Contents Preface (original version) ...... 13 Preface (revised and augmented version, 2012)...... 15 Acknowledgments (original version) ...... 19 Transliteration ...... 23 Transliteration Code ...... 25 Music Notation System - Svaralipº 5ßvrilpº° ...... 29 A. Name of Indian notes with their correspondances ...... 30 B. Help to the hand-writing of notes & bola-s 5bol° ...... 30 C. Notation system...... 32 D. Comparison : Bhatkhandeji & Paluskarji Svaralipº-s 5ßvrilpº° ...... 37 Introduction ...... 39 Part I : Kalya`n@a Group - k¬y`, å‘g ...... 45 1. - yamana - 5ymn° ...... 47 2. Shuddh Kalyan - ›uddha kalya`n@a 5

11. Panch Kalyan - pan[ca kalya`n@a 5p‘c k¬y`,° ...... 74 12. Samant Kalyan - sa`manta kalya`n@a 5s`m~t k¬y`,° ...... 75 13. Gaur Kalyan - gaura kalya`n@a 5gør k¬y`,° ...... 75 14. Kalyan - ›rº kalya`n@a 5>º k¬y`,° ...... 75 15. Malarani - ma`la`ra`nº 5m`l`r`nº° ...... 76 16. Lakshmi Kalyan - lashmº kalya`n@a 5l∑mº k¬y`,° ...... 77 17. Vaijyanti - vaijayan[tº 5vèjy‘tº° ...... 77 18. Kalyan - durga` kalya`n@a 5dug`! k¬y`,°...... 78 Kalya`n@a 5k¬y`,° Group : Conclusion ...... 80 Recapitulation : Kalya`n@a ra`ga-s : different types ...... 84 Part II : Sa`ran[ga Group - s`r‘g å‘g ...... 93 1. Vindravani Sarang - vr@nda`banº sa`ran[ga 5b9~d`bnº s`r‘g° ...... 95 General features : Sa`ran[ga 5s`r‘g° family ...... 97 2. Madhyamadi Sarang - madhyama`di sa`ran[ga 5mflym`id s`r‘g° ...... 98 3. Shuddh Sarang - ›uddha sa`ran[ga 5

14. Sorashtra Bhairav - saura`s@t@r@a bhairava 5sør`≈z« Bèrv° ...... 153 15. Prabhat Bhairav - prabha`ta bhairava 5pçB`t Bèrv° ...... 155 16. Shiv Mat Bhairav - ›iva mata bhairava 5i

