati com mentary of the Gllagovinda, happened one day to overhear one of his wives singing a song of S'ahkaradeva on the Cherengdar, that is, sarinda, and he lost no time in resolving to secure ordination to the Bhakti cult.

Among the different forms of the Vaishnava music of Assam, the two tuned to ragas are known as bar git or noble songs, and ankiya-git, or songs in a drama. The name of the raga in these two types is indicated at the top. In all the ankiya-gits, the time or tala is also mentioned, and in three bargits (which are known as sad-chandar-git) three talas are named for each song. In other bargits no name of tala i9 given. A bar git does not always have to keep time in its singing. When an individual Vaishnava pours forth his devotion in public or in a domestic temple in the measures of bargit, he does not generally submit to the control of time beats. At other times, especially in con gregations, tala is maintained in performing bargits and the khol or mrdahga, and cymbals provide the accompaniment, The adept knows which tala is to be adopted in executing a particular melody. The Asovari-raga is commonly timed to Yati-tala, Kalyana to Kharman, and so on. This i9 a somewhat peculiar characteristic of bargits and ankiya-gits that that the few songs in a particular raga generally keep same tala, so much so, that a raga like Belovar is often called Rupaka Belovar, this melody-mode being almost invariably performed in Jtupaka-tala. Prof. P. Sambamoorthy of Madras University tells PTS. I-IV ]. THE VAISHNAVA MUSIC OF ASSAM 109 me that similar is the case with ragas and talas in the South Indian Teoaram (7th-9th cent.). On the other hand, an expert musician can and does employ as many as eight talas in the excution of one single piece. In the bar git manuscripts the names of talas are not mentioned except in the case of the three sad-chandar gits which I have mentioned. The following talas are seen attached to the ankiya gits—Ekt&li, Khar matt, Cutikala or Talent a, Tati mart, D omani, Visamatala, Rupaka-tdla and Mancok. According to the ojas of the sattra oja-pali chorus there are twelve Talas and twelve Upatalas. The 12 Talas are: Ektala, Kharman, Chutkala, Dasbari D omani, Dharamyati, Vara-yati, Vara-visama, Saru-visama, Par it ala, Racaka-tala, and Rupaka. The twelve Upatalas are: Actola, Adsari, Ar-visama, Unayati, Olota-ganjal, Rupaganjal, Suda-ganjal, Chab-tala, Chutu., Jora-visama, Pur-visama, and Matha-tala. The Kamalabari-sattra in the district of Sibsagar, which seems to present the norm in the matter of Vaishnava music and dancing, still possess twenty-six talas, which include all these twenty-four except Racaka, Adsari, Ar-visama, Olata-ganjal, Chab-tala, Chuta, Jora-visama, Pur-visama and Matha-tala; and, have in addition, Raktatala, Matha-yati, Tak-iala, Virupatala, Brahma tala, Carikhaniya, Khan yati, Tinimani, Ciiri-mani, Panc-mani and Dovaj. Some amount of difference in the practice of these talas is seen from one sattra circle to another. A work in Assamese verse, Vadya-pradipa, dating from the 17th century, mentions as many as 49 talas, although it deals only with 26 in detail. This work was noticed in Journal of the Music Academy, Madras, Vol. XXII. Wooden drums, strangely enough called Mrdahga, and earthen ones, called Khol, and cymbals of different sizes provide, now-a-days, all the musical accompaniment, although in the rabab, which instrument is associated with the great Tansen, and the cherengdar or sarinda were used. In individual singing among itinerant Vaishnavas, the vina and tokari (variatian of the vino) are found to be still used.

At the end of the second line of each bargit or ankiya git, the syllable dhrum is placed, with indicates that the first two 110 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX lines of the song constitute the dhruva, and are to be repeated from time to time in course of singing the succeeding verses, called pada, which consist of a few couplets. In the last couplet we generally find the name of the writer. A bargit may be compared to the dhrupad style of northern India, which, in the words of Fox Strangways, “ has a free masculine character; its words are reli gious, (but not exclusively). It is in slow time...... and to per form requires a good command of the breath. ” Or, it may be compared to the prabandha, with its four parts of dhruva (asthayi), antara, sanchari, and ibhoga (the last with the author’s name in it). The Barglts are religious in content and devotional in purpose like the Hindi bhajans of North India and the Marathi abhangas of Tukaram. Some of these songs concern themselves with the early life of Krishna ; but they are free from the erotic element of the Radha-Krishna lyrics of North India and Bengal. Markedly enough, there is no sportiveness of the Khayal type of Hindustani music in the bargit, which might indicate its freedom from Perso-Arabic influence. The anklyd-glts do not differ from barglts in musical execution except that the former is always accompanied with tala and is rarely or never executed without it. These songs occur in the Brajabuli dramas of S'ankaradeva and his chief apostle, Madhavadeva. In the devotional lyrics written after the time of S'ankaradeva and Msdhavadeva new names of melodies appear, some of which are Karnata (Kaudda?), Gunaja-Kendra, Gada-Kalyana, Gurjara§ Chalengi, Chorat (Sorata, Saurastra ?), JayaSrl, Paicima-DhanaStl, Vanga-Bhathiydli, Vihagacla, Malancha, Mult ana, Ramkeli, Reli, Sruta-Mallara.

The language of the songs of the barglts and anklyd-glts variety is a mischsprache, that is, a literary and artificial idiom, known as Brajabuli or Brajavali bhasha with Maithili as the basis, and Middle Assamese and oddments of Western Hindi or Braj- bhakha forming the superstructure. The borrowings in the langu age from Northern India may have something to do with the musi cal history of Assam’s Vaishnava sect. But no opinion at the mo ment can be hazarded on this point. It is also to be noted that the first known bargit of S'ankaradeva, mana m ri rdma-charanahi lagu, P t s . i - iv ) t h e v a is h n a v a m u s ic o f a s s a m 111 is said to have been composed at Badarikas'rama. From a com parison of dates this lyric seems to have been the first ever composed in the artificial Brajabuli idiom, practised in Assam, Bengal and Orissa from the 16th century.

Some people have, almost aimlessly, attempted to catego^ rise this raga music of Assam, some trying to identify it with Prabandka San glia, others with dhrupada, while others would like to reserve it as a category by itself. As the sangita-iastras, the prabandha-gitas, of which we scarcely have a living specimen now, consist of several parts like udgraha, dhruva, melapaka, antard and abhoga. In some sattras the alapa or anibaddha part of raga songs is called ugar, which some seek to identify with udgraha. The characteristic dhrum, attached at the end of the burden, is, again, supposed to hark back to the dhruva part of prabandha. But all this leaves much ground for consideration. On the other hand, the early history of dhrupada refers to the reign of Ramsingh Tomar, a contemporary of Akbar the Great. The technique of this type of music does not apply to the singing of bargits and anklya-gtts. In what relation this music of Assam may stand to the South Indian styles is yet to be seen. Apparently there are names of ragas common to all these schools, or common at least to two of them. A bargit in Dhanairi may look like Bhim- palairi of the North and Abheri of the South. Its Kalyaqa may correspond to Suddha Kalyana of Hindusthani. Assam’s Dhanairi has Sa, soft Ga, Ma, Pa, soft Ni and Sa in the ascent, and Sa, soft JVt, Dha, Pa, Ma, soft Ga, Re and Sa in the descent. Kalyana has Sa, Re, Ga, Ma, Pa, Dha, Sa, as arohana, and Ni, Sa, Dha, soft Ni, Pa, Dha, Pa, Ma, Ga, Re, Sa, as avarohana. In their execution, the Vaishnava raga songs of Assam have a different colour from the raga music of Northern India and, perhaps, that of the South also. Some people surmise that there was a process of decay after the Vaishnava leader, S'ankaradeva, fixed the raga patterns of this music in the far distant 16th century. One of the reasons adduced for such a surmise is that no notational records in writing even in the training of pupils in the tonic solfa on a scientific basis exist for this Vaishnava music, Secondly no stringed or wind-blown instruments have, at least 112 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX continually, been in use. But, on the other hand, the knowledge haa been transmitted orally from guru to iisya through the last few centuries with much care and devotion. It may be pointed out here that there is a remarkable uniformity in the mode of performance throughout the State except for one slip here or another there. It is not, therefore, to be apprehended that all has yet been lost for us, and we can hope that with proper appli cation expert musicians will be able to put this music on terra firma. The rhythmic pattern of a raga, as revealed in the anibaddha or alapa part of it, is still recognisable to the traditional musicians of Assam. The bols of the talas have also a definite shape for each.

The Assam Sangit Natak Academy, helped by the Central Sangeet Natak Akadami, has undertaken a small scheme of research to be carried on in the field of this Vaisbnava music. The work has already been started in a humble way, and the Committee appointed in that behalf is busy collecting specimens in tape-records and notations for further examination by experts. The Research Committee has already placed before the vidvan and gui}in public a preliminary report of their investigations.

In executing the alapa, words like Rama, Hari and Govinda are always used. Alapa is popularly known as raga diya, the giving of the raga, or raga tana, the spreading or elaboration of the raga. It is generally divided into four parts, which do not have any particular names except the third, known as tolani, the raising up of the voice to a higher pitch. This division would remind us of the four parts of classical alapa corresponding to asthayi, antara, sancari and abhoga. In Assamese raga diya the fourth is generally identical with the first. The singing of the text of the song then follows. But in some cases, the svara pattern held up in the alapa section is not very strictly followed while performing the text. The greatest reason for this is that in the training imparted by a teacher to his pupil, the svaras are not pronounced. Nor are the sonants, consonants and dissonants declared. It is only the devotional attitude towards the whole thing that has sustained this class of music, so F tS. I-IV) THE VA1SHNAVA MUSIC OF ASSAM ll3 as to render a raga adequately recognisable to adepts. Where, of course, there is a difference between the anibaddha and nibaddha parts of the rendering of a raga, all consideration and conclu sion must come from the nibaddha part, because there the probabi lity of decay is smaller. In another direction we might have some help in the matter ; but there also the door in closed. I refer to dhyanas of ragas, known among the musicians of Assam as rag-malita. From quite early times in the history of Indian music attempts were made to visualise the melodies in the form of persons. It is, however, in the beginning of the 16th century that this tendency to deification of ragas took definite shape. This is known as rdga-rupa or raga-laksaija, and has been much popularised by the rdgamalS, paintings of Northern India. This visualisation seems to have been prevalent in Assam from pre- S'ankaradeva times. One of his contemporaries, Rama Sarasvatl, gives such raga-laksanas in his rendering of the Gitagovinda, and uses the term ragor-malita to signify the thing. S'ukladhvaja, another contemporary, in his commentary of Jayadeva’s original text, quotes raga-laksanas from the Sangtta- damodara of S'ubhankara, a copy of whose other sangtta work, Hastamuktdvali, with an Assamese gloss, has been discovered in Assam. (This is being edited on the pages of the Journal of the Music Academy, Madras, by the present writer.) The popular raga-mdlitas, however, differ a great deal from the raga-lakasanas of Sanskrit treatises on music. The following, for example, is the laksana of Malava in the Sahgitadamodara : nitambinucumbita-vaktra-padmah Sukadyutih kuntalavan pramattah I samketa-iSlam pravi&an prado$e maladharo malava-ragardjah II A popular version of the mdlita of this melody in Assamese runs as follows : " Adi Niranjana destroyed the world of beings. The Lord then slept upon the bed of Ananta. He then stood up and crowned the Malava king on the throne. When Malava became a king, Malavati became his queen. Acharya became his chief minister, and DhanaSri another minister of state. The melody Purvi served karpura and tambiila to Malava, and Gandhara 15 i 14 THE JOURNAL OF tHE MADRAS MUSIC ACADEMY [VOL. XXX with his retinue provided the song. The raga Vasanta stretched the royal canopy over Malava, and Sindhura waved a yak’s tail. Four damsels. Gauri, Bhaitavt, Suhai and Lalita, made salutations to the king on the four sides, and attended him through day and through night.” It would thus seem that the raga-malitas of Assam had an indigenous growth. Some of the malitas do not give personified pictures of ragas, but connect them with some incident in the life Krsna, Visnu, or some other god. In regard to Sindhura, for example, we have : “ When Kanai (that is, Visnu- Krsna) restored the Vedas from the demons, Madhu and Kaitabha, by killing them, the Lord sang the melody, Sindhura.” Indian musicians and theorists have ascribed different melodies severally to the eight watches (prahara) of the day. It is possibly Narada’s Sangita-makaranda, which for the first time formulated the time theory *' evam kalavidhim jnalva gaytdyah sa sukhi bhavet. ” Opinion is, however, at variance in regard to the assignment of melodies to different hours. Among the Ojas or traditional musicians of Assam also the time theory exists but in its own independent way. Purvt or Puravi for example, which is commonly known as an evening melody, is placed by these Ojas in the early dawn. The Sangita-makaranda considers Purva as a noontide raga. Vasanta, which is placed by Assamese Ojas in the afternoon, is assigned by Narada to morning, and by the Sahgita- darpaqa particularly to the first watch only.

~~The following division of time is found among the choral Oja-pali singers of the Vaishnava establishments :~~

~~From dawn till noon : Kalyana, Kau, Sytima, Lalita, etc. From noon till evening : Bhatiyati, Gauri, Vasanta, Gandhara, Dhana&ri, Sri, Varadi, Ktdara, Tud-Vasanta, Tud-Bhatiyali, etc.~~

Evening : Asovari, Sareng, Btlavar, etc. Forepart of the night: Suhai, Sindhura, Kanada, Mallara and Nata-Mallara. Pts. i-iv] THE VAISHNAVA MUSIC OF ASSAM 115 Little hours of the night: Bhupali, Kamoda and Madhyali. Dawn : Dhupali and Purer. Apart from the neo-Vaishnava music of the sattras or maths, we have the music of the choral singers, known as oja-pali. There are two different types of oja-pSli. One is definitely "non”-Vaish- nava, and it performs the songs of the serpent-goddess of eastern India, Manasa. The second type takes for its text any Assamese version of the Ramayana and the Mahabharata, and the Puranas, and sets it to melody. It has in its repertoire as many as twentyseven ragas, the most prominent among them, like Saranga, Mall at a, Gandhara, etc., being also the most usual. Their performances have the two distinct parts of alapa, known as raga diya, and then the song set to the raga of which the basic form is given in the first part. As the leader of the oja-pali group, who is called Oja (Skt. Upiidhyaya), performs the text, he indicates the subject-matter in a number of hastas, known as mudra, accom panied by bulan or foot-work (pada-calana) and chavan or glances (Skt. drs ti). The music of the oja-pali has a different colour and sway from that of the music of the sattras.

Parallel to the school of music, there is a class of oja-pali in the Vaishnava sattras themselves. I have already referred to this type of musicians. In training and practice the sattra oja-pali are different from the sattra musicians, who perform the barglts and ankiyii gits and produce the dramas.

~~Among other forms of Vaishnava music the following of S'ankaradeva and Madhavadeva's compositions may be men tioned. These are not generally set to ragas :~~

Klrtana-ghosa or, simply, Klrtana: These are generally of a descriptive and narrative type. Several kirtanas combine to make a story, like that of Hiranyakasipu, Prahlada or Narasimha. The kirtanas are meant for mass singing during congregations. Each klrtana has a ghosa or refrain, which is set by a leader called pathaka and repeated by the whole congregation at the end of each couplet sung by the pathaka. In the western part of Assam this is sung to the accompaniment of nagera, that is, the naqqara 116 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX of Northern India, in addition to big cymbals and clapping of hands, which are common to all places. Sometimes the kirtanas are performed by the chorus, oja-pali. A book of ktrtana-ghojas was made by S'ahkaradeva.

Nama-gho$a or, simply, ghosa : A ghosa generally consists of a 1 couplet of tripadl or padakulaka-vrtti. It is sung in solo or in group. Several ghosas go to make a prayer or a poem of some devotional sentiment. The book Namagho$a, with its deep philosophical import and devotional outburst, was composed by Madhavadeva.

Bhatima is a poem of eulogy to the Lord or the Guru. It may also be a panegyric of a king or the praise of the hero or heroine in a drama. It is sung sometimes over a standing note or may be set to a raga.

No proper scientific study of the Vaishnava music of Assam is today available. Scarcely has any attempt been made in that direction. I have referred to a maiden effort made by the Bargit Research Committee of the Assam Sangeet Natak Academy. The Committee has drawn up a detailed scheme of survey of this music for the consideration of the State Akademi and the National Akademi in New Delhi. Apart from the question of adequate funds, which has so far failed us but may not be so any more in view of the National Akademi’s sympathies, we suffer from an extreme penury of working hands for research. An urgent sense of the need for such work is of very late growth in Assam. But it has to be roused if this rich heritage of India, which would go a great way to testify to the cultural oneness of India, is to survive the test of times. THE CHORAL MUSIC OF YUGOSLAVIA By Prof. Mirka Pavlovich, Yugoslavia (Music record: S. Morkraniatz—The Rookovet No. X) The reasons why I decided to speak about the Choral music of Yugoslavia, are two : first, because according to many Indian authorities choral singing was in early periods much culti vated in India, which explains the existing interest of Indian audience for choral a rt; and second, the music for chorus has, in the history of music of Yugoslavia, a special, extremely important place. However, before speaking about the music of Yugoslavia, some facts about this country must be remembered, facts which have influenced many, aspects not only in music, but in its cultural, social, political and economic development. The first is its geographical position on the South-East of Europe, exposed to different influences and to the contacts with various cultures and the second is its strategic position which made it the victim of various invasions and the target of different conquerors. There exist many details about the music of the Yugoslavs from the oldest times, eg. the data about musical performances in the castles of medieval Yugoslav rulers, the representations in medieval frescoes of different instruments in use in those times, some old codexes with neume notation, details about church singing, devotional songs from the time of the Reformation, and names of Yugoslav musicians from the 15th, 16th and 17th centuries who looking for better conditions for their work, had settled in foreign countries where they became very famous as court musi cians. But as a whole the history of the music of Yugoslavia from 14th to 19th centuries, for 500 years, under the foreign yoke of Turkey, Hungary, Austria, Venice, and soon, is full of gaps. So, as regards the history of Yugoslav music as a continuity, we can refer only from the beginning of the last century, that is, from the first great successes of Yugoslav peoples in their struggle for freedom and independence. But, although the conditions during foreign domination were not suitable for art-music, the folk 118 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX music was continuously cultivated. The wonderful national epics in which the Yugoslavs have noted their whole history, the folk* music and dancing, were during those times, the only possible expression of a people extremely gifted in art. And may be more than in the other cultural fields, in the folk-music of Yugoslavia it is possible to observe how the East is meeting the West.

~~(Music : J. Marinkovich - The V " Kolo ”)~~

The fact that the choral music became the first form of art- music of Yugoslavia was first conditioned by three factors:-(l) the vocal music was more popular among the Yugoslav folk than the instrumental ; (2) the already existing group-singing in the Yugoslav folk-music; and (3) the old traditions of choral church-singing.

First some words on church-singing. On the soil of Yugoslavia there could be observed four main kinds of church singing. (1) The singing of the orthodox church in the Eastern part of Yugoslavia (including the North-East and the South). It was always purely vocal and had its origins in the Bysanti- nian singing. Besides different local varieties, two main types could be observed, the Greek and the Serbian. The last is specially interesting and original and has very clear marks of folk-inspiration. I must tell you by the way, sometimes it very much reminds one of the Vedic chant. It was preserved up to the second half of the 19th century orally and by small marks in sacred texts, marks which are similar, to the marks for Vedic chanting (for Svarita and Anudatta). Systema tically it was noted by Stevan Mokraniatz, who gave also the musicologic analysis of modes used in it. In the second part of the last century and the first part of this century it inspired many works by Serbian composers for different occasions of the Ortho dox church. The most remarkable work is the Liturgy-the ortho dox mass, by Mokraniatz, a work written in the higly elaborated contrapoint style. This work is not very well known because it is not much in use to perform the church works of the orthodox church as concert pieces. But the artistic value of it cannot be better described than by words with which the famous C?ech £ tS. i-iv] THE CJJORAL MUSIC OF YUGOSLAVIA 119 composer Antonin Dworzak exclaimed when listening i t : “ It was written ”—he said, " by Bach himself.”

The second kind of church-music in Yugoslavia, the Roman church music, was mostly in use the North-west and in the central part of Western Yugoslavia, as also in some parts of the Yugoslav sea-coast. Because of the higher level of culture of the countries which occupied these parts of Yugoslavia during the period of 500 years, there were, very early, remarkable works in the domain of church-music. The most eminent old masters were the Sloven composer, wellknown in the West, Jacob Gallus of the 16th century, and the Croatian composer Ivan Lukachich of the early 17th century.

The third kind of church-music on the soil of Yugoslavia was the singing of the Protestant church. The oldest document of this type of music is the " Song Book ” of Primoz Trubar, the wellknown Slovenean religious worker of the time of the Refor mation. These songs are of folk origin.

The fourth kind of church-singing used by the Yugoslavs was the singing of the Glagolion church, which had its centre in the central part of the'Yugoslav sea-coast (regions of Sen and Krk). This singing was extremely interesting and had its roots in the old Slavic liturgy, the Roman choral and the folk-song but it was more the oral tradition and was not sufficiently made use of by composers.

~~There were some more varieties of church-singing in Yugos lavia, but they were less important.~~

~~In the past, the Yugoslav composers gave many remarkable church works, although the contemporary composers do not show much interest in this kind of music.~~

As regards the secular choral art, its development in Yugoslavia started in the last cemury, i.e. from the time of the first great successes in the struggle for freedom and independence. To understand the reason why it was just the choral music which got first the artistic form, again we must turn to the historical 120 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX conditions in which the peoples of Yugoslavia were during those times. The greater part of Yugoslavia was still under foreign yoke. Only Serbia was partly liberated. Most of the Yugoslav people were rural inhabitants, while the towns were inhabited by foreigners. After parts of the country were liberated, a quick transition of a large part of the rural population to the towns was started. The new bourgoisie of a people extremely gifted in music was looking for an art-form which at that time was the best available. The choral song was the easiest accessible for several reasons: (1) it did not need any economic support; (2) it did not need a special musical culture in the singers; (3) it did not need technical accessories ; (4) it gave possibility^ to any number of participants, which was in consonance with the nature of the Yugoslavs. Lastly in this peroid of growing national enthusiasm, choral singing was a wonderful artistic way to express the national feelings too. In the parts of Yugoslavia which were not yet liberated, as for eg. Slovenia, Croatia. Vojvodina, the choral societies were political and social centres, whereas the choral songs, composed on patriotic texts, were a kind of political propaganda, as for eg. in the case of the Illyrian movement in Croatia. In the liberated part of the country—viz- Serbia, “ The First Belgrad’s Choral Society,” was in founded in 1853. Soon it became the centre of the musical life of the a whole of that small free state : the centre of a growing musical culture, of the national style in music, of the first music school in Serbia, of the first string-quartet in Serbia, of the Federation of choral societies of the South Slavs, and so on. -It gave the first economic support which made possible the high musical education of the first Serbian, Stevan Mokraniatz, the author of classical Yugoslav music, and it became a centre for his work as conducter, composer, melograph, pedagogue and organiser of the musical life. Moreover going into the not yet liberated parts of Yugoslavia to tell through song about freedom and brotherhood of the Yugoslavs, it played a national role, too. I have mentioned all these details because in many ways the work and the problems of the “ First Belgrad’s Choral Society ” reminds me the work of your own Music Academy. PTS. I-IV] tHE CHORAL MUSIC OF YUGOSLAVIA i21 In the end of the century " The Firat Belgrad’s Choral Society " was one of the best choruses on the continent, which surpassed the stages of the biggest music centres of Central, Eastern and South Europe, with its conductor Mokraniatz, who became the founder of the national style in Yugoslav art-music. (Music: Mokraniatz—The Songs from the Sea-shore) The work of the " First Belgrad’s Choral Society ” will be better appreciated if we have in mind that it was not a chorus of professionals, but of amateurs. However, it should not be thought it was the only one of its kind ; towards the end of the 19th century and the beginning of this one, choral societies arose all over the country. Most of them were secular societies, sometimes assisting in church services. But there were also societies for the cultivation of church singing. The most eminent of them in the end of the last century was " The Society of St. Cecelia ” in Zagreb, in Croatia. It had as its aim the cultivation of the Roman choral, of the old Slavic church singing and of the devotional folk songs. The choral activity of Yugoslavs was not interrupted even during the wars. In the refugee camps in France, Greece and Russia during the First World War, in the prisoner camps in Germany and Italy during the Second World War, the choral song of the Yugoslav soldiers did not cease. Even in the most difficult moments of the last struggles for independence and freedom in 1941-1944, in the deep forests, frozen, starved and surrounded by the enemy, the brave Yugoslav warriors have found it possible to sing together. It was a simple choral song, with text full of national enthusiasm and love for freedom, with the march like the rhythm. It got the name "The songs of the masses ” and is often composed even today, 13 years after the war. But the full growth of the choral art of Yugoslavia was during the peaceful periods of her history, between the two wars, and especially after the Second World War. School children, university, students, factory workers, teachers, officers, music institutions, different societies,—amateurs and professionals,—old and young, men and women, are singing in choruses. Naturally 16 122 THE JOURNAL OF fHE MADRAS MUSIC ACADEMY [VoL. XXX in such competition, the artistic level of the choral singing is growing more and more, so that many choruses are able to per form even the most intricate pieces of the choral literature. The most eminent choruses in Yugoslavia today are some of the professional choruses—those of Radio stations, of operas and of the Yugoslav army. The singers of these choruses have special voice training and theory classes, and as the artists in Ytijgoslavia are paid by the State, they have very high salaries, social security, a month’s paid leave every year, and so on. But it must be stated that the artistic qualities of many amateur choruses are compet ing with the best choruses of professionals. Some of the student choruses like the Madrigal and chamber choruses are of a high standard. They can be compared not only with the best professional choruses in Yugoslavia, but with the best in Europe. Not a year passes without some of the Yugoslav choruses getting some of the first international prizes. (Music : Liovioz-" The flax ”) And now a few words about the repertoire of Yugoslav choru ses. The most popular are the compositions of the classic of Yugoslav music—Mokraniatz. Although these pieces are very complicated to perform, because they are written in very elabo rated contrapoint style, they are on the repertoire of every Yugo slav chorus. They form the literature which is the base of the musical education of several generations of Yugoslav composers, musicians and listeners. After the works of Mokraniatz on the repertoire of Yugoslav choruses are the compositions for chorus of other Yugoslav composers. Due to old tradition of choral singing and to the fact that the whole musical life was concentrated in choruses during almost the second half of the last and the beginning of the present century, the Yugoslav choral literature is extre mely rich. It will not be an exaggeration to say that there is no Yugoslav composer who has not written at least some pages for chorus. (Music: K. Odak—The III Rhapsody from Mediumurie) Foreign choral literature, both traditional and contemporory, is on the repertoire of Yugoslav choruses; and is more com- PTS. I-rv] THE CHORAL MUSIC OF YUGOSLAVIA 123 mooly performed in the big towns. Preference is given to the works of the cantata and oratorio type, i.e., to the big works for soloists, chorus and orchestra.

As regards the forms for choral works used by Yugoslav composers, most of the compositions in previous periods were of small forms, dictated .by the context, mood and character of the poetic text which inspired them. It must not be forgot ten that in the vocal compositions of the West, excluding some times the operas, the text has the same importance as the music, and the quality of the vocal composition depends on how far the composer was able to reflect in his music the feelings, the character and the mood of the poetical text which inspired his vocal composition. The texts that have inspired the choral works of Yugoslav composers are almost without exception from Yugoslav poets or the folk-song.

~~(Music : S. Hristich—The Automn)~~

The most characteristic choral form in Yugoslav music is the “ Rookovet ”, and it is based on folklore. Literally the word means “ the bouquet of flowers.” As a musical form, it is purely vocal composition for chorus, usually in elaborated polyphonic style. It is built on the folksongs taken only from one part of the country, songs which have a similar content, have the same psychological background and are of the same character, but different in mood. The first composer who used to write in this form and who is also its creator was Mokraniatz—the founder of the national style in Yugoslav art- music. After him composers were rare, especially in Serbia, who did not pay tribute to Mokraniatz by writing at least one “ Rookovet” . Even today, when the young Yugoslav com posers are looking for the modernistic in music, at least one of choral pieces is in this form.

Other forms in use by Yugoslav composers for choral works are divers, but the form of cantata, i.e., the piece for soloists, chorus and orchestra, has a preference. The post-war period has specially written cantatas on the texts inspired by the 124 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX lait struggles of the Yugoslavs for freedom. But the contemporary Yugoslav composers are so absorbed with big forms, that they have neglected the small choral forms. As a result, the contem porary Yugoslav musical literature does not have sufficient choral works accessible to most of the average choruses.

Concerning the styles in the choral music of Yugoslavia, roughly there are, as in other kinds of Yugoslav music, three tendencies : 1) that which has no relation to the folklore ; 2) that which finds its inspiration in the characteristic features of other, sometimes very remote, cultures, Arabic, Hebrew, etc. and 3) that inspired by Yugoslav folklore. Works with this tendency are up to now the most numerical and the most important.

The role of choral music in the history of Yugoslav music and culture was enormous. Under the special conditions in the cultural life of Yugoslavia today, with the support of the State, we can expect further development, prosperity and flowering of the choral art of the Yugoslavs. -

(Music: J. Slavenski-II part of the Symphony of the Orient) THE PROCESS OF VINA-FRETTING By Snt. Vidya Shankar The advancement of modern Karnatic music is greatly indebted to the fixation of the twentyfour frets of the Vina. The present-day Vina with the fixed frets was an innovation of Govinda Dikshita (17th century), father of Venkatamakhin. It is a well-known fact and an oft-quoted maxim of our music veterans that the vocalist should learn the art of Vina playing if he were to acquire a fuller knowledge of the science of our music. This leads us to the importance of the proper fretting of the Vina. In the fretting of the Vina, no hard and fast rule has been practised by the tuners, excepting in the case of frets fixed by hearing the upper partials on the vibrating string. Most of the frets are fixed by the ear-test and trial and error method. If this ear-test should be the main method in the procedure of fretting, it would be ideal only if the tuners were musicians of a high order. Even for musicians of high order, it requires a lot of concentration on their part to distinguish between a trisruti and a chatussruti. The distinction between srutis plays an important part in the process of Vina-fretting. To enable the process of fretting the Vina to be done on scientific grounds, in proceeding from the known to the. unknown and also to be sure of the frequencies of notes obtained on the Vina, the following method is suggested. The whole process of fretting the Vina is divided into three sections:—■ I. The fixing of eight of the frets by the method of overtones. II. The fixing of seven more to complete the first octave. III. The remaining nine which are in the second set of twelve frets, to the octayes of those corresponding in the first jet. 126 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX

Main Factors to be remembered 1. The Vina should be provided with a new set of strings and tuned accurately in the Panckama Sruti. 2. The Vina should be tuned to the pitch at which it is likely to be played, tension being an important factor determining pitch. 3. The gradual slope of the wax should be examined so that the frets of higher frequency notes do not touch the vibrating string when the frets of lower frequency notes are played. 4. The note with a tower frequency is preferred as with a slight deflection of the string, the higher frequency can be obtained. 3. The principle that the interval between two srutis should not be less than a dvisruti should be observed. 6. After each step of procedure in Section II, the Vina should be tuned back to Panehama Sruti accurately. 7. After fixing each note on the first or the second string their corresponding lower octaves on the third and the fourth strings should be tested. Section i

~~J Fraction of the length Overtones Swaras j of the string damped heard fixed Frequency j from the Meru~~

~~1 ! 1/2 Sa Sa 2 2 | 3/4 Sa Sa 4 3 1/3 Pa Pa 3/2 4 2/3 Pa Pa 3 5 1/4 Sa ! Ma, 4/3~~

~~6 1/5 Ga Gaa 5/4 7 3/5 Ga Gaa 5/2 8 2/5 Ga Daa 5/3 P t s . i - iv ] t h e p r o c e s s o f v i n a - f r e t t i n g 127~~

~~Section II~~

Swara F re P roced u re Fixing frets W ork in g fixed quency 4 v + — 1 8 1 Tune Pakka panchama F ix th is | K a isik a 1 "ff" 1 6 • to suddha madh- [ma,] on pa 1 N ish a d a yama (fixed on Sa strin g [N i,] strin g). !

~~2 Tune Tara shadja to F ix this K ak ali 1 5 ?{ AV ^3 Av a ™ M 1 “S' the overtone heard [N is] on sa N ish a d a 1 5 X at antaragandhara string lN iJ on Pa string.~~

~~3 Tune Pakkapanchama F ix th is Prati 4 5 1 f> y 3_4 5 to the note heard [Ma,lon SaiMadhyama on Kakali nishada string [M aJ fixed on Pa string •~~

~~At this stage, the 45 v 3 — 1 procedure is not continued on the same line, for R, obtained here on Pa string will be less than a dvisruti.~~

~~3 2 16 w 4 4 Tune Tara shadja to F ix its Sadharana —- — A Kaisika nishada, low er G andhara 0X2 ITT (fixed on Sa string). O ctave [G a.] [N iJ on Pa string~~

1 o 5 Tune Pakka panchama F ix its T isruti *tr " — x j to Tisruti Dhaivata low er R ish abh a i 10 'V (fixed on Sa string) octave [R id [D a 2] o n Pa string a i 6 Raise the pitch of Pa F ix th e S uddha 5 ! 2 x ^ 1 string, so that the octave of 1D h a iv a ta overtone heard at this op en [Da,] I 1 Nia on the string string(Da,) i ! is in unison with on Sa i i Tara shadja. string.

l g 7 Tune Pakka panchama F ix its Suddha m to Suddha Dhaivata low er R ish a b h a ® V [ V 4 __ o cta v e ; (fixed on Sa string.) [R U ; 1 0 [D a,] on 11? ! Pa string, j ______1&8 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VoL. JbtX

Section III The Tara shadja can be tuned to Ri,, Ria, Ga, and Ni, and Nia as obtained in the octave and the corresponding frets in the second octave can be fixed. The Pakka panchama can be tuned to Ma, and Maa, Da, and Da, as obtained in the octave, and the corresponding frets in the second octave can be fixed. As the swaras obtained on the third (Mandra) and the fourth (Anu-mandra) strings are the lower octaves of those obtained in first (shadja) and the second (panchama) strings, the frequencies of the former are half those of the latter. A table of frequencies of notes obtained on the frets of the Vina on the first and second strings is given below :— Shadja string Fret Frequency Panchama Frequency Sa 1 string Pa 3/4

~~1 Ri, 16/15 Da, 8/10~~

2 Ri2 10/9 Pa, 5/6 3 Ga, 32/27 Ni, 16/18 4 Ga2 5/4 Nia 15/16 5 Ma, 4/3 Sa 1 6 Ma, 45/32 Ri, 135/128 7 Pa 3/2 Ris 9/8 8 Da, 8/5 Ga, 6/5 9 Da, 5/3 Gaa 5/4 10 Ni, 16/9. Ma, 4/3 11 Nia 15/8 Ma, 45/32 12 Sa 2 Pa 3/2 Pts. i-iv] THE PROCESS OF VINA-FRETTING 1 2 $

~~Shadja string Frequency Panchama Frequency Fret Sa 1 string Pa 3/4 i 13 Ri, ! 32/15 Da, 8/5~~

14 Ri,2 I! 20/9 Da.2 5/3 15 64/27 Ni, 16/9 1 16 g 2 i 5/2 Nia 15/8 17 Ma, 8/3 : Sa 2 18 Maa | 45/16 1 Ri, 135/64 19 Pa j 3 Ri, 9/4 20 16/15 Ga, Da,1 l 12/5 21 ■! 10/3 Gaa 1 Da., 5/2 22 j Ni2 32/9 ; Ma, 8/3 i 23 i Ni3 15/4 i Ma, 45/16 24 Sa 4 Pa 3

It would be interesting to note that the first three of the twelve notes of the octave as obtained on the Vina frets, namely Ri,, Ri, and Ga„ have different frequencies on the first and the second strings.

~~1 ! Swaras ! Shadja string Panchama'string~~

~~Ri, 16/15 135/128 Ri, 10/9 9/8 Ga, 32/27 6/5~~

~~17 NO tES~~

~~Music of Java~~

Dr. Mantle Hood of the Department of Music, University of California, Los Angeles, was invited to pass through Madras on his way back to the United States after a period of stay and study in Java, on whose music he had done special work. The Music Academy, Madras, arranged for two lectures by Dr. Hood on the *' Music of Java ” on the 13th and 14th August, 1958, at the Srinivasa Sastri Hall, Mylapore. Introducing Dr. Hood, Dr. Raghavan said that after studying Indonesian music with one of its greatest authorities in Europe, Dr. Jaap Kunst, at the University of Amsterdam, he took his Doctorate there on a thesis entitled Palet in Japanese Music. He was recently on a study tour of Indonesia for a year and a half and was on his way back to California, where, at the University, he had built up a Department of Ethno-musicology. The Academy was somewhat closely associated with the Music Department of the University of California, Los Angeles, as one of its members, Mr. Robert Brown, was working with their Aca demy at Madras and one of their own young musicians Sri T. Viswanathan had been working in the Music Department at the University of California.