11. Raisa Kanada - ra`yasa` ka`nad]a` 5r`ys` k`nF(`° ...... 269 12. Huseni Kanada - husenº ka`nad]a` 5husénº k`nF(`° ...... 273 13. Mudriki Kanada - mudrikº ka`nad]a` 5muidàkº k`nF(`° ...... 288 Chart 11 : fiaha`na` Ka`nad]a`, Ra`yasa` Ka`nad]a`, Husenº Ka`nad]a` & Mudrikº Ka`nad]a`` Comparison ...... 293 14. Kanada - ka`fº ka`nad]a` 5k`fº k`nF(`° ...... 297 15. Bageshree Kanada - ba`ge›rº ka`nad]a` 5b`gé>º k`nF(`° ...... 300 16. Kaunsi Kanada - kaun[sº ka`nad]a` 5kø––––‘sº k`nF(`° ...... 307 Chart 12 : Ka`fº Ka`nad]a`, Ba`ge›rº Ka`nad]a` & Kaun[sº Ka`nad]a` (Ba`ge›rº An[ga) Comparison ...... 319 17. Abhogi Kanada - abhogº ka`nad]a` 5aBogº k`nF(`° ...... 322 Part VI : Miscellaneous Ra`ga-s 5r`g° ...... 329 1. Ahir - ahºra lalita 5ahºr lilt° ...... 331 2. Pancham - pan[cama 5p‘cm° ...... 333 Introduction on Åsa`varº based ra`ga-s ...... 335 3. Gandhari - ga`n[dha`rº 5g`'D`rº° ...... 340 4. Devgandhar - devaga`n[dha`ra 5dévg`‘D`r°...... 342 5. Jait - jaita 5jèt° ...... 344 6. Hemant - hemanta 5hém~t° ...... 348 7. - jhin[jhot@º 5i˜‘˜ozº° ...... 350 8. - kala`vatº 5kl`vtº° ...... 354 9. Lalit Pancham - lalita pan[cama 5lilt p‘cm° ...... 357 10. Dhanashree - dhana`›rº - 5Dn`>º° ...... 359 11. - mulata`nº 5mult`nº° ...... 363 12. Multani Dhanashree - mulata`nº dhana`›rº 5mult`nº Dn`>º° ...... 365 13. Khat - khat@a 5Kz° ...... 367 14. Vashaspati - va`caspati 5v`cßpit° ...... 372 15. Madhukauns - madhukaun[sa 5mDukø–––‘s° ...... 373 16. Bhinna Shadj - bhinnas@ad@jaSample 5iB~~xF3j° ...... 374 17. Maligaura - ma`lº gaura` 5m`lº gør`° ...... 376 List of Illustrations ...... 383 List of Comparative Charts of ra`ga-s 5r`g° ...... 385 List of ra`ga-s 5r`g° examined in the Text ...... 389 Musicological Terminology...... 403 Glossary ...... 415 Bibliography ...... 439 Index ...... 459 ËE Introduction The study of ra`ga 5r`g° forms is the backbone of Hindustha`nº ra`ga san[gºta1 5ih~dußT`nº r`g s‘gºt° since its interest is not confined to theoriticians and grammarians of music alone but directly concerns all the performing artists who have, in their « home-work », to ponder and study the structure, form, movements and spirit of each ra`ga 5r`g° before performance. Moreover, it is also practical because, if on the one hand, the theoretical study of their rules and structures is compulsary prior to the performance of their elaboration in a`la`pa2 5å`l`p° and compositions, on the other hand, it is only through the practical study of their most representative bandi›a3 5bi~d<° that a true insight into ra`ga 5r`g° may be achieved. Notwithstanding the utmost importance of the guru 5gu®° whose teachings are, by essence, irreplaceable, the present day musician, more than ever, has to keep his ears open to what others perform and go into the contemporary texts of the Pan@d@ita (Pan[d@ita) 5pi˙Ft? p‘iFt° for the description of the ra`ga 5r`g° and their compositions. I insist on the word « contemporarySample » because, while there exists an impressive amount of classics or traditional texts on music, I dare say that, for the present day artist, their study can only bringforth an intellectual satisfaction or a