Dr. Hood then delivered his lectures which were illustrated with the playing of tape-recordings and the following represents a gist of his two lectures. The word " gamelan ” denotes a set of predominantly bronze instruments often of great age and regarded with respect and veneration. Various types of gamelan are found in Java, Bali, Madura, South Borneo, South Sumatra, the South Phillippines and Thailand. In Central Java the main melody of the orchestral piece is played by the demung and saron, instruments consisting of rather thick bronze slabs held by pins on a wooden resonating case. These instruments are reinforced by the slentem, an instru ment with thin bronze keys suspended over metal resonators. The longest phrases of the melody are marked by a stroke on the P t s . i - i v ] MUSIC OF JAVA 131 large gong and subdivided by beats on the kenong, the kempul and the ketuk. The kempul is a relatively small gong suspended verti cally, and the kenong and ketuk are " horizontal ” gongs or kettles mounted on crossed cords. The principal melody is elaborated by the bonang barung and the bonang panerus, instruments consisting of two rows of kettles mounted on crossed cords. The tempo and dynamics are guided by one or two kendang or drums. These instruments may be used in a style of loud playing or, played more softly, may support several other important elaborating instru ments. Foremost among these is the rehab, a two-stringed bowed instrument of Persian origin, which is played by the leader of the gamelan. Another very important elaborating instrument is the gender barung, a multi octave instrument resembling in constru ction the slentem mentioned above, but played with two disc-like beaters or tabuh instead of one. The gender is also important throughout the wajang kulit or puppet plays which present stories from the Mahabharata lasting from eight o’ clock in the evening until six o’ clock in the morning. Another elaborating instrument which has a soft murmuring tone is the bamgang kaju, a wooden xylophone. The tjelempung is a stringed instrument plucked with the thumb-nails which carries melodic and rhythmic ornamen tation. The female singers or pesinden supported by the gerongan or male chorus provide the most flexible possibilites in realizing the main melody of the orchestral piece, not only in subtle tonal deviations from the pitches played by the bronze instruments but also in improvised melodic independence. They are guided by the rebab and highlighted by brief melodic passages from the suling or flute. The balangan or dance is important during “ tempo three ” when the elaborating instru ments are the most active. The gamelan has two different systems of tuning, the seven- tone pelog and the five-tone slendro. In each of these systems additional “ vocal ” tones are employed. In each of the two tuning systems three patel or modes are used. Each patet has three principal tones, an auxiliary tone and a fifth tone which is used sparingly and in a particular way. In the pelog tuning system these five tones are selected from the 132 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX available seven, and the two omitted tones may serve briefly as exchange tones or may be used after a particular melodic pre paration to accomplish modulation. At important structural points of the orchestral composition the main melody employs cadential patterns which in their simplest form are four tones descending from a kind of " dominant ” to a kind of “ tonic.” These two tones plus a " lower dominant ” are the most important points of melodic development in each mode. Each piece is begun with a short introduction played by one instrument in a non-metric, casual style to establish the proper mood or mode or, more accurately stated, the proper patet. The principal and perhaps secondary cadential formulas of the patet are elaborated in a particular manner in this introduction, sup plying a melodic kernel which is developed as the principal melody unfolds in the composition proper. The orchestral complex of the gamelan utilizes a style of elaboration which might he described as '* stratification,” the largest span of rhythmic-melodic flow being sounded by the large gong, the next more-active layers by the kenot.g and kempul, by the ketuk, by the slentem, demung and saron, by the bonang barung, by the gender, etc., so that an imposing structure of seventeen or eighteen different rhythmic-melodic lines sounding together is created. The individual parts are realized in relation to the individual principal melody of the piece itself, which in turn is based on the short introduction, and the introduction, as pre viously mentioned, is a particular elaboration of the cadential formulas of the patet. The gamelan music of Central Java is known and loved by persons of all walks of life. From the workers in the rice fields to the Sultan himself this music is a part of their lives from birth to death. The lectures were followed by questions and discussion and a concert of South Indian music by Smt. M.L. Vasanthakumari and others, arranged by the Academy for the benefit of Dr. Hood.

Separately, Sri K. Ganesan presented for Dr. Hood Kumari Priyamvada in a recital of Bharata Natya. Dr. V. Raghavan explained the significance of the different pieces in the recital. TWO NEW KRITIS OF SRI MUTHUSVAMJ DIKSHITAR

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Most of the works cited by S'ubbankara belong to the 13th century and earlier. The Sdr add or Sahgita-iarada is perhaps the Saradlya of S'arad5tanay a referred to by himself in the Bhava- prakaSa (12th or 13th century). The Ratnakoia is mentioned by Nanyadeva, the king of Mithila or Magadha, who again is mentioned by S'arhgadeva. One Sanglta-eudamani was written by the king Jagadekamalla of the Western Calukyas (1134-43). There is the mention of another work ( ? ) of the same name by one Kavi*cakravartin. While Jagaddhara’s authorities seem to be covered by those cited by S'ubhahkara, it is not clear how Sri Kavi places S'ubhahkara posterior to this sangita writer’s time, about 1500 A.D. The Dhurtasamagama is a prahasana, with the erotic senti ment prevailing, written by Jyotirlsvara Kavisekhara, also the author of the Panca-sayaka on erotics and the Varqa-ratmkara in elegant Maithili prose. The farce was written during the reign of the last KSrnata king of Mithila, Harisimhadeva (or Hara- simhadeva), who is placed by Mm. H. P. Sastri and C. Bendall in c. 1324 A D. as the ruler of Simraon in Mithila {vide Sastri’s Cal. of Palm-leaf and Select Paper Mss. belonging to the Durbar Library, Nepal, Calcutta 1905).

Padmas'ri-jnana, author of another work on erotics, Ndgara- sarvasva, seems also to have been a man of MithilS. A commentry on this work was written during the reign of Jagajjyotirmalladeva of Nepal (the end of the 16th cent, and the beginning of the 17th) i$ i THE JOURNAL OP THE MADRAS Mtisic ACADEMY tVoL. Xkx At any rate it can be said that S'ubhankara’s time cannot be earlier than the early part of the 14th century or, if Sri Kavi’s opinion holds good, the early part of the 16th century. The Lower Limit King Riighavaraya’s Hastaratnavali is based on the Hasta- muktavali, but the date of this monarch could not be fixed. The Sangita-damodara is quoted by Ghanas'yamadasa alias Naraharidasa of Bengal (the late 18th cent.) in his Sangitasara Sangraha and Gitacandrodaya. A commentary, styled as Hastamuktavall-sara-samuddhrtika, on the Hastamuktaoali was written in 1675 A.D. by one Ghana- syama for Ananta, the Nepal king Jagajjyotirmalla’s daughter’s son. The Sangita-damodara is abundantly quoted in the Raga- tarahgini (a work in five tarangas), considered to have been written in 1675 A.D. or 1685 A.D. by the order of Narapati- Thakura, the younger brother of Mahlnatha, great-grandson of Mahes'a-Thakura, the founder of the family of Darbhanga kings. But the Raga-tarangini is cited by Hrdayanarayana (1667 A.D.) so that the date of this work cannot be very definitely fixed. S'ukladhvaja of Koc Behara(Kamarupa), who died 1571 A.D. quotes from Sangita-damodara in the ‘ Saraoati ’ commentary on the Gita-gooinda; and these very passages are rendered into Assamese by R&ma Sarasvati, a contemporary of S'ukladhvaja.

~~~~~~So, judging from the citations in the last of these works, the date of S'ubhankara must not be later than the middle of the 16th century.1~~~~~~

1. I have already referred to the occurrence ef the word ‘Koca’ (v. 518) by the side of the tribe name * Kirata ’ (v. 348) in the HaotatnulUa- Vali. It may further be noted in this conneotion that in the fifth kallola of Jyotirlavara Kavisekhara’s Varna-ratnakara the names of many wild tribes inhabiting the forest where hunting takes place are given (S. K Chatterji, Intro ):

~~~~~~few #5? fir® To gfe^ TO* ®*sr »T>3 qte If feqf «?N TOT* ifTO* S p jfe 3T%SE % I i?TS. i-iv] date of subhankaRa KAVI isi Another S'ubhankara~~~~~~

~~~~~~In the section of Sanskrit manuscripts of the Asiatic Society of Bengal th~~~~~~

It is not known who this ' saptama-cakravartin ’ Jayac- candradeva2 is or if his courtier, poet, the ‘ Bala-sarasvati ’ S'ubhankara is to be identified with the author of the Hastamukta- valt. The manuscript is fragmentary with many leaves missing in both the sets. The section on dancing begins thus:

~~~~~~15 ^ i t ?n«3i §f*rt ic4i itflir fagq; i Jroor % un aw*, tpfad h~~~~~~

2. The king (Jayacandra in v. 3) is gratefully eulogised by the poet in vv. 3-7 of the initial chapter as the conqueror of other monarohs and as being the paramount amongst them. He describes himself as the king’s favourite and as the son of one Madhava (whioh shows that he is different from the author of the Hastamuktavsli, whose father is Srldhara, and also from the king S’ubhankara Thakura, whose father’s name is Gopala (?) or Mahesa Thakura),. K ing Jagatprakasam alla of N epola (c. 1655-76) has left a num ber of Maithili lyrios, and in several of them his name appears as ‘ Jagetoandra ’ / ‘ JagatcandanaC ould the patron of the author of th e Samganasagara be the same as this monarch ?

v One Murari-misra (early 16th cent.) in his Subhakarmanirnaya gives the genealogy of the kings of Moranga, whioh was contiguous to Mithila. In this genealogy appears the name of JagannarSyana, the grandfather of NirbhayanSrayana, Murari-misra’s contempo rary (Mithila Manuscripts Catalogue). 20 i$4 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [Vol. XXX The author of the Hastamuktavali also remembers Hara and Gauri in the initial s'loka of that work.3 In the Sangita-damodara the early sangita writers, Bharata and Matahga, are cited as authorities among other authors and treatises, while Bharata’s is the only name to be particularly mentioned in the Haslamukta- vali. But this much alone cannot be adduced as sufficient grounds for the identification of the author of these two works with the writer of the Samganasagara. On the other hand, Nandikesa (apparently Nandikes'vara of the Abhinayadarpano), the Paramara king Bhoja of Dhara (1010-53 A.D.) and King Somes'* vara (probably the Calukyan Somesvara III, author of the Manasollasa or Abhilasitarthaeintamani, 1131 A.D.) do not seem to have been consulted, or at least cited as authorities, by S'ubhankara of the Sangita-damodara. For want of more definite evidences, therefore, S'ubhankara of the Samganasagara remains distinct from our S'ubhankara.

3. In the first verse of the music section also S’ubhankara Kavi refers to the ceremony of Hara and Gaurl’s marriage, when the smiling Lord gave a pull to Gaurl’s hand under the pretext of the ceremonial joining of hands. In vv. 3, 7, Visnu is remembered. BOOK REVIEWS

Thb Sarva Deva Vilasa. Edited with Critical Introduction and Notes. By Dr. V. Raghavan. Adyar Library and Research Centre, Adyar, Madras. 1958. Pp. 70, 103. Rs. 5. The Sarva Deva Vilasa is a book in Sanskrit in prose and verse and gives interesting details concerning the City of Madras during the closing part of the 18th century. The nobles that adorned the City at that time, the luminaries in the realm of letters and music that lived in Madras at that time, the important temples of the City and suburbs and their growth and the customs and manners of the period are all treated in a vivid manner in this book which provides interesting reading. Books like this constitute an important source for writing the history of Karnatic music. Again students interested in sociological research will find a fund of material in this book.

~~~~The only manuscript of this work is preserved in the Adyar Library and Dr. V. Raghavan has done a real service by publish* ing this manuscript with a valuable and critical introduction.~~~~

One of the valuable details brought to light by this book is the practice of the nobles of those times in the City to convene periodically a Sadas or an assembly of the learned. At such meetings musical celebrities were asked to give scholarly perfor mances. Newly composed compositions were also given publicity at those gatherings. Since the cream of musical scholarship and genius was represented in those gatherings, the composers felt it a privilege to present their compositions at those assemblies. The modern Sangita Sabhas will do well to convene periodically such scholarly assemblies, wherein rare compositions, rare tech niques of play and newly composed pieces can be performed. The more initiated amongst the audience will find such perfor mances a real cultural treat.

It is wellknown that some of the priceless compositions were directly or indirectly the product of the patronage of the royalty 156 THB JOURNAL OF THE MADRAS MUSIC ACADEMY [VoL. XXX or the nobility of the country. The 108 Raga Tala Malika of Rama- avami Dikihitar and the 72 Mtlaraga Malika of Maha Vaidya- natha Iyer may be cited as examples. Citizens of Madras will find some fascinating musical details in this book, details like the lavish patronage of the musicians by the Manali Mudaliars and others. It is inspiring to read here of the high status conferred upon such eminent musicians like Sonti Venkatastibbayya and his son Sonti Venkataramanayya. That Pallavi Doraiswami Iyer rode on an elephant in the company of his patron offers inspiring reading. Prominent dance artists of the time are also referred to in this book. A Varna in Sanskrit is mentioned as having been composed and sung at a Sadas. It may be an acquisition if this varna in Sanskrit could be traced. More and more such manuscripts unearthed and published will prove valuable additions to the literature on music. P. Sambamoorthy

T he Spiritual Heritage of Tyagaraja. By C. Ramanuja- chari and Dr. V. Ilaghavan. Sri Ramakrishna Students’ Home, Madars-4. With a Foreword by Dr. S. Radhakrishnan. Pp. ix, 206, 623. Rs. 10/- This is a publication which will gladden the hearts of all music lovers. It will be welcomed by everyone who is interested in the culture of India. Tyagaraja is a great name in the world of music and his contribution to the musical lore is unique. I have often wondered whether he was musician first and devotee next or the other way about. He was not merely a composer. He was a great scholar, a musicologist and above all a great devotee of S'ri Rama. He was a mystic to his finger-tips. The late Pandit Lakshmanachai used to refer to the compositions of Tyagaraja as Tyagabrahma Upanisad. To the saint S'ri Rama was not merely an abstract ideal. He was a living presence; Tyagaraja literally lived, moved and had his being in Rama. Tyagar&ja’s compositions are not merely songs, they are mystical revelations, embodying the ipnermost experiences of the PtS. I-IV] BOOK RBVIEWS 1 5 7 saint, clothed in exquisite and soul-stirring music. To sing hig compositions in the right spirit will be real NadopasanS.

The late G. Ramanujachari, whose translations in simple English of over 560 songs of the saint are given in the book, was himself a great bhakta of TyagarBja and had given his whole life to the study and understanding of the saint's compositions. The translations convey the spirit of the original remarkably well* This is perhaps the first time when we have so many of the saint’s compositions rendered in English.

Dr. Raghavan has in the earlier part of the book an Introduc tory thesis on the Composer. In the opening chapter of this, he has given us very valuable details about S'rl Tyagaraja, his life and his contribution. One is enabled to get a correct picture of the saint from what Dr. Raghavan has written. After giving details about the saint’s life, Dr. Raghavan goes on to deal with the poetic ability of the saint and his spiritual fervour which makes the saint’s compositions a real Nadopasam. The fact that music and devotion have been inseparable in the songs of the saint is clearly brought out here. The various phases of mystic experience are also dealt with. The efficacy of Namasankirtana and the joy which accrues by its being done in the right spirit come also in the purview of the earlier chapters. The learned Doctor has also referred to what may be called the extra-Valmiki incidents in the life of S'rl Rgma described in some of the songs of the saint. The descriptions in these chapters of the various phases of the saint’s devotion to Rama are very interesting. We have two full chapters here devoted to the diverse forms and aspects of bhakti. The chapter on Devotional Ecstacy is to my mind a masterpiece.

A special value of the book consists in the arranging and grouping of the compositions under various heads according to a definite scheme which is explained just before the translations commence. I should say that the tabulation and the various headings are very carefully planned and make it easy for anyone interested in a particular phase of the saint’s compositions to refer to \yhat he wants, 158 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX The booh is in many ways remarkable and music lovers are under a deep debt of gratitude to those responsible for th$ publication.

~~~~~~R. Srinivasan~~~~~~

~~~~~~Bharata Natyam (In Tamil). By Srimati T. Balasarasvati and Dr. V. Raghavan. Sponsored by the Southern Languages Book Trust. Avvai Noolagam, Madras-1. Rs. 2/-~~~~~~

An authentic and authoritative book on Bharata Natyam has been a long-felt want. There are, of course the classics, like Bharata Muni’s Natya Sastra and Nandikes'vara’s Abhinaya- darpana, dealing with the fundamentals and forming original sources for references and verification. The many books written in English so far by both Indians and foreigners are amateurish attempts, and are mostly secondhand information presented in a popular vein. The book under review is perhaps the first attempt to present the subject in simple Tamil to be understood by all.

The foremost exponent of this art living today is one of the joint authors, Srimati Balasarasvati, and the other is one of the distinguished scholars in Sanskrit, and a student of music and dance. Srimati Balasarasvati’s knowledge of music is no less profound than her mastery over the difficult techniques of laya and bhiiva inherent in this ancient art, and of which she is unquestionably the ablest and most gifted interpreter today. As a creative artiste she has no equal, and not likely to have any for generations to come. She is the peerless queen in Bharata Natyam, even as her grand old grandmother, Veena Dhanam, was in veena.

Dr. Raghavan’s deep study of both the science and art of music and Bharata Natyam make him an eminently fitting person to be a critic and interpreter. Almost all the authors who wrote on Bharata Natyam before him were woefully ignorant qf Carnatic music on which this art is based, and h^d not the J*TS. i-iv ) BOOK REVIEWS 159 first-hand personal experience in i t ; hence the amateruisbness of their attempts.

Written in chaste readable Tamil, the book is a valuable and timely contribution, especially in view of the deterioration and degradation that are rapidly setting in, threatening to vulgarise the art beyond recognition. What the amateurs, particularly the non-musical-minded amateurs begin, the film folks complete in the quickest time possible. It is to be hoped that the sound advice and practical suggestions and criticisms the authors offer in this book will not be lost on the teachers and the taught, professionals and amateurs. The Southern Languages Book Trust is to be congratulated in bringing out this publication by these two eminent interpreters and at such a popular price.

The ten chapters in the book cover a vast field from surveying briefly the historical background of the art, its technical and aesthetical features, to pointing out its present unedifying position and defects. The authors have taken great pains to show the correct fundamental positions and postures, the right kind of footwork and the subtle nuances of the different kinds of abhinaya. The essential elements of the aclavus, classified here into major sets with their permutuations and combinations, are very clearly explained and are also illustrated by Kuinari Priyamvada, pupil of one of the authors and daughter of the other. Then follow clear and concise explanations of the method and manner of its presentation, beginning from Alarippu, then Jatisvara, Sabia, Varya, Pada, with abhinaya, and ending in Tillana ; select aspects of these are illustrated by Balasarasvati herself. The information on these various vital parts of the Bharata Natya recital is precise. The criticisms offered throughout the book are sympathetic and constructive and are offered with the best intention.

The only disappointing part of the book is its illustrative si^e ; both the photographs and the blocks are poor, and do not do justice to the subject or to the artistes. It is understandable that a book at this price cannot be printed on belter paper and illustrated with better photographic plates; but nevertheless, i6 0 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XXX considering the nature of the subject, the greatness of the artiste whose photos adorn the book and also the reputation of the authors, the publishers ought to have taken greater pains in this respect. Good drawings would have served the purpose better.

~~~~~~The Chairman of the Sangeet Natak Akademi, Chief Justice P. V. Rajamannar, has written a brief foreword to the book.~~~~~~

~~~~~~G. V enkatachalam INDEX TO THE JOURNAL OF THE MUSIC ACADEMY MADRAS~~~~~~

~~~~~~VOLS. 21 to 30 (1950-1959) SUBJECTS~~~~~~

Addresses: See under Opening-, Presidential-, Sadas-, Welcome- Aesthetics, Indian music and,: V. G. Paranjpe 27.31-33 ; 28.68-71 Aesthetics, Physics and, of Hindusthani music: C, S. Ayyar 22.86-89 Agenda for the Experts’ Committee Meetings in Conferences, 1949-55. 21.29-30 ; 22.20; 23.16-17; 27.19 Alap in Hindusthani music : Sumati Mutatkar ... 24.77-80 Alattur Venkatesa Iyer, Condolence resolution on,... 30.46 Allied ragas, discourse and demonstration: Mudi- condan C. Venkatarama Iyer 23.23-24 American music, Influence of Oriental music on, talk by Dr. and Mrs. Henry Cowell 28.29-32 Ananda Dasa of Surapuram and his compositions: N. Chennakesavaiya 28.35-36, 140-50 Ananda Dasa of Surapuram, Devaranama (kirtana) of, Ed. : N. Chennakesavaiah 27.187-90 Annamacharya: See Tallapakkam Annamacharya. Apurva ragas of Tyagaraja’s songs: K. V. Rama- chandran 21.107-09 Architects of music and progress of music in South India and abroad, talk by G. Nagaraja Rao 21 36-37 Arohana and avarohana kala svaras of 94 Carnatic ragas from the Vizianagaram music manuscripts : Vissa Appa Rao 24.1^5-34 Artist in Modern Society, Unesco, Book Review 25.148-49 B—I 11 INDEX TO VOLS. 21 -3 0 Ashtapadi of Jayadeva, talk and recital by Nilamani Panigrabi and Raghunath Panigrahi 24.29-30 Ashtapadi recital by Susila Achyutaraman 29.26 Assam, Music of, talk by K. N. Das 28.37-40 — : K. N. Das 21.143-80 Assam, The Musico-religious traditions o f,: Sabita Devi, Rani of Bijni 29.16-17, 63-69 Assam, The Vaishnava music of, : Maheswar Neog... 30.36-37, 106-16 Assamese work, An old, on timing in music: Mahes war Neog ... 22.147-53 Bandha Svaravail, talk by T. N. C. Venkatanarayana- charyulu ... 25.36 Bhagavata Mela Songs, talk and demonstration ... 25.33 Bhajagovindam recital by R. S. Mani ... 29.17-18 Bhajana Sampradaya, recital by Kallidaikurichi Balasubrahmanya Bhagavatar ... 27.39 Bhairavam, Raga-lakshana ... 22.26-27 Bharatam Narayanaswami Iyer, reference to the demise of, ... 25.29 Bharatanatya, (Dance-art of South India), talk by E. Krishna Iyer ... 27.38-39 Bharatnatya, demonstration and talk by Bharatam Narayanaswami Iyer ... 23.31 ; 24.37 Bharatanatya, Teaching of, talk by K. V. Rama- chandran ... 26.46-47 Bharatanatyam by T. Balasarasvati and Dr. V. Ragha- van, Book Review ... 30.158-60 Bharata’s Natya Sastra, Music in, talk by V. G. Paranjpe ... 27.37-38 Bihar Theatre, Book Review ... 26.162-63 ^obbili Kesavayya (in Tamil) : Veenai Varadayya,... 22.25-26, 57-68 s u b je c t i Sid e < iii Book Reviews: 25.140-50; 26.154-64; 27.172-78; 28.155-66; 29.157-5i ; 30.155-60 A comparative study of the Hindustani and Karnatic Music by B. Subba Rao 27.172-78 Bharatanatyam by T. Balasarasvati and V. Raghavan 30.158- 60 Bihar Theatre, Patria 26.162-63 Ethno-Musicology by Jaap Kunst 26.161-62 Folk Dances of Yugoslavia 29.157 Fontes, Artis Musical, 1955/1 26.164 International Congress of Libraries and Documen tation Centres Preliminary Reports 25.148-50 Journal of the English Folk Dance and Song Society. 25.146-47 Kudimiyamalai Inscription on Music by R. Satya- narayana 28.158- 59 Lakshya Sangeet, Bombay 26.163 LifeofSwami Venkatadri alias Tiruvengada Ramanuja Jeeyar by Kallepalli Varada Ramanujadasan... 29.157-58 Laud Ragamala Miniatures by H. J. Stooke and K. Khandalavala 25.144-46 Music in Education, Unesco 25.148,149 North Indian Music'. Volume II. The Main Ragas by Alain Danielou 25.147 Ragatattvavibodha of Srinivasa 28.156 Rag-0-Rup by Swami Prajnanananda 25.142-44, Sangita Chandrika by Attoor Krishna Pisharati ... 26.i 54-60 Sangit-O-Samskriti (History of Indian Music) by Swami Prajnanananda 25.140-42 Sankaradeva and his Predecessors by Maheswar Neog 26.160-61 Sarvadeva Vilasa Edited by V. Raghavan 30.155- 56 Silappdikara Isai Nunukka Vilakkam by S. Rama- nathan 28.157-58 Spiritual Heritage of Tyagaraja by C. Ramanuja- chariar and Dr. V. Raghavan 30.156- 58 Sri Vasudeva Kirtana Manjari by K. Vasudeva* charya 28.155-56 iv INDEX TO VOLS. 2 1 -3 0 Book Reviews (Contd.): Story of Indian Music by O. Goiwami 28.159-66 Systematic Musicology 26.164 Artist in Modern Society (Essays and Statements col~ lectedby UNESCO) 25.148-49 Viewpoints, Orientations and Methods 26.164 Brij Mohan, in a Kathak pose, illustration 27.opp.76 Carnatic; See under Karnatic. Chakra Tanam (in Tamil): Ennappadam Venkatarama Bhagavatar 23.19.20, 39-52 Chaturdandi, paper on, by Hulugur Krishnachar ... 21.53 Chembai Chelvam by L.R.V., presentation of book ... 26.30 Chenchu Kambhoji, Ragalakshana 23.17-18, 20 Chetulara, Raga of, discussion on, 22.32 Chittaranjani, Ragalakshana 21.49-50 Choral music of Yugoslavia : Mirka Pavlovich 30.45-46, 117-20 Citations: Anantakrishna Sarma, A. 29.38 Anayampatti Subba Iyer 28.48 Angappa Pillai, P. N. 29.41 Annaswami Bhagavatar 26.55 Balakrishna Iyer, S., Madras 28.49 Balasubrahmanyam, G. N. 30.48 A.B Bharatam Narayanaswami Aiyar 24.44 Budalur Krishnamurti Sastri 28.50 Chembai Vaidyanatha Bhagavatar 23.32-33 Chittoor Subrahmanya Pillai 26.53-54 Chowdiah, T. 29.37 Ennappadam Venkatarama Bhagavatar 30.48 b Gowri Ammal, Mylapore 28.50 Jayammal, T. ... 24.46 Karaikkudi Sambasiva Aiyar 24.43-44 Karur Chinnaswatni Aiyar 22.40 Krishna Aiyar, E. 26.56 SUBJECT INDEX V Citations (Contd.) : Mudicondan C. Venkatarama Aiyar 21.55-58 Papanasam Sivan 24.45-46 Ramadoss Row, Tanjore 30.48c Ramalinga Bhagavatar, M. 29.39 Ramanayya Chettiar, Jalatarangam, 24.45 Rangu Iyengar, Sakkottai 29.40 Sambamurti, P. 26.55 Saraswati Bai, C. 22.40-41 See ha A yyangar, T . K. 26,54 Shanmukhavadivu, Madurai 2942 Swaminatha Pillai, T.N. 25.45 Tinniyam Venkatarama Iyer 30.48c-d Tiruvizhimizhalai Subramania Pillai 28.47-48 Umayalpuram Kodandarama Aiyer 28.49 Vissa Appa Rao 30-48d Compositions edited with Notation : Devaranama of Ananda Dasa ofSurapuram 27.187-90; 28.140-50 Kriti of Mysore Sadasiva Rao, A 26.173-77 Muttusvami Dikshitar’s Kritis 21.184-89; 22.142-46; 23.110-12; 25.76-78: 26.165-72; 27.179-86 ; 29.145-53 ; 30.133.37 New Svarajati, A 26.189 Pada of Ghanam Krishna Iyer 26.186-88 Padas of Kshetrajna 26.182-85 Songs of Sri Papanasa Mudaliar 23.105-08 Syama Sastri’s Kritis 23.101-04 Tana Varna of Kottavasal Venkatarama Iyer, A 23.109 Varnas of Patnam Subrahmanya Iyer 26.178-79; 27.191-94 ; 28.136-37 Varnas of Ramnathapuram Srinivasa Iyengar 29.195-96 ; 28.138-39 Varna of Tarangampadi Panchanada Iyer 26.180-81 Concert plans: R. Srinivasan 23.30 Competition Prize Winners in Conferences, 1949-58: 21.59-61 ; 22.43-44; 23.35-36 ; 24.50-51; 25.46-47 ; 26.58-59; 27.45; 28.55-56; 29.47-48 ; 30.48i-48j vi INDEX TO VOLS. 21-30 Concluding Functions of Conferences, 1949-58: 21.53-54; 22.37-39 ; 23.31-32; 24.37-39; 25.43-44; 26.51-52 ; 27.41 ; 28.45-46; 29.35-36; 30.46-48 Condolence Resolutions: 21.44-45 ;22 34; 23.26-27; 26.52 ; 27.41; 30.46 Alattur Venkatesa Iyer ... 30.46 Dwaram V. Krishnaswami Naidu ... 30.46 Hulugur Krishnachar ... 23.26-27 Karaikudi Sambasiva Iyer ... 30.46 Kuttalam Sivavadivelu Pillai ... 27.41 Lakshmana Pillai, T. ... 23.26-27 Manjakkudi Ramachandra Bhagavatar ... 26.52 Mazhavarayanendal Subbarama Bhagavatar ... 23.26-27 Parupalli Ramakrishnaiah ... 23.26-27 Piratla Sankara Sastri ... 23.26-27 Subba Rao, T. V. ... 30.42 Tanjore Lakshminarayana Bhagavatar ... 30.46 Tiger K. Varadachariar ... 22.34 Tiruvalapputtur Kalyani Ammal ... 30.46 Ustad Fiaz Khan ... 22.34 Valady Krishna Aiyar ... 22.34 Vazhuvoor Veeraswami Pillai ... 30.46 Conference Reports, 1949-1958 : 21.1-63, 22.1-46, 23.1-38,24.1-56, 25.1-48, 26.1-60, 27.1-46, 28.1-56, 29.1-48, 30.1-48J For separate items See under Addresses, Agenda, Citations, Competitions, Concluding Functions, Demonstrations, Members’ Day, Papers, Presi dential Addresses, Sadas, Souvenir, Talks etc. Cowell Prize for Mridangam ... 29.43-44 Damayanti Joshi, in Kathak pose, illustration ... 27. opp. 80 Dance: See also under: Bharatanatyam, Kandyan, Kathak, Kathakali etc. — and drama : Egon Vietta 28.84-91 SUBJECT INDEX v ii Dance {Contd.) : — and Drama in Ceylon : V. Raghavan 22.165-66 — art of South India, talk by E. Krishna Iyer ... 27.38- 39 — culture, Proprieties in, and patronage, talk by E. Krishna Iyer 25 30-33 — Folk*, See under Folk-dance. — teachers, Resolution to start an Institution for, 27.38- 39 —, Teaching methods of, talk by E. Krishna Iyer 26.48-50 —, The grace-notes of,: K. V. Ramachandran ... 25.93-100 Dasopant’s padas. History of the music tradition of Maharashtra with special reference to ,: G.H. Ranade 30.92-100 Demonstrations, Discussions and Recitals during Con ferences : Allied Ragas, demonstration by Mudicondan C. Venkatarama Iyer 23.23-24 Ashtapadis of Jayadeva, recitals of, 24.29 ; 29.26 See also Gitagovinda. Bhagavatamela Natya-Nataka songs, recital of... 25.33 Bhajagovinda recital 26.17-18 Bhajana Sampradaya, recital 27.39 Bharatanatya, demonstration by Bharatam Narayanaswami Iyer ...23.31 ; 24-37 Chakra Tanam : Ennappadam Venkatarama Bhagavatar 23.19 Compositions of Veenai Varadayya, recital 23.25 Concert plans : suggestions by R. Srinivasan ... 23.30 Correct Ragas of certain pieces 22.30-31 Devaram, recital of, 24.33 Dikshitar, Rare kritis of, talk and demonstration by T. L. Venkatarama Iyer 24.28-29: 25.33- 34 Divya Prabandhas, recital of, 26.28 Dtritala-avadhana: Tinnaiyam Venkatarama Aiyar 24.33- 34 European folk-songs : Miss Victoria Kinsley ... 22.32-34 Flutp demonstration by Palladam Sanjiva Rao 23.24; 25.29-30; 28.32-33 v i ii I n d e x t o v o l s . 21-30

Demonstrations etc. (C ontd.) : Folk-music in the World : Alain Danielou 26.31-32, 35-36 Gattuvadya : Avidayarkoil Harihara Bhaga- vatar 21.46-47 Gitagovinda, recital 25.29 See also Ashtapadi. Gottuvadyam, Budalur Krishnamurti Sastrigal 23.31 Hindustani music : Amjad Ali Khan 30.42 —, Balakrishna Bua Kapileswari 24.34 —, D. T. Joshi 25.34 —, Pt. Puttaiya Swami 23.30 —, Ustad Mushtaq Hussain 30.42 —, Malavika Roy 24-36 Javalis, recital by Kumari Vegavahini 29.28 Kalpana svaras, Singing of, Kalidas Nilakanta Aiyar 23.20 Kalyanasundaram Pillai’s compositions, recital... 28.27 Kanjira : Palani Subramanya Fillai 29.17 —: Swaminatha Pillai 29-23 Karnatic music recital : Srirangam Iyengar ... 24.36-37 Kathak, Bhava interpretation in,: Sambhoo Maharaj 30.43-44 — Dance : Master Chellaram 29.18-19 — Dancing : Brij Mohan 27.35-36 — Dancing : Kumari Maya Rao 30.43 Kathakali padas : G. Viswanatha Aiyar 26.30 —: Palghat Venkatakrishna Bhagavatar 25.37-38 Kuchipudi songs : Kumaris Gopalaratnam and Lakshmi 30.39 Konnakkol : T. P. Gopalachari 23.25-26 Mahalinga Sastri’s compositions, recital 28.35 Mandrasthayi singing 21.47-48 Mridangam practice : Palani Subramania Pillai. 29.23 — — : Tinniyam Verkatarama Iyer 30.26 Music graphs: Venkatarama Aiyar of Puduk- kottah ,.. 23-30 SUBJECT INDEX IX

Demonstrations etc. (C ontd.) : Music of Sams Veda 22.34-36 Nagasvara : R. S. Dakshinamurti Pillai 28.25- 26 Nandan Charitram of Gopalakrishna Bharati: G. Sarasvati Bai 30.31 New compositions of Mayuram Viswanatha Sastri 26.40 New compositions of Swarna Venkatesa Dikshitar 26.37 New compositions of R. Srinivasan : Kamala Krisbnamurti 26.42; 30-34 New Ramayana songs in Tamil: Mrs. & Mr. S. V; Ramaswami 23.20 Nilakantha Sivan’s compositions: P. L. Sarasvati Ram 30.29 Niraval, Technique of,: Mudicondan C. Venkata- rama Aiyar 27.23-24 Orissan Dance : Kumari Samyukta Misra 29.35 Pada recital: Jayammal, Balasarasvati and Sarojini Kumaraswami 23.28; 24.37 Padas of Purandaradas, Kanakadas, Gopaladas and Sankaradas: recital 24.27- 28 Pallavi: Cbittoor Subramania Pillai 26.50-51 Pallavi rendering on the Nagasvara : Tiruvizhi- mizhalai Subramania Pillai 28.34- 35 Pallavi Singing : Ganesa Pillai 28.28- 29; 29.24 Pallavi singing : Mudicondan C. Vehkatarama Iyer 25.35- 36 Papanasam Sivan’s compositions 26.48 Ponniah Pillai’s compositions: Kittappa Pillai... 28.44 Pradarsana vina: P. Sambamurti 23.21-23 Raga of Chetulara 22.32 Raga singing : Palladam Sanjiva Rao 27.25- 26 Ragasudharasa of Tyagaraja : discussion 22.32 Sadasiva Rao’s kritis: Srimatis Rangamma and Nagaratna 27.36-37 B—2 X INDEX TO VOLS. 21-30

Demonstrations etc. (Contd.): Samagana on the veena : Karaikudi Sambaaiva Iyer ... 24.22 Sama Veda, Music of, ... 22.34-36 Shanmarga Pallavi : Mudicondan G. Venkata- rama Iyer ... 26.45-46 Simhanandana Pallavi of Mahavaidyanatha Aiyar : Mudicondan G. Venkatarama Iyer ... 24.30.31 Sitar and Tabla : Pt. Ratanjankar ... 21.51-52 Sollukkattu recital in Bharatanatya ... 21.48-49 Songs of Tyagaraja which have undergone change: Manjakkudi Ramachandra Bhagavatar 21.31 Sorakkadu Venkatasubbier’s compositions: Needamangalam Krishnamurti Bhagavatar ... 27.33-34 Soubhagyavati, a new musical instrument: Venkatarama Iyer of Pudukkottah ... 23.30 Sruti, Svara, Murchhana, Grama and Raga : Bala- krishna Buwa Kapileswari ... 26.47 Surbahar: Annapurna Ravishankar ... 27.40-41 Svarakshara Sahityas: T. N. G. Venkata- narayanacharyulu ... 24.28 Svati Tirunal’s Navaratri Kritis: M. A: Kal- yanakrishna Bhagavatar ... 25.30 Tallappakkam Annamacharya’s compositions: R. Anantakrishna Sarma ... 24.25-27 ; 26.42-43 Tanam: Mudicondan C. Venkatarama Iyer ... 23.27-28 —on the Veena : T. N. C. Venkatanarayana- charyulu ... 29.24 Tavil: Raghava Pillai ... 28.25-26 Teaching of Music : Karaikudi Sambasiva Iyer and Mysore Vasudevachariar ... 26.37-39 Tevaram : G. Swaminatha Aiyar ... 25.42 Thaya : Mudicondan G. Venkatarama Iyer ... 29.27 Tiger Varadachariar’s compositions: M. D. Ramanathan ... 25.42-43; 27.31 SUBJECT INDEX xi