1. The term san[gºta 5s‘gºt° encompasses vocal, instrumental music and dance. There is not, traditionally, a term « music » in Sanskrit. The term Hindustha`nº 5ih~dußT`nº° - literally « place » stha`na 5ßT`n° of the Hindu-s 5ih~dª° - applies to North Indian music (in opposition to karnatic music - of the South) or « highbrow » music (in opposition to the so called « popular » music) because transmitted by the classics - ›a`stra-s 5<`ßA° - of the Indian musicological literature, the appellation Hindustha`nº ra`ga san[gºta 5ih~dußT`nº r`g s‘gºt° is therefore, the most appropriate. We could translate it by « music of North Indian ra`ga-s 5r`g ° ». 2. Introductory movement of a ra`ga 5r`g° without percussion. See Glossary. 3. Generic term for musical theme or composition, either vocal or instrumental. 40 Comparative Study of Hindusta`nº Ra`ga-s - Vol. I sound historical and cultural background but that they are absolutely of no practical use in performance. The ra`ga-s 5r`g°, despite their traditional rules which have been set at lenght in the ›a`stra-s 5<`ßA° through the centuries, have nevertheless undergone so many changes of forms that there seems to be a paradox between tradition and change which deserves reflection. I understand that, in the Indian context, tradition never means stagnation. On the contrary, tradition is a thoroughly dynamic process which leaves, within the rules, vast freedom for the creativity of the individual who epurates, transforms and adds within the age-old frame-work. Perhaps, this aspect of traditional music is a reflection of the Hindu 5ih~dª° way of life, so structured that, to the foreigner, it often appears to imprison the individual into an over-intricate knot of socio-religious bondages, while behind the surface, it may well turn out to be nothing else than one accepted guide-line to freedom. Something totally incomprehensible to the average modern western attitude which has discarded tradition as « old hat » and prefers to dabble for a ghost freedom. In other words, while the westerner, in his way of life, as in his avant-garde music, hopes liberating himself by doing away with the « established rules », the Indian, in his life and traditional arts, understands that freedom can be more surely achieved by accepting and making the best of them. Therefore, the study of ra`ga san[gºta 5r`g s‘gºt° offers us a valuable example of the intricacies of a system which reflects the duality of tradition and evolution as dynamic processes ― in other words ― of a living tradition. In the context of ra`ga 5r`g°, it means that it is only possible to know what was performed a century ago at the most and that, even since Pan[d@ita Bhatkhandeji's time, thereSample has been not only an evolution of the styles and techniques but also a change of fashion. While new ra`ga-s 5r`g° have crept in, some previously popular ones have been relegated to the background. For instance, not so long ago, ra`ga nat@a 5r`g nz° and pu`rvº 5pªvº––––!° were very much in fashion while today they are seldom performed by the artists who prefer cha`ya`nat@a 5C`y`nz° and the hybrid pu`riya` dhana`›rº 5pªiry` Dn`>º° ; a number of new ra`ga 5r`g°, either taken from karn@a`t@aka san[gºta 5kn`!zk s‘gºt° like ra`ga va`caspati 5v`cßpit° and the like, or composed by outstanding artists like Amir Khan, Kumar Gandharva, Allaudin Khan, Ali Akbar Khan and Ravi Shankar to name but a few, have momentarily established themselves but, time alone will tell whether they will remain or fall into oblivion in coming generations. Introduction 41

While the form of many ra`ga-s 5r`g° is unique, quite a number of other ra`ga-s 5r`g° have been attributed different forms by the scholars and artists and it can be at times a frustrating affair to look into the matter since an apparent confusion prevails because of the diversity of types. In this regard, and notwithstanding the increased consciousness of the need for a standardisation of the ra`ga-s 5r`g° which is mostly due to V. N. Bhatkhande, there are still today a number of « clashes » between ra`ga-s 5r`g°. For instance, ra`ga 5r`g° A, type 1, may be totally similar to ra`ga 5r`g° B, type 3, and one may wonder if there exists at all a « true » or « authentic » version of a ra`ga 5r`g° taking into account that, in due course of time, it may have taken different forms under the same name - or vice-versa - or that both form and name have undergone transformations. Indian music was much less widespread in the past than it is today. The vastness of the land, the lack of mass-media, the secretive attitude of the musicians who were closely guarding it within the family made it such that, many good artists of recent times only knew a few ra`ga-s 5r`g°. Many had to spend years just cooking, cleaning, lighting the hookah1 and massaging the ustad2 in the hope that he would teach them one day when convinced of their sincerity and devotion. Needless to say that it remained an unfulfilled dream for many who only ended-up with a very incomplete knowledge made-up of the scraps of what they managed to surrepticiously steal by putting their ears against the door of the practice chamber. Due to a faulty memory, to the insufficience of their material, they may have added and transformed the ra`ga 5r`g° which, in time, came to be passed on to their disciples. Such a distorted transmission must have given rise to a multiplicity of types. Otherwise, how could we explain that contemporary scholars have described four types of husenº ka`nad]a` 5husénº k`nF(`°, a ra`ga 5r`g°Sample supposedly created by Huseni, son of Bakshu ? It also appears that a number of uncommon varieties may have been created out of an occasional craving for originality and eccentricity or out of a mistake : a foreign note, accidentally taken during the performance is stressed instead of being covered-up, thus giving rise to another « entity » as may have been the case for ra`ga lalita pan[cama 5r`g lilt p‘cm° and the like. It is funny and sad to wonder how such ra`ga 5r`g° could manage to find their way into the ›a`stra-s 5<`ßA°.