Demonstrations etc. (Contd.): Tillanas, singing of,: Mudikondan G. Venkata- rama Iyer ... 28.29; 30.37-38 Tirupati Narayanaswami Naidu’s K ritis: Vid- yaia Narasimhulu Naidu ... 24.31-32 Tiruppavai recital: B. Rajam Iyer and B. Krish- namurti 24.22; 25.35; 27.20; 28.25; 29.16; 30.17 Tiruppugazh : T. M. Krishnaswami Aiyar ... 27.50 Tyagaraja Kritis: Mr. & Mrs. S. Parthasarathi 25.40 —, rare, : Manjakkudi Ramachandra Bhagavatar ... 23.30 —, rare,: K. R. Venkatarama Bhagavatar... 22.29 — Pancharatna, K. V. Narayanaswami ... 27.20 — rare : Maruthuvakkudi Rajagopala Iyer ... 25.27 Vasudevacharya’s compositions ... 29.26-27 Veena : Devakkottai Narayana Iyengar ... 30.17-18 — : Kumari Rajeswari ... 24.34-35 — andGamakas: Devakkottai Narayana Iyengar 21.30-31 Venkatagiriappa’s compositions: Mysore Duraiswami Iyengar 24.35 Violin : D war am Venkataswami Naidu 22.37 —: Karur Chinnaswami Iyer 22.36 — : Madurai Subrahmanya Iyer 23.31 — : Marungapuri Gopalakrishna Iyer 26.32-33; 27.29 — Concert: Dwaram Venkataswami Naidu 24.33 — Practice: T. Chowdiah 29.18 Violins, New, : Dwaram Venkataswami Naidu... 23.29 Yugoslav music: Mirka Pavlovich 29.29 Desodi and Madhyadi talas'. T. V. Subba Rao 23.92-94 Devaram, recital of. 24.33 xii INDEX TO VOLS. 21-30 Devaranama (Kirtana) of Ananda Dasa of Sura- puram, Edited : N. Ghennakesaviah 27.187-90 Devi Prabbava kirtanas of Tyagaraja (in Tamil): M. Subrahmanya Iyer 30.18, 49-62 Dhrupad, Paper by Shib Mitra 29.25-26 Diksbitar: See under Muttusvami Diksbitar. Dilipaka, Ragalakshana 21.49-50 Discussions during Conferences : See under Demons trations, Discussions etc. Divya-Prabandha, recital of, 26.28 Divyanama Sankirtana of Tyagaraja : M. Subrah manya Iyer 26.36 Doraiswami Iyengar, Vidvan,: In memoriam 22.173 Douglas, Miss Ruth, Notes on, 28.153-54 Drama, ancient Indian, Music in,: V. Raghavan ... 25.79-92 Drama, Dance and,: Egon Vietta 28.84-91 Drama, Dance and, in Ceylon: V. Raghavan 22.165-66 Drone in Indian music, Emergence of the, : B. Chitanya Deva 23.29, 126-52 Drum, The Multi-faced,: V. Raghavan 25.107-08 Dvijovanti, Ragalakshana 21.37-39 Dvitala-avadhana, demonstration by Tinniyam Venkatarama Iyer 24.33-34 Dwaram V. Krishnama Naidu, Condolence resolution on, 30.46 Emergence of the Drone in Indian music : B. Chitanya Deva 23.29, 126-52 Eternal paradox in Indian music — The srutis : G. H. Ranade 28.115-19 Ethno-rnusicology : Alan Danielou 27.29-30, 47-60 Ethno-musicology by Jaap Kunst, Book Review 26.161-62 European Folk-songs, demonstration by Miss Victoria Kinsley 22.32-34 Fiaz Khan, Ustad, Condolence resolution on, 22.34 SUBJECT INDEX x iii Flute, concert by T. N. Swaminatha Pillai ... 25.23 — demonstration by Palladam Sanjiva Rao ... 23.24 ; 25.29-30; 28.32-33 Folk-dances of Yugoslavia'. Book Review ... 29.157 Folk-music, talk by Mrs. Henry Cowell ... 28.43-44 Folk-music of the West, Further notes on the illus trated talk on ,: Victoria Kinsley 22.83-85 Folk-songs, European, demonstration by Miss Victoria Kinsley 22.32-34 Fontes, Artis Musical: Book Review 26.164 Frequency ratios. Musical research and, :C. S. Ayyar 21.64-72 Gamakas, Teaching, to students (in Tam il): C. S. Ayyar 27.28, 61-63 Gandharva Vedamritam, talk by T. N. C. Venkata- narayanacharyulu 28.33 Gattuvadya, talk and demonstration by Avidayarkoil Harihara Bhagavatar 21.46*47 Ghanam Krishnaier, Rare padas of Kshetrajna and,: Ed. by T. Viswanathan 26.182-88 Giripai of Tyagaraja: T. V. Subba Rao 24.98-103 Gitagovinda recital by A. Balasubrahmanya Bhagavatar 25.29 Gitagovinda, Two commentaries on the, recently recovered in Assam: S. N. Sarma 25.130-36 God's pleasure dance of Manipur : Maheswar Neog 28.107-110 Gopalakrisbna Bharati’s Nandan Gharitram, recital of selections by G. Saraswati Bai 30.31 Gottuvadyam demonstration : Budalur Krishnamurti Sastrigal 23.31 Goulipantu, Ragalakshana 22.24-25 Grace-notes of dance : K. V. Ramachandran 25.93-100 Gustav Holst's “Saoitri” : Narayana Menon 25.37, 60-61 Harikatha, talk on, : C. Saraswati Bai 21.52-53 — as a musical discourse (in Tamil) : C. Saras wati Bai ...22.22,47*56 Hastamuktavali of Subhankara : V. Raghavan ... 21.181 XIV INDEX TO VOLS. 21 -3 0 Hastamuktavali of Subhankara, Ed. Maheswar Neog App. to Vols. 23 to 30 Hebrews, The music of theV. Ragbavan ... 25.109-11 Hindustani Music: — and Carnatic Music, Points of affinity between,: Pandit Ratanjankar ... 21.39.41, 73-87 —, Alap in,: Sutnati Mutatkar ... 24.77-80 —and Carnatic Music, talk by T. K. Jayarama Iyer ... 23.27 —j Physics and aesthetics o f,: C. S. Iyer ... 22.86-89 —, Raga expression in ,: Pt. Ratanjankar ... 23.56-63 —, Raga-Ragini scheme in ,: Amalendu Goswami ... 22.23 —, Ragas in ,: Pt. Ratanjankar 22.31, 97-105 —, Recital by Amjad Ali Khan ... 30.42 — —, by Balakrishna Buwa Kapileswari ... 24.34 — —, by Putthiya Swami ... 23.30 — —, by Malavika Roy ... 24.36 — —, by Ustad Mushtak Hussain ... 30.42 —, The Veena-paddhati of,: Birendra Kishore Roy Chowdhry ... 28.72-76 Set also North Indian Music. Hulugur Krishnachar: In memoriam ... 22.170-71 Ideals in violin technique in relation to Karnatic Music : C. S. Iyer ... 30.70-77 Illustrations: Agastisvaralinga ... 28.151 Anantakrishna Sarma, R. ... 29.38 Anayampatti Subba Iyer ... 28.48 Angappa Pillai, P. N. ... 29.41 Annaswami Bhagavatar ... 26.55 Balakrishna Iyer, Violin Vidvan ... 28.49 Balasubrahmanyam, G. N. ... 30.48a Bbaratam Narayanaswami Iyer ... 24.44 Bharatanatya adavus ... 25.97-100 SUBJECT INDEX x v

Illustrations (Contd.): Brij Mohan, in a Kathak pose ... 27. opp. 76 Budalur Krishnamurti Sastri ... 28.50 Chembai Vaidyanatha Bhagavatar ... 23.33 Ghittoor Subramania Pillai ... 26.53 Chowdiah, T. ... 29.37 Damayanti Joshi, in a Kathak pose ... 27. opp. 80 Dance manuscript from Orissa ... 29.94 Dancing Siva ... 25. opp. 106 Doraiswami Iyengar ... 22.173 Ennappadam Venkatarama Bhagavatar ... 30.48b Jolk-dances of Tugoslavia ... 29. opp. 80-81 Gowri Ammal ... 28.50 Jayammal ... 24.46 Laotian music instruments ... 28. opp. Ill Kandyan dance ... 21 opp. 214, 215, 216, 217, 222 Karaikudi Sambasiva Iyer ... 24.43; 29. opp, 154 Karur Chinnaswami Aiyer ... 22.40 Kathak dancers, bells used by, ... 27. opp. 81 Krishnachar, Hulugur, ... 22.170 Krishna Aiyer, E. ... 26.56 Krishnaswami Aiyar, K. V. ... 24. opp. 40 Krishnattam, A scene from, ... 29. opp. 125 Krishnattam, Vishnu int ... 29. opp. 124 Marungapuri Gopalakrishna Aiyer ... 27.42 Mudicondan C. Venkatarama Iyer ... 21.56 Musical team from Assam ... 22. opp. 148 Musicians, Members, etc., who took part in the Silver Jubilee Conference ... 24. opp. 39 Nagaratnamma), Bangalore ... 22.172 Paluskar, D. V. ... 26.153 Pancha-mukha-vadya, a Chidambaram sculpture ... 25. opp. 107 Papanasam Sivan ... 24.45 Ramachandra Bhagavatar, Manjakkudi ... 26.152 XVI INDEX TO VOLS. 21-30

Illnstrations (C o n td .) : Rama doss Row, Tanjore . 30.48c Ramalinga Bhagavatar, M. . 29.39 Ramanayya Chettiar . 24.45 Rama Rau, Dr. U. . 22.174 Rangu Iyengar . 29.40 Roshan, Kumari, in a Kalhak pose . 27.84 Rumanian Cultural Delegation 29.opp. 33 Sage playing pancha-mukha vadya 25. opp. 106 Sam bam urti, P. 26.55 Saraswati Bai, C. 22.40 Sesha Aiyangar, T. K. 26.54 Shanmukhavadivu, Madurai 29.42 Sitara Devi in a Kathak pose 27.77 Subba Rao, T. V. 29. opp. 155 Sundaram Iyer, P. S. 22.171 Suryanarayana Somayajulu Garu, Durvasula ... 23.157 Swaminatha Pillai, T. N. 25.44 Tambura, experiments on, 27.92, 96, 98, 104, 106 Tiger K. Varadachariar 22.169 Tinniyam Venkatarama Iyer 30.48c Tiruvizhimizhalai Subramania Pillai 28.47 Traditional Assamese musicians 28. opp. 3? Umayalpuram Kodandarama Iyer 28.49 Unesco Music Conference Plenary Session 25.opp.137 Upanishad Brahma Math 28.opp.151 Venkatagiriappa, Vidwan 22.173 Vina Venkataramana Das 23. opp. 156 Vishnu in Krishnattam 29.124 Vissa Appa Rao 30.48d Yugoslavia, Folk-dances of, 29. opp. 80, 81 Yugoslavia, line-sketch of, 29. opp. 70 In Memoriam : 22. 169-75 ; 29. 154-56 Bangalore Nagaratnammal 22.172 Doraiswami Iyengar 22.173 Hulugur Krishnachar 22.170-71 Karaikudi Sambasiva Iyer 29.154 SUBJECT INDEX xvii

Jatisvara Sabityas of Muthusvami Diksbitar: P. Sambamurti ... 21.130-35 Java, Music of, ... 30.130-32 Javalis, recital by Kumari Vegavahini ... 29.28 Jewish liturgy, Musical styles in Near Eastern,: Johanna L. Spector ... 26.122-30 Journal of the English Folk Dance and Song Society, Book Review ... 25.146*47 Kalgada, Ragalakshana 22.27-28, 29-30 Kalidasa-Hridayam, Music and Dance (in Tamil): V. Ragbavan ... 24.127-50 Kalpana svaras, Singing of, (in Tam il): Kalidas Nilakanta Iyer 23.20, 53-55 Kalyanasundaram Pillai’s compositions, rendering of, by Kamalambal ... 28.27 Kalyanasundaram, Violin Lecturer, Condolence resolution on, ... 21.44 Kandyan Dance—Illustrated: Dr. V. Raghavan ... 21.215-22 Kandyan Dancing, Some notes o n ,: George Keyt ... 24.118-34 Kanjira, discussion on, by Palani Subramania Pillai 29.17 — , talk and demonstration by Swaminatha Pillai ... 29.23 Kannada, Ragalakshana ... 21.34-36 Karaikudi Sambasiva Iyer, Condolence resolution on, 30.46 Karaikudi Sambasiva Iyer, In Memoriam ... 29.146 Karnatic music: — Hindustani and, talk by T. K. Jayarama Aiyer ... 23.27 — Points of affinity between Hindustani and,: Pt. Ratanjankar 21. 39-41, 73-87 — recital by Srirangam Iyengar ... 24.36-37 —, Upanishad Brahmayogin, his life, works and contribution to,: V. Raghavan ... 27.113-50; 28.151-52 Karnatic ragas: — and the textual tradition: K. V. Rama- chandran ... 21.99*106 B—3 xviii INDEX TO VOLS. 21-30 Karnatic Music (Could.): —, Arohana and Avarohana kala svaras of 94, taken from the Vizianagaram music manuscripts: Vissa Appa Rao ... 24.125-34 — from a new angle • Sankorabharanam : K. V. Ramachandran ... 21.88-99 Katbak: — bhava iterpretation by Sambhoo Maharaj ... 30.43-44 — dance, demonstration by Kumari Maya Rao. 30.43 — dance: Kapila Mallik ... 27.34-35, 74-88 — — illustrations ... 27.81 — dancing, demonstration by Brij Moban ... 27.35-36 — dancing, some aspects of,: Nirmalajosbi ... 30.43; 101-05 Kathakali Padas, demonstration ... 26.30 ; 37-38 Kavikunjara Bharati’s pada in notation, Ed. ... 30.146-49 Kerala theatre, The Kuttu of the,: Mrs. Devaki Menon ... 25.122-29 Kesaviah, Bobbili: See under Bobbili. ... Keyboard instruments, Development of,: Peter Cooper ... 29.19-20 Konnakkol, talk and demonstration by T. P. Gopalachari ... 23.25-26 Kottavasal Venkatarama Iyer, A Tana Varna of, Ed : Mudicondan C. Venkatarama Iyer ... 23.109 Krishna Aiyer, Valady, Condolence resolution on, ... 22.34 Krishnachar, Hulugur, Condolence resolution on, ... 23.26-27 Krishnama Naidu, Dvaram, Condolence resolution on, 30.46 Krishnaswami Aiyar, K. V., Unveiling of the portrait of, ... 24.39-42 Krishnattam : K. Kunjunni Raja ... 29.121-29 Kriti-racbana, Secrets of, (in Tamil): T. N. C. Venkatanarayanacharyulu ... 26.107-12 Ksbetrajna: Vissa Appa Rao ... 21.110-29 Kshetrajna and Ghanam Krishnaier, Rare padas of, Ed.: T. Viswanathan ... 26.182-88 Ksbetrajna’s pada in notation, Ed. ... 30.142-43 SUBJECT INDEX xix Kuchipudi songs, rendering by Kumaris Gopalarat- nam and Lakahmi 30.39 Kudimiyamalai Music Inscription by R. Satyanarayana, Book Review 28 158-9 Kuttu of the Kerala theatre : Mrs. Devaki Menon ... 25.122-29 Lakshya Sangeet, Review 26.163 Lakshmana Pillai, T., Condolence resolution On, 23.26-27 Lalita and Manji ragas: Mudicondan C. Venkata- rama Iyer 28.120-25 Laos, Music of, : Prince Seuvanna-Phouma 28.111-14 Laud Ragamala Miniatures by M. J. Stooke'and K. Khandalvala, Book Review 25.144-46 Lectures during Conferences: See under Papers, Talks and Lectures. Life of Swami Venkatadri\ alias Tiruvengada Ramanuja Jeeyar and his devotional songs, Book Review 29.157-58 Madras Music Academy Conference, Official Reports : See under Conference Reports. Madras Symphony, Presentation of, 30.48f Mahalinga Sastri’s compositions, rendering by M. P. Vaidyanathan 28.35 Maharashtra, History of the music tradition of, with special reference to Dasopant’s padas: G.H. Ranade 30.92-100 Maha Vaidyanatha Iyer, A rare Tillana of, Ed. 30.138-39 Mahesvara Sutra, A commentary on the,: The Origin of musical sounds : Alain Danielou 22.119- 28 Malayalam music, some composers o f,: S. Venkita- subramonia Iyer 25.101-106 Mandrasthayi singing 21.47-48 Manipur, The God’s pleasure dance of,: Maheswar Neog 28.107-10 Manji, Lalita and, ragas: Mudicondan C. Venkata- rama Iyer 28.120- 25 Manpoondiya Pillai, Vidvan, (in Tamil): Palani Subramania Pillai 25:73-75 Manuscripts, Music,: .—f Tyagaraja’s songs in,: V. Raghavan ... 22,161-64 XX INDEX TO VOLS. 21-30