1. Water-pipe. 2. Honorific title given to one who has mastered an art. A Muslim equivalent of the Hindu` Pan@d@ita (Pan[d@ita) 5ih~dª pi˙Ft°. 42 Comparative Study of Hindusta`nº Ra`ga-s - Vol. I

Finally, out of all the praka`ra-s1 5pçk`r° of the different groups, only a few ra`ga-s 5r`g° are truly outstanding in spirit and form and have successfully passed the « test of time ». Such forms as ka`fº 5k`fº°, khama`ja 5Km`j°, bhairavº 5Bèrvº°, daraba`rº 5drb`rº°, bhairava 5Bèrv°, tod]º 5toF(º°, pu`riya` 5pªiry`° etc. have such an intrinsic beauty and aesthetic appeal that they seem to be « self-created » and indestructible. The analysis of their components show that they are made-up of very limited matter ― or phrases ― which are borrowed by all the secondary ra`ga-s 5r`g°. In other words, the whole of ra`ga san[gºta 5r`g s‘gºt° can be reduced to a small number of key phrases which are repeated, altered and transposed to suit each individual ra`ga 5r`g°. From these main forms, have sprung all the lesser varieties which are nothing than alterations or amputations of the basic pillars of ra`ga san[gºta 5r`g s‘gºt°. Despite the fact that many such sub-varieties are, in the words of Dr. K. C. Gangrade « nothing more than mind-teasers », that they do not contribute in any positive way to ra`ga san[gºta 5r`g s‘gºt° and rather unnecessarily burden it, and inspite of their limited appeal and short- comings, they nevertheless « exist » and therefore, may be studied, if only for the sake of knowledge as they can help the musician to keep away from their identifiying phrases during the performance of a main type. In this respect, pairs of ra`ga-s 5r`g° like bhu`pa`lº 5Bªp`lº° and de›aka`ra 5d麰, megha malha`ra 5méD m¬h`r° andmadhama`da sa`ran[ga 5mDm`d s`r‘g°, bhairava 5Bèrv° and ka`lin[gad]a` 5k`il‘gF(`° to name but a few, ressemble one another so closely that, in order to perform one of them, a thorough knowledge of its immediate neighbour becomes a must. At last, the study of the Samplemain ra`ga-s 5r`g° and their varieties gives us a deeper perception of the unequalled greatness of ra`ga 5r`g°.

™e

1. Type, version. Part V - Ka`nad]a` an[ga 5k`nF(` å‘g° 227

2. Adana Kanada - ad]a`na`` ka`nad]a` 5aF(`n` k`nF(`° Ra`ga ad]a`na`` 5r`g aF(`n`° comes from a`sa`varº tha`t@a 5a`s`vrº T`z° (åΩ™]®† ¥]ª]å[ | å[ª]¥]†®™]Ωå ||) and is a variety of the ka`nad]a` 5k`nF(`° group which is directly rattached to daraba`rº 5drb`rº°, its immediate counterpart also using ™] - ¥] - ª] komala 5koml°. Scholars tell us that, in the past, ad]a`na ` 5aF(`n`° was taken to come from ka`fº tha`t@a 5k`fº T`z° and was either using ›uddha 5

1. Although it is actually vakra 5vkÇ° and not varjita 5vij!t°. 228 Comparative Study of Hindusta`nº Ra`ga-s - Vol. I avaroha 5vkÇ åvroh° and also ¥], like in daraba`rº 5drb`rº°. These notes are taken in the same combinations as in daraba`rº 5drb`rº° although with different expressions. In ad]a`na 5aF(`n`°``, the « special » ®™]– | ª] ¥] a`ndolana 5å`~doln° of daraba`rº 5drb`rº° is not done in such a pronounced and elongated manner ; moreover, ™]®Ω and å[¥]ª]† combinations are shorter in duration :