Manuscripts Mnsic (Conti.): —, The Vizianagaram,: Viisa Appa Rao ... 23.153-65 — The Vizianagaram,: Arobana and Avaro- hana kala svaras of 94 Carnatic ragas taken from, : Vissa Appa Rao ... 24.125-34 Marga Hindola, Ragalakshana ... 22.23-24 Markandeya purana, Analysis of music in ,: Swami Prajnanananda ... 29.130-38 Melakarta Ragas, Thirty-two, (in Tam il): A. C. Rajaganesa Dikshitar ... 26.39; 91-106 Melakartas, Importance of the 32, as specially suited to musical composition : Robindral Roy ... 74.70-76 Melodic tensions and musical aesthetics: R. C. Mehta ... 30.32-33, 78-86 Melodic types of H industan: A scientific inter pretation of the Raga system of Northern India : Narendra Kumar Bose ... 27.151-67 Members’ Day, 1949—59 : ... 21.55 ; 23.32; 24.39; 25.44; 26.52; 27.41-42; 28.46; 29.36; 30.48 Merattur Veerabhadrayya, Another rare composition - of,: V. Raghavan ... 24.151-54 Microtonal variations: C. S. Ayyar ... 25.41-42, 49-50 Microtonal variations in frequencies in Karnatic music-II: C. S. Ayyar ... 25.51-52 Minakshisundaram Pillai, Nidamangalam, Condo lence resolution on, ... 21.44 Modernity of Tyagaraja : T. V. Subba Rao ... 22.136-41 Mridangam : — Practice, talk and demonstration by Palani Subramania Pillai 29.23 — Practice, talk and demonstration by Tinni- yam Venkatarama Iyer 30.26 —, Why is, so-called?: V. Raghavan 24.315-36; 26.148 Mukhariraga: T. V. Subba Rao 27.168-71 Multifaced drum : V. Raghavan ,.. 25,107-0? SUBJECT INDEX XXI Music Academy Conference Official Reports: See under Conference Reports. M nsic: —, Choral, of Yugoslavia, Mirka Pavlovich... 30.45-46, 117-24 — Education Conference, Brussels: V. Raghavan 25.137*39 —, Folk-, See under Folk-music. — graphs, exhibition : Venkatarama Iyer of Pudukkottai 23.30 —, Hindusthani: See under Hindusthani music. — in ancient Indian Drama: V. Raghavan 25.79-22 — in Bharata’s Natya Sastra, talk by V.S. Paran- jpe 27.37-38 — in Education, Unesco, Book Review 25.148-49 — in Markandeya Puiana, Analysis of, : Swami Prajnanananda 29.130-38 — in Silappatikaram, talk by S. Ramanathan ... 28.26-27 —, Indian, See also under Indian music. —, Indian, and Aesthetics : V. G. Paranjpe 28.68-71 —, K arnatic,: See under Karnatic music. — Manuscripts: See under Manuscripts. — of Assam, : K. N. Das 21.143-80 — of Assam, talk by K. N. Das 28.37-40 — of Assam, The Vaishnava, : Maheswar Neog. 30.36-37, 106-16 — of East and West—Two sister-arts, lecture by Miss R. M. Renshaw, 30.23-26 — of the Hebrews : V. Raghavan 25.109-11 — ofJava 30.117-24 — of Laos: Prince Souvanna-Phouma 28.111-14 — of the Pemsians: Dam Bo 21.139-42 — of Sama Veda, General discussion on, 22.34-36 — of Yugoslavia, Choral, Mirka Pavlovich 30.45-46, 117-24 — of Yugoslavia, Some glimpses of the,: Mirka Pavlovich 29.20-22,29,70-79 —, Philosophy o f,: Robindralal Roy. — — : Introduction ... 22.106-18 — : Duration as Measure of sensations ... 23.75-86 xxii INDEX TO VOLS. 21-30 Music (Contd.): — — : Music and verbal mind ... 26.113-21 — Philosophy of. Number in sensation, feeling and thought in, ... 25.112-21 — —: Rythmic aspect of physiology and psychology 24.104-17 —, Science o f,: VissaAppa Rao ... 26.44-45, 81.86 —, Teaching of, : T.V. Subba Rao ... 26.43-44, 76-89 —, Teaching of, general discussion ... 26.37-39 —, The popular and classical in, : V. Raghavan. 28.100-06 — theory. Teaching of, : By R. Srinivasan ... 26.4 1-42, 73-75 — therapy : Miss Juliette Alvin ... 29.139-43 — tradition of Maharashtra with special refer ence to Dasopant’s padas : G.H. Ranade ... 30.40-42, 92-100 —, Vietnamese,—A festival of recreated music : Jean Varnoux ... 21.136-38 — works of Samanna Suri: V. Raghavan ... 21.190-214 — writers of Orissa, Two, : V. Raghavan ... 29.144 Musical Asthetics, Melodic tensions and:, R. C.Mehta. 30.32-33, 78-86 Musical ragas and instruments, Some early references to,: V.S. Agrawala ... 23.113-14 Musical ragas and instruments, Some early references to, : V. Raghavan ... 23.115-1 a Musical research and frequency ratios: C. S. Ayyar. 21.32-34, Musical styles in Near Eastern Jewish liturgy : 64-62 Johanna L. Spector ... 26.122-130 Musico-religious traditions of Assam : Sabita Devi, Rani of Bijni 29.16-17, 63-69 Muthusvami Dikshitar: —: V. Raghavan ... 26.131-47 —, Jatisvara Sahityas of, : P. Sambamurti ... 21.130-35 —, Rare kritis of, recital by T. L, Venkatarama Iyer ,.. 24.28-29 St* also under Dikshitar. SUBJECT INDEX XX111 Muthuivami Diksbitar’s Kritis,-Edited with notation: A. Sundaram Iyer, 21.184-89 ; 22.142-46; 23.110-12; 24.155-58 ; 25.76-78 ; 26.165-72; 27.179-86 ; 28.126- 35 ; 29.145-53, 30.133-37 Mysore Sadasiva Rao : Sea under Sadasiva Rao. Nabhomani, Ragalakshana 23.18-19,26 Nabokov, Nicholas, note on, 28.153 Nagaratnammal, Bangalore, In memoriam 22.172 Nagasvara : V. Ragbavan 26.149 Nagasvara and Tavil, demonstration by R. S. Dakshinamurti Pillai 28.25, 26 Nagasvara music and its technique, talk by Thiru- vizhimizhalai Subramania Pillai 28. i 5-26 Nalinakshi, Ragalakshana 29.28.31 Nandan Charitram of Gopalakrishna Bharati, recital of selections by C. Saraswati Bai 30.31 Narayanaswami Naidu’s (Tirupati) kritis, rendering by Vidyala Narasimhulu Naidu 24.31-32 Natya Sastra, Music in Bharata’s, talk by V. G. Paranjpe 27.37-31 Nauka Charitra of Tyagaraja in Tamil: M. Subrah- manya Iyer -.29.16,49-62 Navaratri Kritis of Sri Svati Tirunal, rendering of, by M. A. Kalyanakrishna Bhagavatar 25.30 New Composition of Mayuram Viswanatha Sastri, rendering of, by the Composer and Vaitheswaran ... 26.40 New compositions of R. Srinivasan, rendering, of,: by Kamala Krishnamurti 26.42 Nilakantha Sivan, talk byP. Sambamurti 30.29 Nilakantha Sivan’s compositions, demonstration by P. L. Saraswati Ram 30.29 Niraval, Technique of, talk by Mud icondan C. Ven- katarama Iyer 27.23-24 Non-musical works of some leading music writers : V. Raghavan 21.182-83 Northern India, Melodic types of Hindusthan—A scientific interpretation of the Raga system of, : Narendra Kumar Bose ... 27.151-67 xxiv In d e x t o v o l s . 21-^0 Northern Indian Muste, Vol. II, by Alain Danielou, . Book Review 25.147 Notation, World systems of musical, lecture by Robert Brown, 30.35-36 Notes: V. Raghavan 28-153-54; , 30.130-32 Number in sensation, feeling and thought, : Philosophy of Music, : Robindralal Roy 25.112-21 Obituary Notices 26.152-53 D. V. Paluskar 26.153 Manjakkudi Ramachandra Bhagavatar 26.15 See also In Memoriam Odissi: See also under Orissa. Orissan. Odissi dance, demonstration by Kumari Samyuka Misra 29.35 Odissi music : Kalicharan Pattanaik 29.31-32, 83-91 Odissi Nritya : Kalicharan Pattanaik 29.34,92-95 On transformation of the Sthayas by the alteration of Sruti and consequent importance of the 32 Melakartas as specially suited to musical composi tion : Robindralal Roy 24.70-76 Opening Addresses: 23rd Session, 1949 : The Hon. Sri Kumaraswami Raja 21.3- 6 24th Session, 1950: H. H. Maharani of Bhava- nagar 22.3- 5 25th Session, 1951 : Sri T. R. Venkatarama Sastri 23.3- 6 26th Session, 1952 : H. E. Sri Sri Prakasa 24.7-9 27th Session, 1953 : Dr. B. V. Keskar 25.4- 7 28th Session, 1954: The Hon. Sri T. T. Krishna - machari 26.5- 7 29th Session, 1955 : The Hon. Sri G. D. Deshmukh 27.3- 8 30th Session, 1956 : The Hon. Sri Morarji Desai 28.4- 7 SUBJECT INDEX XXV Opening Addresses (Contd.): 31st Session, 1957: H. H. Maharajah Chama. rajendra Wadiyar Bahadur ... 29.4-9 32nd Session, 1958 : H. E. Sri Bishnuram Medbi 30.3-8 Oriental influence on Western music : John Marr ... 25.38-39, 62-72 Oriental music, Influence of, on American music, talk by Dr. and Mrs. Henry Cowell 28.29-32 Orissa : See also under Odissi. Orissa, Two music writers of, : V. Raghavan 29.144 Outline literary history of Indian music : V. Ragha van 23.64-74 Overtones of the Tambura, talk by S. S. Murti Rao 28.40-42 Padas in notation : Ed. by T. Viswanathan 30.142-49 Padas, recital of, by Jayammal, Balasarasvati and Sarojini 23.28; 24.37 Pallavi demonstration, by Ganesa Pillai 28.28-29 — by Mudicondan C. Venkatarama Iyer 25-35-36 — by Chittoor Subramania Pillai 26.50-51 — on the Nagasvara, by Tiruvizhimizhalai Subramania Pillai 28.34-35 Pallavi singing by Ganesa Pillai 29.24 — by Narasimhachariar 22.37 Pallavi Seshayyar (1846-1908): P. Sambamurti ... 25.27-28 ; 58-59 Paluskar, D. V., Obituary Notice 26.153 Pantuvarali, Ragalakshana 21.44, 50-51 Papanasa Mudaliar, Songs of Sri,: Mudicondan G. Venkatarama Iyer 23.105-08 Papanasam Sivan’s compositions, rendering by the composer 26.48 Papers, Talks and Lectures during Conferences: Aesthetic development of Indian music: V. G. Paranjpe ... 27.31-33 Alap in Hindustani music : Sumati Mulatkar ... 24.31-32 Architects of music and progress of music in South India and abroad : G. Nagaraja Rao ... 21.36-37 B—4 kxvi INDEX TO VOLS. 21-36 Papers, Talks and Lectures (Contd.):

Ashtapadi of Jayaveda: Nilamani Panigrahi ... 24.29-30 Bandha Svaravali: T. N. C. Venkatanarayana- charyulu 25.36-37 Bbarataoatya (Dance-art of South India): £. Krishna Iyer 27.38-39 Bobbili Kesavayya : Veenai Varadayya 22.25- 26 Chakra Tanam: Ennappadam Venkatarama Bbagavatar 23.19-20 Chaturdandi: Hulugur Krishnachar 21.53 Choral music of Yugoslavia : Mirka Pavlovich... 30.45-46 Compositions of Tallapakam Annamacharya : R. Anantakrishna Sarma 24.25- 27 Devi Prabhava Kirtanas of Tyagaraja : M. Sub- rahmanya Iyer 30.18 D hrupad: Shib Mitra 29.25-26 Divyanama Sankirtanas of Tyagaraja : Puduk- kottai M. Subrahmanya Iyer 26.36 Drone in Indian Music : Chaitanya Dev 23.29 Ethno-musicology : Alain Danielou 26.29- 30 Folk-music : Mrs. Henry Cowell 28.43-44 Folk-music of the world: Alain Danielou 26.31-32; 35-36 Gamukas, Teaching of,: C. S. Ayyar 27.28 Gandharva Vedamritam : T. N. C. Venkata- narayanacharyulu 28.33 Gustav Holst’s ' Savitri ’: Narayana Menon 25.37 Harikalha by C. Sarasvati Bai 21.52-53 Harikatha as a musical discourse, (in Tam il): C. Sarasvati Bai 22.22 Hindustani and Karnatic music: T. K, Jaya- rama Iyer 23.27 Influence of Oriental music on American music : Dr. and Mrs. Henry Cowell 28.29- 32 Kanjira : Swaminatba Pillai 29.23 Kathak dance : Kapila Mallik 27.34-35 Kathak dance: Sundar Prasad 22.18-19 SUBJECT INDEX xxvii Papers, Talks and Lectures (Contd.): Kathak dancing, some aspects of,: Nirmala Joahi ... 30.43 Key-board instruments, Development of,: Peter Cooper ... 29.19-20 Kritirachana rahasyangal (Secrets of the art of composition) (in Tamil) : T. N. C. Venkata- narayanacharyulu ... 26.40 Melakarta Ragas, Thirtytwo,: Rajaganesa Dikshitar ... 26.39 Medlodic tensions and musical aesthetics: R. C. Mehta ... 30.32-33 Microtonal variations : C. S. Ayyar ... 25.41-42 Mridanga-practice: Palani Subramania Pillai... 29.23 Mridanga-practice: Tinniyam Venkatarama Iyer ... 30.26 Music in Bharata’s Natya Sastra : V. G. Paran- jpe ... 27.37- 38 Music in Silappatikaram: S. Ramanathan 28.26-27 Music of Assam: K. N. Das 28.37- 40 Music of Assam : Maheswar Neog 30.36-37 Music of Assam : Sabita Devi of Bijni 29.16-17 Music of East and West: Two sister arts: Miss R. M. Renshaw 30.23-26 Music of Maharashtra : G. H. Ranade 30.40-42 Music of Yugoslavia : Mirka Pavlovich 29.20-22,29 Musical Research and Frequency ratios: G. S. Ayyar 21.32-34 Mysore Sadasiva Rao’s Kritis: N. Ghennakesaviah 29.22-23 Nagasvara music and its technique : Thiruvizhi- mizhalai Subramania Pillai 28.25-26 Naukacharitram of Tyagaraja: M. Subrah- manya Iyer 29.16 New ragas and their possibilities: R. Srinivasan 30.30-34 Nilakantha Sivan : P. Sambamutti 30.29 Organisation of the Folklore Institute, Bucha rest, Rum ania: Sabin Dragoi 29.33 Qn transformation of Sthayas: Robindralal Roy 24,35-36 xxviii INDEX TO VOLS. 21-30 Papers, Talks and Lectures (Contd.): Oriental influence on Western music: John Marr 25.38-39 Orissa dance: Kalicharan Patnaik 29.34 Orissan music : Kalicharan Patnaik 29.31-32 Pallavi Seshayyar: P. Sambamurti 25.27- 28 Pallavi Binging : Narasimhachariar 22.37 Points of affinity between Hindustani and Carnatic schools of music: Prof. Ratanjankar 21.39.41 Prahlada Bhaktivijaya ofTyagaraja: M. Sub- rahmanya Iyer 28.27- 28 Proprieties in Dance culture and Patronage: E. Krishna Iyer 25.30-33 Purandaradasa’s padas: Padmanabha Rao 30.38 Raga expression in Hindustani music: Pt. Ratanjankar 23.29 Raga-Ragini scheme in Hindustani music: Amalendu Goswatui 22.23 Raga Rupa (Raga form): T. K. Jayarama Aiyar 21.45 Ragas in Hindustani music : Pt. Ratanjankar ... 22.31 Research in Indian music : Alain Danielou 24.22-25 Rhythmic settings in the Tiruppugazh of Aruna- girinathar : Mudicondan Venkatarama Iyer... 28.36-37 Rumanian Folk dances: Peter Bodeut 29.33- 34 Sahitya in music : P. Veeriah Chowdry 30.27- 28 Sangatis in Tyagaraja’s kritis: Vissa Appa Rao 28.33- 34 Science (Physics) of music : Vissa Appa Rao ... 26.44-45 Shad-Ragamanjari of A. Lingappa : The author 28.40 Singing and voice production in the West: Steuart Wilson 27.20-23 Singing of Kalpana Svaras: Kalidas Nilakanta Aiyer 23.20 Surapuram Ananda Dasa:N. Chennakesaviah ... 28.35-36 Svarakshara Sahityas : T. N. C. Venkatanara- yanacharyulu 24.28 Svarasthanas and their nonmenclature: S. Ramanathan 30.19-20 Tambura, Overtones of,: S. S. Murti Rao 28.40-42 SUBJECT INDEX XXIX Papers, Talks and Lectures (Contd.): Teaching methods in dance : £. Krishna Iyer ... 26.48*50 Teaching methods in music in Elementary and Secondary stages: P. Sambamurti ... 26.28-30 Teaching of Bharata N atya: K. V. Rama- chandran ... 26.46-47 Teaching of music: — Karaikudi Sambasiva Iyer ... 26-37-38 — Mysore Vasudevachariar ... 26 38-39 — T. V. Subba Rao ... 26.43-44 Teaching of music-Theory: R. Srinivasan ... 22.41-42 Teaching of the Violin and its science : C. S. Ayyar ... 22.47-48 Tillana : T. N. C. Venkatanarayanacharyulu ... 30.28-29 Time theory of the ragas (North Indian) : K. N. Das ... 22.28-22 Tyagaraja Kritis and their correct ragas: Mudicondan C. Venkatarama Iyer 30.21-23 ; 29-31, 39-40 Tyagaraja’s kritis, Vachamagochara and Ban-r turiti T. V. Subba Rao ... 25.24-27 Tyagaraja’s Utsava Sampradaya Kirtanas: M. Subrahmanya Iyer ... 27.26 Vaishnava music of Assam : Maheswar Neog ... 30.106-16 Veena : T. N. C. Venkatanarayanacharyulu ... 27.24-25 Voice culture : S. Srinivasa Rao ... 29.28 Violin practice : T. Chowdiah ... 29.18 Violin technique, Ideals in ,: C. S. Ayyar ... 30.20-21 World systems of musical notation: Robert Brown ... 30.35-36 Yugoslav dance : Milica Ilin ... 29.29-31 Patnam Subrahmanya Iyer’s songs edited with notation: Mudicondan C. Venkatarama Iyer 26.178-72; 27*191-94.28.136-37 Pemsians, The music of the,: Dam Bo ... 21.139-42 Philosophy of music : Robindralal Roy : — Introduction 22.106-11 — Duration as measure of sensations 23.75-16 .— Rhythmic aspect of physiology and psychology 24.104-17 XXX INDEX TO VOLS. 21 -3 0 Philosophy of Music (Contd.) : — Number in sensation, feeling and thought ... 25.112-21 — Music and verbal mind ... 26.113-21 Physics and Aesthetics of Hindustani music: C. S. Ayyar ... 22 86-89 Points of affinity between Hindustani and Carnatic music : Pt. Ratanjankar ... 21.73-87 Ponniah Pillai’s compositions, talk by Kitiappa Pillai 28.44 Popular and classical in music : V. Ragbavan ... 28.100-06 Pradarsana Vina, demonstration by P. Sambamurti..., 23.21-23 Prablada Bhakti Vijayam of Tyagaraja : M. Subrah- manya Iyer 28.27-28. 57-67 Prahlada Bhakti Vijaya : T. V. Subba Rao 23.87-91 Presidential Addresses: 23rd Session 1949: Mudicondan C. Venkatarama Iyer 21.7-28 24th Session, 1950 : Karur Chinnaswami Iyer ... 22.6- 19 25th Session, 1951 : Chembai Vaidyanatha Bhagava'ar 23.7- 15 26th Session, 1952 : Karaikudi Sambasiva Aiyar 24.9-21 27th Session, 1953 : T. N. Swaminatha Pillai ... 25.8- 23 28th Session, 1954 : Chittoor Subramania Pillai... 26.8- 27 29th Session, 1955 : Marungapuri Gapalakrishna Iyer 27.9- 18 30th Session, 1956: Thiruvizhimizhalai Subra mania Pillai 28.8-24 31st Session, 1957: T. Chowdiah 29-11-14 32nd Session, 1958: G. N. Balasubrahmanyam... 30.10.16 Process of Veena-fretting : Vidya Shankar 30.125-29 Purandaradasa, padas of, Recital by Srimati Lalitabai Shamanna and Dr. S. Ramaswami 24.27-28 Purandaradasa’s Padas, paper by Padmanabha Rao, 30.38 Radio Month, Review of, 26.40-41 Raga — expression in Hindustani music: Pt. Ratan- jankar 23.29,56-63 — singing, demonstration by Palladam Sanjiva Rao 27.25-26 SUBJECT INDEX xfcxi Raga (Contd.) — system of Northern Iodia, Melodic types of Hindustan—A Scientific interpretation o f,: Narendra Kumar Bose 27.151-67 Ragalakshana : Bhairavam 22.26-27 Chtnchu Kambhoji 23.17-18,20 Chittaranjani 21.40-50 Dilipaka 21.49-50 Dvijavanti 21.37-39 Gowliparttu 22.24-25 Kalgada 22.27-28, 29-30 Kannada 21.34-36 Margo Hindola 22.23-24 Nabhomani 23.18-19, Nalinakshi 29.28,31 Pantuvarali 21.44,50-51 Rudrapriya 27.27-28 Tarangini 21.49-50 Usheni 21.41-44 Ragalakshana discussions of the 25 Conferences of the Experts’ Committee of Music Academy, Madras, Summary of the, 23. App. i-xiv Ragamalika of Svati Tirunal : S. Venkitasubramonia Iyer 24.81-89 Raga-Nidhi - A Comparative study of Hindustani and Karnatic Ragas by B. Subba Rao, Book Review ... 21.172-78 Raga*rupa (Raga form): T. K. Jayarama Iyer 22.35 Ragas: —, Carnatic, from a new angle-Sankarabharana ; K. V. Ramachandran 21.88-99 —, Carnatic, taken from the Vizianagaram music manuscripts, Arohana and avarohana kala svaras of 94,: Vissa Appa Rao 24.125-344 —, Correct, of certain pieces, discussion on, ... 22.30-31 — in Hindustani music : Pt. Ratanjankar 22.31, 97-105 j& xii INDEX TO VOLS. 21^0 Ragas (Contd.) . — in which there are only single pieces of Tyagaraja, discussion on, ... 22.21*22 —, New, and their possibilities, talk by R. Srinivasan ... 30.33-34 —, Time theory of the, (North Indian) : K. N. Das ... 22.69-82 Ragasudharasa of Tyagaraja, discussion on, ... 22.32 Ragatattvaoibodka of Srinivasa, Book Review ... 28.156 Rag-O-Rup (Historical Research) by Swami Prajna- nananda, Book Review ... 25*142-44 Rajarathnam, Tributes to, ... 28.44-45 Raktimclam, Nagasvara demonstration by R. S. Dakshinamurti Pillai ... 28.26 Ramachandra Bhagavatar, Manjakkudi, Condolence resolution and Obituary Notice on, ... 26.52, 152 Ramakrishnuiah, Parupalli, Condolence resolution on, 22.26-27 Rama Rao, Dr. U., In Memoriam ... 22.174-75 Ramaswami Iyer of Tiruvayyaru, A Tamil compo sition of, Ed.: Mudicondan C. Venkatarama Iyer ... 30.140-41 Ramayana songs. New, in Tamil, recital by Mrs. & Mr. S. V. Ramaswami ... 23.20 Ramnad Srinivasa Iyengar, A new kirtana and varna of. E d.: Mudicondan C. Venkatarama Iyer and B. Krishnamurti ... 27.195-96; 28.126, 138-39 Recitals during Conferences: See under Demonstra tions, Discussions and Recitals. Research, Musical, and frequency ratios: C. S. Ayyar ... 21.64-72 Research on Indian music : Alain Danielou ... 24.57-69 Research on Indian literature on music, Some problems facing, : Alain Danielou ... 23.117-20 Reviews: See Book Reviews. Roshan, Kumari, in a Kathak pose, illustration ... 27. opp. 84 Rudra-damarudbhava-sutravivaranam, Ed. with Intro duction, Translation and Notes: Alain Danielou ... 22.119-28 SUBJECT INDEX xxxiii