daraba`rº 5drb`rº° ®™]–®ÁΩ——åΩ——å || å[Áª]Á¥]– ª]Á† || ad]a`na`` 5aF(`n`° ®™]—— ®Ωå | ™]®Ωå or ®™]– ®Ωå | å[¥]ª]† | å[ª]¥]ª]† || In fact, komala 5koml° ™] and ¥] are often omitted in a`roha 5å`roh° : åΩ®† | †ª]å[ | †ªå[ | †å[ || The åΩ®† san[gati 5s‘git° is so often taken in ad]a`na`` 5aF(`n`° that some scholars had proposed a s@a`d@ava ja`tº 5x`Fv j`tº° ; however, as komala 5koml° ™] is also taken in a`roha 5å`roh°, it is better to consider it as sampu`rn@a 5sµpªN!° or vakra sampu`rn@a 5vkÇ sµpªN!°. These phrases omitting ™] in a`roha 5å`roh° and ¥] in a`roha-avaroha 5å`roh- åvroh°, are typical of sa`ran[ga 5s`r‘g° (åΩ®†ªå[ | åª]†®Ωå ||) and indeed, sa`ran[ga an[ga 5s`r‘g å‘g° is more prominent in ad]a`na`` 5aF(`n`° than in daraba`rº 5drb`rº°. In this regard, O. Thakur says that ad]a`na`` 5aF(`n`° is obtained by adding to sa`ran[ga 5s`r‘g° the notes ™] - ¥] taken in a vakra avaroha 5vkÇ åvroh° fashion. The same phenomena of the quantitative use of the sa`ran[ga 5s`r‘g° phrase åΩ®† as a differentiating factor between daraba`rº 5drb`rº° and ad]a`na ` 5aF(`n`° is found in the ra`ga-s 5r`g° suha ` 5suh`° and sughara`º 5sugr`ı° : while the former uses ª“å ®™] - ® - † and ª“åÁ®Sample ®™] ® † in a bhºmapala`sº 5Bºmpl`sº° fashion, the latter uses the ª@åΩ®† of sa`ran[ga 5s`r‘g°. From that point of view, ad]a`na`` 5aF(`n`° and sughara`º 5sugr`ı°, both having a strong sa`ran[ga 5s`r‘g° element, are close to one another especially if, to complicate matters, we bring in the fact that there exists a type of sughara`º 5sugr`ı° in which ¥] is komala 5koml° ! Then, both ra`ga-s 5r`g° - uttara`n[ga pradha`na 5UEr`'& pçD`n° and sa`ran[ga5s`r‘g° dominant - would be undissociable. Furthermore, if ka`fº tha`t@a 5k`fº T`z° ad]a`na`` 5aF(`n`° was performed with ¥ varjita 5vij!t°, it would become similar to a variety of sughara`º 5sugr`ı° in which ¥ is varjita 5vij!t°. At last, ka`fº tha`t@a 5k`fº T`z° ad]a`na`` 5aF(`n`° using ›uddha 5

Therefore, we must stick to the accepted versions of these ra`ga-s 5r`g° in order not to end-up completely confused : the note ¥ acts as a « separating agent » between ad]a`na`` 5aF(`n`° and sughara`º 5sugr`ı° which are, otherwise, quite similar in spirit and movements. As ad]a`na`` 5aF(`n`° uses åΩ ® ™] as well as åΩ®, we could also speak of its resemblance with ra`ga 5r`g° suha` sughara`º 5suh` sugr`ı° which uses both a`rohº 5å`rohº° forms and with megha malha`ra 5méD m¬h`r° whose formula is madhuma`da sa`ran[ga 5mDum`d s`r‘g° in a malha`ra 5m¬h`r° spirit. That is why some scholars have said that ad]a`na`` 5aF(`n`° is a mixture of ka`nad]a` 5k`nF(`° and megha 5méD° while others have given its formula as a mixture of sughara`º 5sugr`ı°, sa`ran[ga 5s`r‘g° and ka`nad]a` 5k`nF(`°. I feel that it is better to consider ad]a`na`` 5aF(`n`° as a mixture of ka`nad]a` 5k`nF(`° and sa`ran[ga 5s`r‘g° than anything else because åΩ®† and ª]† are sa`ran[ga 5s`r‘g° movements found in megha 5méD° and not vice-versa ; furthermore, against the second formula, suffice to say that sughara`º 5sugr`ı° is itself a ka`nad]a` 5k`nF(`° variety and that it is sa`ran[ga 5s`r‘g° dominated. Most of all, ad]a`na`` 5aF(`n`° is just an uttara`n[ga pradha`na 5UEr`'& pçD`n°, faster moving and lighter version of the gan[bhºra 5g‘Bºr° daraba`rº 5drb`rº°. Calana 5cln° (a&)ªËyuét rtoa&ªa&--ªËyé uét eérza ¡ azrtyéua& ua&z& a&yé uzt rtªËyéua& z&®Áeé& r&z&a& a&ua&z&a&ua&- uét rtªa& yéua&z&pyéuét uéuétrtb eérza ¡ u`a®zrtªËyéua& uéuétrtua&, rtyéuéa& ¡ t rtpa&ªa&oyé uét tua&z&r&t& ®Áe&é r&z&a& ua&z&uaBªËyéuét rtpa&-- uétrtuét®eé rza z®eé, rtªËyé, ua& yéuéa& z&a&ua&b yéué®t ª(a&) ¡¡ Bibiographical References BHATKHANDE, VishnuSample Narayan. Kramika Pustaka Ma`lika`. Vol.IV : descr. 698-699 ; compos. 700-740 ; vista`ra 837-840. BHATKHANDE, Vishnu Narayan. San[gºta fia`stra. Vol.IV : descr. 561-582 ; compos. 569, 578-580 ; vista`ra 569-570, 576-577. BHATKHANDE, Vishnu Narayan. Ma`lika`. Compos. 106-108. BHATT, Balvantray. Bha`varan[ga Laharº. Vol.I : compos. 102-114. GANDHARVA, Kumar. Anu`pa Ra`ga Vila`sa. Compos. 76-78. KHAN, Raja Nawab Ali. Ma`riphunnagama`ta. Vol.I : descr. 241-242 ; compos. 242-243. Vol.II : compos. 201-203. MOUTAL, Patrick. Hindusta`nº Gata-s Compilation : Instrumental Themes in North Indian Classical Music. Compos. 59-60. PATWARDHAN, Narayan Rao. Tarala Praban[dha`valº. Compos. 1. 230 Comparative Study of Hindusta`nº Ra`ga-s - Vol. I

PATWARDHAN, Vinayak Rao. Ra`ga Vij~a`na. Vol.I : descr. 38-39 ; compos. 41-62 ; vista`ra 39-41. PHULAMBRIKAR, Master Krishnarao. Ra`ga San[graha. Vol.III : compos. 61-70. RATANJANKAR, S. N. Abhinava Gºta Man[jarº. Vol.I : compos. 188-191. Vol.IIb : compos. 100-101, 212-214. SHAH, Jaisuklal. Ka`nad@a` Ke Praka`ra. Descr. 34-35 ; compos. 36-45 ; vista`ra 35. SRIVASTAVA, Harichandra. Ra`ga Paricaya. Vol.III : descr. 48-50 ; vista`ra 50-51. THAKUR, Omkarnath. San[gºta`njali. Vol.III : descr. 70-71 ; compos. 74-81 ; vista`ra 71-74. VAZE, Ramkrishna Narahar. San[gºta Kala` Praka`›a. Vol.I : descr. 119 ; compos. 118. Vol.II : descr. 81 ; compos. 81-84. Chart 9 : Daraba`rº / Ad]a`na Comparison A. Points of resemblance both 1 are ka`nad]a` ra`ga-s 5k`nF(` r`g° 2 " come from a`sa`varº tha`t@a 5a`s`vrº T`z° 3 " use ™] - ¥] - ª] komala 5koml° 4 " use ™] - ¥] as vakra svara-s 5vkÇ ßvr° in avaroha 5åvroh° : ™]®Ω | ¥]ª]† | 5 " are vakra sampu`rn@a 5vkÇ sµpªN!° or sampu`rn@a s@a`d@ava ja`tº 5sµpªN! x`Fv j`tº° 6 " are performed around midnight B. Points of difference Points of Daraba`rº Ad]a`na Nb comparison 5drb`rº° 5aF(`n`° 1 Va`dº-samva`dº Ω - † å[ - † 2 Use of ª only komala 5koml° ª] both ª usually taken Åndolana ®eé – ®e é– short or not a`ndolita 3 5å`~doln° ªËy é–SampleªËyé – short or not a`ndolita Low Normal 4 ™] - ¥] value in between Ω+ & ™] + although slightly oscillated ®eé– roz - åz-a ®eé rz a 5vkÇ° 5 Vakra ®eé– z - z - a ®eérza expression a&oªËoyé–uéot a&yuét, a&uét 6 Mºn[d@a-s 5mº‘F° long, slow moving faster & shorter 7 Stha`na-s 5ßT`n° mandra & madhya 5m~dà-mfly° madhya & ta`ra 5mfly-t`r° 8 Movements slow, dignified faster, vivacious 9 Nature gan[bhºra 5g‘Bºr° can[cala 5c‘cl° azeé rza : azeé, rtyé 5s`r‘g° 10 Sa`ran[ga sometimes azrtyé– uét more proeminent 294 Comparative Study of Hindusta`nº Ra`ga-s - Vol. I