Rudrapriya, Ragalakshana ... 27.27-28 Rumania, Organisation of the Folklore Institute, Bucharest: Sabin Dragoi ... 29.33, 96-99 Rumanian folk-dances: Peter Bodeut ... 29.33-34, 100-20 Ruth Douglas Prize ... 29.44 Sabhesa Aiyar, Sangita Kalanidhi, Condolence resolution on, ... 21.44 Sadas of the Academy’s Conferences, 1949-58 : ... 21.55-63; 22.39-46; 23.32-38 ; 24.42-56 ; 25.44-48 ; 26.53-60 ; 27.42-46 ; 28.46-54 ; 29.36-48 ; 3 0 .4 8 a -j

Sadas Addresses: 23rd Session, 1949: The Hon’ble K. Madhava Menon ... 21.62-63 24th Session, 1950: ,, M. Bhaktavatsalam ... 22.45-46 25th Session, 1951 : „ T. T. Krishnamachari 23.37-38 26th Session, 1952: Sri K. Srinivasan ... 24.52-56 27th Session, 1953 : The Hon’ble C. Subramaniam 25.48 28th Session, 1954: Sri Patanjali Sastri ... 26.60 29th Session, 1955 : Sri S. Varadachariar ... *7.44-46 30th Session, 1956 : The Hon’ble Nityananda Kanungo ... 28.53-54 31st Session, 1957: Sangita Kalanidhi K. Vasu- devachar ... 29.36 32nd Session, 1958: H. £. Dr. B. Ramakrishna Rao ... 30.48 f-h Sadasiva Rao, Mysore, A Kriti of, Ed. : N. Chenna- kesaviah ... 26.173-77 „ „ Kritis of, talk by Chenna- kesaviah ... 29.22-23 „ „ Some more songs of,: V. Raghavan ... 22.167-68 Sadasiva Rao’s kritis, demonstration by Rangamma and Nagaratna ... 27.36-37 Sahitya in music, talk and demonstration by P. Veeriah Chowdry ... 30.27-28 B—5 xxxiv INDEX TO VOLS. 21 -3 0 Samagana on the veena, rendering 'by Karaikudi Sambasiva Aiyer 24.22 Samanna Suri, The muaic works of,: V. Raghavan 21.190-214 Sama-Veda, Music of, discussion 22.34-36 Sambasiva Iyer: See Karaikudi Sambasiva Iyer. Sangatis in Tyagaraja’s kritis, talk by Vissa Appa Rao 28.33-34 Sangita Chanitika by Attoor Krishna Pisharati, Book Review 26.154-60 Sangita Damodara, Notes on the,: Alain Danielou... 22.129-31 Sangit-o-Samskriti (History of Indian Music) by Swami Prajnanananda, Book Review 25.140-42 Sankarabharana, Carnatic ragas from a new angle: K. V. Ramachandran 21.88-89 Sankarabharana, music-graph of, exhibition: Venka- tarama Aiyar of Pudukkottai 23.30 Sankaradeva and his Predecessors by Maheswar Neog, Book Review 26.160-61 Sankara Sastri, Piratla, Condolence resolution on, ... 23.26- 27 Saroadevavilasa Ed. by V. Raghavan, Book Review... 30.154-55 “ Savitri ”, Gustov Holst’s,: Narayana Menon 25.37, 60-61 Science of music: Vissa Appa Rao - 26.81-86 Sensations, Duration as measure of,: Robindralal Roy 23.75-86 Seshayyar, Pallavi, (1846-1908): P. Sambamurti 25.58-59 Shadragamanjari of A. Lingappa, talk by the author 28.40 Shanmarga Pallavi, recital by Mudicondon C. Venkatarama Iyer 26.45-46 Silappatikaram, Music in, talk by S. Ramanathan ... 28.26- 27 Silappatikara Isai Nunukka Vilakkam by S. Rama nathan, Book Review 28.157.58 Silver Jubilee Committee Meeting of the Academy ... 23.24-25 Silver Jubilee Souvenir, 1952 24.21 Simhanandana Pallavi of Maha Vaidyanatha Iyer, rendering by Mudicondan C. Venkatarama Aiyer 24.30-31' Singing of Kalpana svaras (in Tamil): Kalidas Nilakantba Aiyar 23.53-55 SUBJECT INDEX XXXV Sitar and Tabla demonstration by Ratanjankar 21.51-52 Sitara Devi, in a Kathak pose, illustration 27.opp.77 Sivavadivelu Pillai, Kuttalam, Condolence resolution on, 27.41 Sollukkattu recital in Bharatanatya, discussion on,... 21.48-49 Some early references to musical ragas and instru ments : V. S. Agrawala 23.113-14 — : V. Raghavan 23.115-16 Some more songs of Mysore Sadasiva R ao: V. Raghavan 22.167-68 Some padas in notation : Ed. T. Viswanathan 30.142-49 Some problems facing research on Indian literature on music : Alain Danielou 23.117-20 Songs of Sri Papanasa M udaliar: Mudicondan C. Venkatarama Iyer 23.105-08 Soong-Ching-Ling, Madam, visit of, to the Confe rence 27.31 Sorakadu Venkatasubbier’s compositions, rendering by Needamangalam Krishnamurti Bhagavatar ... 27.33- 34 South-East Asian Music Council, Formation of, 26.33- 35 Souvenir of the Conferences, 1949-58 : 21.: 9; 22.30; 23.16; 24.21; 25.23; 26.12; 27.18; 28.12; 29.15; 30.16 " Sowbhagyavati”, a new musical instrument, demonstration by Venkatarama Iyer of Pudukkottai 23.30 Spiritual Heritage of Tyagaraja By C. Ramanuja- chariar and V. Raghavan, Book Review 30.156-158 Srinivasa Iyengar, Ramnad, See Ramnad Srinivasa Iyengar; Srinivasan (R.) ’s compositions, rendering by Kamala Krishnamurti 30.34 Srinivasa Raghavachariar, Dr. T., Condolence reso! tion on, 21.24 Srutis, Svara, Murchhana, Grama and Raga, demon tralion by Balakrishna Buwa Kapileswari 26.47 Srutis, The eternal paradox in Indian music—,: G. Ranadc 28.115-19 xxxvi INDBX TO VOLS. 21-31 Stbayas, On the transformation of, by the alteration of Sruti: Robindralal Roy 24.35.36, 70-76 Story of Indian Music by O. Goswami, Book Review... 28.159-66 Subandhu’s overtones: K. V. Ramachandran 23.121-25 Subba Rao, T. V., Condolence resolution on, 30.46 Subba Rao, T. V„ Contributions of, to the Music Academy Journal and Souvenir 29.155-56 Subba Rao, T. V., In Memoriam 29.154-55 Subbarama Bhagavatar of Mazhavarayanendal, Condolence resolution on, ... 23.26-27 Subbaraya Sastri, A Tamil kriti of Sri,: Ed. by T. Visvanathan 24.159 Subhankara, The Hastamuktavali of, : V. Raghavan 21.181 Subhankara Kavi, A further note on the date of,: Maheswar Neog 30.150-55 Subhankara’s Hastamuktavali, Cr. Ed. By Maheswar Neog App. to Vols, 23-30 Sundaram Iyer, P. S. : In Memoriam 22.171 Surbahar, demonstration by Annapurna Ravishankar. 27.40-41 Surapuram Ananda Dasa and his compositions: N. Chennakesaviah 28.35-36, 140-50 Svarajati, A new, : Ed. Balu Bhagavatar 26.189 Svarakshara Sahityas, talk and recital by T.N.C. Venkatanarayanacharyulu 24.28 Svararnava, The so-called, Ed. : V. Raghavan 24. App. 1-12 Svarasthanas and their nomenclature: S. Ramana- 30.19-20, than 63-69 Svati Tiranal: —, Maharaja, and his times: S. Venkiiasubra- monia Iyer 22.154-60 —, Ragamalikas of: Do. 24.81-89 —, The Navaratri kirtanas of, : Do. 23.95-100 —, Navaratri kritis of, rendering by M. A. Kalyanakrishna Bhagavatar 25.10 Syama Sastri’s kritis : Mudicondan C. Venkata- rama Iyer 2 3 .1 0 1 -0 4 SUBJECT INDEX xxxvii Systematic Musicology : Book Review ... 23.164 Talas, JDesadi and Madhyadi, : T. V. Subba Rao ... 23.92-94 Talks during Conferences: See under Papers, Talks and Lectures. Tallapakkam compositions, rendering by R. Anantakrisbnan Sarma ... 25.42*43 Tambnra: —, experiments on, illustrations ... 27.92,96,98, 104,106 <—, Newly devised, exhibition of, ... 30.44*45 —, Overtones of, talk by S. S. Murti Rao ... 28.40-42 —, Tonal structure of, : B. Chaitanya Deva... 27.89-112 Tamil composition of Ramasvami Iyer of Tiruvaiy- yaru : Ed. Mudikondan C. Venkatarama Iyer... 30.140-41 Tamil kriti of Sri Subbaraya Sastri,: Ed. T. Visva- 24.159 nathan Tana: — demonstration by Mudicondan C. Venkatarama Iyer ... 23.27-28 — on the Veena, demonstration by T . N. C. Venkatanarayanacharyulu ... 29.24 — Tana Varna of Kottavasal Venkatarama Iyer : Mudicondan C. Venkatarama Iyer . ... 23.109 Tanjore Lakshminarayana Bhagavatar : Condolence resolution on, ... 30.46 Tarangini, Ragalakshana ... 21.49-50 Tavil demonstration by Raghava Pillai ... 28.25, 26 Teaching Gamakas to students (in Tamil) : C. S. Ayyar ... 27.61-63 Teaching of music : T. V. Subba Rao ... 26.76-78 Teaching of music—Theory : R. Srinivasan ... 26.73-75 Tevaram, rendering of, by Tevaram Swaminatha Iyer 25.42 Thaya, demonstration by Mudicondan C. Venkata rama Iyer ... 29.27 Tiger Varadachariar : —: T. V. Subba Rao ... 22.132-35 — Condolence resolution on, ... 22.34 # xxxviii INDEX TO VOLS. 21-30 Tiger Varadachariar (Contd.): —, In Memoriam ... 22.169-70 — ’s compositions, rendering by M. D. Ramanathan ... 27.31 Tillana: T. N. C. Venkatanarayanacharyulu ... 30.20-29, 87-91 Tillana of Maha Vaidyanatha Iyer : Ed. Mudikondan G. Venkatarama Iyer 30.138-39 Tillanas, Rare, demonstration by Mudicondan G. Venkatarama Iyer 28.29 ; 30.37-38 Time theory of the ragas (North Indian): K. N. Das 22.28-29, 69-92 Timing in music, An old Assamese work on,: Mabeswar Neog ... 22.147-53 Tiruppavai recital by B. Rajam Iyer and B. Krishnamurti 24.22 ; 25.35; 27.20;28.29 ; 29.16; 30.17 Tiruppugazh, exposition and recital by T. M. Krishnaswami Aiyar ... 27.40 Tiruppugazh of Arunagirinathar, Rhythmic settings in,; talk by Mudikondan C. Venkatarama Iyer 28.36-37 Tiruvaimozhi, recital by B. Rajam Iyer 24.22 Tiruvalapputtur Kalyani Ammal, Condolence resolution on, 30.40 Toda music : Mudicondan G. Venkatarama Iyer and V. Raghavan 26.150-51 Tonal structure of the Tambura : B. Ghaitanya Deva 27.89-112 Traces of ancient Indian music in China : Jan Yun- Hua 28.92-99 Tyagaraja —, a few unpublished Kirtanas of Sri, (Text only): Vissa Appa Rao 22.90- 96 —, A new song of, : V. Raghavan 22-163-64 — A study of,; S. Parthasarathi 24.90- 97 — Devi Prabhava Kirtanas of, (in Tam il): M. Subrahmanya Iyer 30.18,49-62 — Giripai of,: T. V. Subba Rao 24.98-103 Modernity of,: T. V. Subba Rao ... 22.136-41 SUBJECT INDEX xxxix Tyagaraja (Contd.) — Nauka Charitra of, (in Tamil): M. Subrah- manya Iyer ...29.16,49-62 — Ragas in which there are only single pieces by him, discussion ... 22.21-22 — -songs in manuscripts: V. Raghavan ... 22.161-64 — Svararnava given to, The so-called,: Ed. V. Raghavan ... 24. App. 1-12 Tyagaraja Kritis: — and their correct ragas: talk and discussion on, ... 30.21-23, 29-31, 39-40 —, Rare,: recital by Manjakkudi Rama- chandra Bhagavatar ... 22.30 — rendering of, by Mr. and Mrs. S. Partha- sarathi ... 25.40 — rendering of rare, by Venkatarama Bhagavatar ... 22.29 —, Sangatis in, talk by Vissa Appa Rao ... 28.33-34 Tyagaraja’s — Divyanama Songs: Pudukkottai M. Sub- rahmanya Iyer ...26.28, 61-72 — Pancharatna kirtanas, rendering by K. V. Narayanaswami ... 27.20 — Prahlada Bhaki Vijayam (in Tamil): M. Subrahmanya Iyer ... 28.27-28 ; 57-67 — songs, Apurva ragas of, : K. V. Rama- chandran ... 21.107-09 — songs which have undergone change, talk and demonstration: Manjak kudi Ramachandra Bhagavatar ... 21.31 — Utsava Sampradaya Kirtanas: M. Sub rahmanya Iyer ...27.26,64-73 Unesco Music Education Conference, Brussesls: V. Raghavan 25.137-39 x i i n d e x t o Vo l s . 2 1 -3 0

Ustni, Ragaksbana ... 21.41-44 Upanishad Brahma Yogin, his life, works and contribution to Carnatic music : V. Ragbavan ... 27.113-50; 28.151-52 Utsava Sampradaya Kirtanas, Tyagaraja’s, (in Tam il): M. Subrahmanya Aiyar ... 27.26* 64-73 Vachamagochara and Banturiti, Tyagaraja kritis: T. V. Subba Rao ... 25.25-27, 53-57 Varadachariar, See Tiger Varadachariar. Varnas, Two new : Ed. Mudicondan C. Venkatarama Iyer and B. Krishnamurti ... 26.178-81 Vasudevacharya’s compositions: rendering by D. Pasupati ... 29.26-27 Vazhuvoor Veeraswami Pillai, Condolence resolution on ... 30.46 Vasudeva Kittana Manjari, Book Review ... 28.155-56 Veena and Gamakas, talk and demonstration on, by Devakkottai Narayana Iyengar ... 21.30-31 Veena demonstration by Devakkottai Narayana Iyengar ... 30.17-18 Veena fretting, the process of,: Smt. Vidya Shankar... 30.125-29 Veena paddhati of Hindustani music: Birendra Kishore Roy Chowdhry ... 28.72-76 Veena recital by Kumari Rajeswari ... 24.34-35 Veena, talk by T. N. C. Venkatanarayanacharyulu 27.24-25 Veenai Varadayya, Compositions of, demonstration by R. V. Krishnan and K. P. Rajagopalan ... 23.25 Veerabbadrayya: See Merattur Veerabhadrayya. Venkatagiriappa, Vidvan,: In Memoriam ... 23.173 Venkatagiriappa’s compositions, recital by Mysore Duraiswami Iyengar ... 24.35 Venkatarama Aiyar, T. L., felicitations to, ... 25.40-41 Vietnamese music, A festivaljof re-created Vietnamese music : Jean Varnoux ... 21.136-38 Vietnamese music instruments : Illustration ... 21. opp. 40 Vietta, Egon, Note on, ... 28.153 SUBJECT INDEX xii View Ptints, Orisntations and Methods, Book Review ... 26.164 Viziapagaram musical manuscripts: Vissa Appa Rao ... 23.153-65 Vizjjanagaram music manuscripts, Arobana and avarohana kala svaras of 94 Carnatic ragas taken from the,: Vissa Appa Rao ... 24.125-34 Violio: — Concert by T. Chowdiah ... 29.15 — demonstration by Dwaram Venkataswami Naidu 22.37; 23.29; 24.33 — „ by Karur Chinnaswami Iyer ... 22.36 — „ by Madurai Subrahmanya Iyer ... 22.31 — „ by Marungapuri Gopalakrishna Aiyar 27.29 — „ b y T . Cbowdiah ... 29.18 —, talk on, by T. Chowdiah ... 29.18 —, Teaching of, and its science: C. S. Ayyar ... 26.47-48, 87-90 — technique. Ideals in, in relation to Karnatic music : C. S. Ayyar 30.20-21, 70-77 Voice culture, talk by S. Srinivasa Rao ... 29.28 Welcome Addresses at Conferences, 1949-58 : 21.2-3; 22.2-3 23.3;24.6-7; 25.3-4; 26.4; 27.3; 28.3-4; 29.2-3; 30.2-3 West, Folk music of the, Further notes of the, illustrated talk on, : Victoria Kinsley ... 22.83-85 West, Singing and voice production in the, talk by Steuart Wilson ... 27.20-23 Western music, Oriental influence o n ,: John Marr ... 25.38-39, 62-72 Western music, The origins of,: Nicholas Nabokov... 28.77-83 Yugoslav dance: Miss Milica Ilin ... 29.29-31, 80-82 Yugoslav music, demonstration by Mirka Pavlovich 29.29 Yugoslavia, Choral music of,: Mirka Pavlovich ... 30,45-46, 117-24 Yugoslavia, Some glimpses into the music of, : Mirka Pavlovich ... 29.70-79

■—6 AUTHORS Agrawala, V. S.: Some early references to musical ragas and instruments ... 23.113-14 Alvin, Juliette: Music Therapy 29.139- 43 Appa Rao, Vissa: Kshetrajna 21.110-29 A few unpublished kirtanas of Tyagaraja (teat only) 22.90-96 The Vizianagaram musical manuscripts 23.153-65 Arohana and avarohana svaras of 94 Carnatic ragas taken from the Vizianagaram music manuscripts 24.125-34 The Science of niusic 26.81-86 Ayyar, C. S .: Musical Research apd Frequency Ratios 21.64-72 Physics and Aesthetics of Hindustani music ... 22.86- 89 Microtonal Variations 25.49-50 Microtonal variations in frequencies in Karnatic music-Il 25.51-52 Teaching of the Violin and its Science 26.87- 90 Teaching Gatnakas to students 27.61-63 Ideals in Violin Technique in relation to Karnatic Music v. 30.70-77 Balu Bhagavatar: A new Svarajati, Ed. with notation 26.189 Bo, D am : The Music of the Pemsians 21.139- 42 Bodeut, Peter: Rumanian Folk-dances 29.100-20 Bose, l^arendra Kumar: Melodic types of Hindustani : A Scientific inter pretation of the Raga system of Northern India 2 7 .1 5 1 - 6 7 AUTHOR INDEX xilii Chaitaoya Deva, B.: The emergence of the drone in Indian music: A Psychological approach 23.126-52 Tonal structure of the Tambura 27.89-112 Choudhury, Birendra Kishore Roy: The Veena Paddhati of Hindustani music 28.72-76 Chennakesaviah, N .: A kriti of Mysore Sadasiva Rao, Ed. with notation 26.173-77 Devaranama of Ananda Dasa of Surapuram... 27.187-90 Sri Ananda Dasa of Surapuram and his compositions 28.140-50 Danielou, Alain: A commentary on the Mahesvara Sutra: The Rudra-damarudbhava -Sutra- Vivarana: (Ed. with Introduction, Translation and Notes) 22.119-28 Notes on Samgita Damodara 22.129-31 Some problems facing research and Indian lite rature on Music 23.117-20 Research on Indian Music 24.57-69 Ethno-musicology 27.47-60 Das, K. N. The Music of Assam 21.143-80 Time theory of the Ragas (North Indian) 22.69-92 Devaki Menon : The Kuttu of the Kerala Theatre 25.122-29 Dragoi, Sabin V .: Organisation of the Folklore Institute, Bucharest, Rumania 29.96.99 Ilin, Miss M ilica: Yugoslav dance 29.80-82 Joshi, Nirmala : Some aspects of Kathak dancing 30.101-05 Kapila Vatsyayan ; Kathak 27,74-»R xliv INDBX TO VOLS. 2 1 - 3 0 Keyt, George: Some notei on Kandyan daneing ... 24.118-24 Kinsley, V ictoria: Further notes of the illustrated talk on Folk lore Music of the West ... 22.83-83 Kriihnatnurti, B., and Mudicondan C. Venkatarama Iy er: New Varnas with notation ... 26.178.81; 27.191-96; 28.136-39 Marr, John: Oriental influence on Western music ... 25.62-72 Mehta, R. G .: Melodic tensions and musical aesthetics ... 30.78-86 Mutatkar, Sumati: Alap in Hindustani music ... 23.77-80 Nabokov, Nicholas: The Origins of Western music ... 28.77-83 Narayana Menon: Gustav Holsts’s 1 Savitri ’ ... 25.60-61 Book Reviews ... 25.148-30 Neog, Maheswar: An old Assamese work on timing in music ... 22.147-53 Hastamuktavali of S'ubhankara Ed. ... Supp. to vols. 24 to 30 The God’s Pleasure dance of Manipur ... 28.1Q7-10 The Vaishnava music of Assam ... 30.1Q6-16 A further note on the date of S'ubhankara kavi ... 30.150-54 Nilakantha Iyer, Kalidas: Singing, of Kalpana svaras (in Tamil) ... 23.53-55 Subramania Pillai, Palani: Vidvan Manpoondiya Pillai (in Tamil) ... 25.73-75 Paranjpe, V. G .: fpdian Music and Aesthetic 2 8 .6 8 - 7 1 AUTHOR INDEX xlv Farthaaarathi, S.: A itudy of Sri Tyagaraja ... 24.90-97 Parthaaarathy, T. S.: Book Reviewa 25.140-44 ; 28.155-56 Pavlovich. Mr a. Mirka: Some glimpaea into the Moaic of Yngoalavia ... 29.70-79 The Choral muaic of Yugoalavia ... 30.117-24 Pattanaik, Kalicharan: Odiaai muaic ... 29.83-91 Odiaai nritya ... 29.92-95 Prajananananda, Swami: Apalyaia of Muaic in MarkancUya Parana ... 29.130-38 Raghavan, V.: The Hastamuktavall of S'ubhahkara 21.181 The Non-musical worka of aome leading Muaic writera ... 21.182-83 The muaic worka of Samanna Suri 21.190-214 The Kandyan dance—illuatrated 21.215-22 Tyagaraja ao'nga in Manuacripta 22.161-64 Dance and Drama in Ceylon 22.165-66 Some more aonga of Myaore Sadaaiva Rao 22.167-68 In Memoriam 22.169-75;

• •• 29.154-56 Some early referencea to Musical Ragaa and Inatrumenta 23.115-16 An Outline Literary Hiatory of Indian muaic ... 23.64-74 Why ia the Mridanga ao-called 24.135-36; 26.148 Kalidaaa-hridayam: Muaic and Dance (in Tamil) ... 24.137-50 Another rare Compoaition of Merattur Veera- bhadrayya ... 24.151-54 The ao-called Svararnva, Ed. ... 24.App. 1*12 M«nc in Ancient Indian Drama ... 25.79-92 xlvi INDEX TO VOLS. 21 -3 0 Raghavan, V. (Contd.): The' Multifaced Drum 25.107-08 The Music of the Hebrews: Resemblences to Sama Veda chant ... 25.109-11 The Unesco Music Education Conference, Brussels ... 25.137-39 Book Reviews 23.144-47 ; 26.160-64 ; 28.156; 29.157-5S Sri Muthusvami Dikshitar ... 26.131-47 Nagasvara ... 26.149 Obituary Notices ... 26.152-53 Notes ... 28.153-54; 30.130-32 Upanishad Brahma Yogin, his Life, Works and Contribution to Carnatic music 27.113-50; 28.151-52 The popular and Classical in Music ... 28.100-06 The Music Writers of Orissa ... 29.144 Raghavan, V., and Mudicondan C. Venkatarama Iy er: Toda music ... 26.150-51 Raja* K. Kunjunni: Krsnanattam ... 29.121-29 Rajagadesa Dikshitar, A. C. : Thirty-two Melakarta Ragas (in Tamil) ... 26.91-106 Ramachandran, K. V .: Carnatic music from a new angle : Sankara- bharana 21.88-99 Carnatic Ragas and the Textual Tradition 21.99-106 Apurva ragas in Tyagaraja kritis 21.107-09 Subandhu’s Overtones 23.121-25 The Grace-notes of Dance 25.93-100 Ramanatban, S.: Svarasthanas and their Nomenclature ... 30.63-69 Ranade, G. H .: The Eternal paradox of Indian music—The Srvitis 28,115-19 AJJTJJ^R I^DEX xtvn Ranade, G. H. (Contd.j: History of the Music Tradition of Maharashtra with special reference to Dasopant’s Padas ... 30.92-100 Ratanjankar, Pt.: Points of affinity between Hindustani and Carna tic Music 21.73-87 Rag^s in Hindustani Music 22,97-105 Raga expression in Hindustani Music 23.56-63 Roy, Rqbindralal: Philosophy of music: Introduction 22.106-18 Duration as Measure of Sensations 23.75-86 Rhythmic aspect,of Physiology and Psychology 24.104-17 Number in Sensation, Feeling and Thought... 25.112- 21 Mnsic and Verbal Mind 26.113- 21 On Transformation of Stbayas of Sruti and conseqitent importance of 32 Melakartas as specially suited to musical composition 24.70*76 Sabita Devi, Rani of Bijni: The Musico-religious traditions of Assam 29.63-69 Sambamoorti, P .: Jatisvara Sahityas of Muthusvami Dikshitar ... 21.130-35 Pallavi Seshayyar (1846-1908) 25.58-59 Book Reviews 28.157-59; 30.156-57 Saraswati Bai, C. : Hari|catha as musical discourse (in Tamil) 22.47-56 Sarma, S.N. : Two Commentaries of Gitagovinda recently recovered from Assam 25.130-36 Souvanna-Pbouma, Prince : Music of Laos 28.111-14 Spector, Johanna L .: Musical styles in Near-Eastern Jewish'liturgy ... 26.122-30 Srinivasan, R .: Teaching of music - Theory 26.73,75 ‘Rook Review 30.157-58 xtviii INDBX TO VOLS, 21-30 Subba Rao, T. V .: Tiger Varadachariar ... 22.132-35 Modernity of Tyagaraja ... 22.136-41 Prahlada Bhakta Vijaya ... 23.87-91 Desadi and Madhyadi Talas ... 23.92-94 Giripai of Tyagaraja ... 24.98-103 Vachamagocbara and Banturiti ... 25.53-57 Teaching of Music ... 26.76-80 Mukhari Raga ... 27.168-71 Subrahraanya Iyer, M. : Sri Tyagaraja'i Divyanama Sankirtanai (in Tamil) ... 26.61-72 Sri Tyagaraja’i Utiava Sampradaya Songs ... 27.64-73 Prahlada Bhakti Vijayam of Sri Tyagaraja Swamigal (in Tamil) ... 28.57-67 Tyagaraja'i Naukacharitra (in Tamil) ... 29*49-62 Devi Prabhava Kirtanas of Tyagaraja (in Tamil) 30.49-62 Sundaram Aiyer, A .: Muthuiwami Dikihitar’s Kritii, edited with notation 21.184-89 ; 22.142-46 ; 23.110-12; 24.155-58; 25.76-78; 26.165-72; 27.179-86 ; 28.126-35 ; 29. 145-53; 30.133-37 Varadayya, Veenai: Bobbili Keiavaiah (in Tamil)... 22.57-68 Varnoux, Jean: Vietnameie muiic ... 21.136-38 Venkatachalam, G .: Book Review ... 30.158-60 Venkatanarayanacbaryulu, T.N.C.: Secrets of Kritirochana (in Tamil) ... 26.107-12 Tillana (in Tamil) ... 30.87-91 Venkatarama Bhagavatar, Ennappadam: Chakra Tanam (in Tamil) ... 23.39-52 Venkatarama Iyer, Mudicondan C .: A Tana-varna of Kottavaial Venkatarama Iyer 23-109 AUTHOR INDEX xlix

Venkatarama Iyer, Mudicondan C. (C ontd.): Sri Syama Sastri’s Kritis 2 3 .1 0 1 - 04 Songs of Sri Papanasa Mudaliar 23.105-08 Book Reviews 27.172-78 ; 28.159-66 Lalita and Manji ragas 28.120-25 A Rare Tillana of Maha Vaidyanatha Iyer, Ed. with notation 30.138-39 A Tamil Composition of Ramaswami Iyer of Tiruvayyaru, Ed. with notation 30.140-41 — and Krishnamurti, B., New Varnas Ed. with notation: 26.178.81 ; 27.191-96; 2 8 .136-39 — and Raghavan, V. : T o d a m u sic 26.150-51 S. Venkitasubramonia Iyer, S .: Maharaja Svati Tirunal and his Times 2 2 .1 5 4 - 60 The Navaratri Kirtanas of Svati Tirunal 2 3 .9 5 -1 0 0 The Ragamalikas of Svati Tirunal 24.81-89 Some composers of Malayalam music 2 5.101- 06 Book Reviews 2 6 .1 5 4 - 60 Vidya Shankar: The Process of Veena-fretting 30.125-29 Vietta, Egon : Dance and Drama 28.84-91 Vissa Appa R ao:

See under Appa Rao. Viswanathan, T .: A Tamil kriti of Subbaray.a Sastri Ed. with n o ta tio n 24.159 Some Padas in notation 30.1 4 2 -4 9 Rare padas of Ksbetrajna and Ghanam Krishna Iyer, Ed. with notation 26.182-88

~~~~~~Yun-Hua, Jan: The Traces of ancient Indian Music in China... 2 8 .9 2 -9 9~~~~~~

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THE TEACHERS’ COLLEGE OF MUSIS I v'V ACADEMY, MADRAS. ' - Principal# Professorof Vocal Mujie—Saogita Ralanidhi 5 Mudikondan C. Vcnkatarama lyer. Professorof Vocal Music—Sint. T. Jayammal. 0 .-.■V."’. Lectstrersin Theor]r#Pedagogy—Mri. M. Sitamma and Mrs. •0 Brinda Varadarajan, B. A„ L. T. Model School Toothers—Vidwans P. Ramachandran and B.Krish namurti. ’ ; . Correspondent —Dr. V. Raghavan. Instruction is imparted here to pupils not only in-theory and. practice of Indian Music* but also in the correct and approved methods of teaching music. The trained pupils will be competent to teach at least the School Final Class. There are specially qualified Teachers Tot Practical Music, Theory and Pedagogy* end. Model Classes respectively. The Training class is of the duration of one year of three terms, and for the present, is confined to Vocal Music only. The working hours of the College are between 11 A. M. and 4 P. M. The fee for the whole course is Rs. 50—if paid in advance—or Rs.6 for each of the nine-months comprising the whole course. Scholarships and fee concessions are available. At the end of the course an examination will be held and diplomas awarded tO successful , candidates. The first in rank will also get the Raja Annamalai Prize. Persons of both sexes are eligible for admission. Only those candidates whose proficiency in music is up to the Intermediate standard of the Madras University are ordinarily admitted. Pre- ferehce is however given to those who are already employed as Music Teachers. Applications for admission snail be in the A prescribed form. The final selection of candidates for admission v will be made by a Committee-before whom the candidates shall (V present themselves on such days as may be notified. Prospectus, syllabus and admission form will be sent on « receipt of postage stamps for the value of 25 nPs. ' The Model School coaches for Govt. Technical Examination O in Music, Lower and Higher. A SPECIAL CLASS for one year for advanced students Is V conducted by Sri Mudikondan C. Venkatarama Iyer. 0 CLASSICAL BHARAT A NATYA SCHOOL is also separately A conducted by T. Balasarasvati under the patronage of the Academy. a The Correspondent, The Teachers’ College of Music, V THE MUSIC ACADEMY, A Royapettah Madras-14. *•.' f ’ o'

~~~~~~> ■ar:"' 4v btsi&xy ■•.:'> • • ‘i- k ; Chaturdandi Prakasikaof~~~~~~

Venkatamakhin, Sanskrit * 2/’ . 1 2 /- 1 tf i) ” ■' •$ ' Sangita Sara Sangrahamu, TelttgU 4 / . I ” 11 4 4 Tulaja of Tanjore, Sanskrit 3 , I (With Extuwstire English Introdictioo) ” I -I Kritis of Pallavi Doraiswamy * Iyer in Notation (Oat of stock) 1/- \

~~~~~~Kktis of Mysore Sadasiva Rao i in Notation » 2/- J~~~~~~

~~~~~~| Summary of Raga Lakshanas » 1/- 1 Rare Compositions of Patnam~~~~~~

~~~~~~I Subrahmanya Iyer & others »> | Abhinaya Sara Samputa (2ni Edn.) (in the press) | Ahhinaya Navanita (in the press)~~~~~~

~~~~~~(In the Press) i tinted at The Bharati Vijayain Press, Venketatthela Chatty 8t., Triplicate, Madra*- and published by.Dr. V. Baghevan for the Maajo Academy, Mo~~~~~~