Sample Part V - Ka`nad]a` an[ga 5k`nF(` å‘g° 295

Sample 296 Comparative Study of Hindusta`nº Ra`ga-s - Vol. I

Sample 460 Comparative Study of Hindusta`nº Ra`ga-s - Vol. I

A chalan ...... 112 bageshree...... 139, 171, 265-267, abhogi ...... 322 274-275, 289-290, 298, 300-304, abhogi kanada ...... 322-324, 356 308-311, 313, 323 bibliography ...... 325 bibliography ...... 281 chalan ...... 324 bageshree ang 139, 289, 301-302, abhori...... 322 307-311, 319 bibliography ...... 325 bageshree kanada ...... 215, 271, adana kanada...... 212, 214-215, 273-274, 278, 289, 298, 300-304, 224-225, 227-230, 231-233, 307-309, 319 242-245, 256, 266, 279, 368, 370 bibliography ...... 306 bibliography ...... 229 chalan ...... 305 chalan ...... 229 bahaduri ...... 212 ahir bhairav...... 168, 170-172, bahar ..... 172-173, 189, 238-239, 173-174, 185, 188, 189, 331-332 256, 265-267, 274-275, 278-280, bibliography ...... 172 288-289, 309 chalan ...... 172 bibliography ...... 282 ahir lalit ...... 183, 331-332 bahuli...... 368 bibliography ...... 332 bairag ...... 148, 168 chalan ...... 332 bairagi bhairav ..... 148-149, 168, alhaiya ...... 159 184, 188 anand bhairav 158-159, 161, 175, bibliography ...... 149 180, 185, 188, 189 chalan ...... 149 bibliography ...... 160 balhans ...... 110 chalan ...... 159-160 bangal ...... 151 asa gauri ...... 195, 203 bangal bhairav . 151-152, 184, 186 asavari... 157, 169-170, Sample223-224, bibliography ...... 152 335-338, 340, 342, 368, 370 chalan ...... 152 bibliography ...... 338 bans kanada...... 279-280 chalan ...... 337 bibliography ...... 283 asavari ang ...... 335, 370 barari ...... 368 audav bilaval ...... 375 barwa ...... 276 audav devgiri...... 58, 60 bibliography ...... 283 mukhari...... 137 B bhairav..... 42, 125-126, 127-128, 130-133, 136, 139-141, 145, badhans sarang .. 97-98, 106-107, 147-149, 151, 154-160, 170-171, 110-112, 119, 250 173, 183-184, 185, 186, 188, 195, bibliography ...... 112 Index 461

197, 200, 221, 225, 266, 331, 368, bhup ...... 52, 56, 75, 90 370 bibliography...... 59 bibliography ...... 127 bhup kalyan ...... 51-53, 56 chalan ...... 126 bibliography...... 55, 59 bhairav ang ...... 123, 125-126, bhupali...... 42, 51-54, 56-58, 60, 128-131, 136-142, 144, 145, 62-63, 64, 71, 76, 78, 80, 83, 85, 147-151, 153, 155-158, 160, 164, 129, 133-134, 186, 344 168-170, 173, 178, 180-184, bibliography...... 59 195-196, 198, 201-202, 205, 369 chalan...... 58 bhairav bahar ...... 139, 170, 172, bibhas 42, 129, 133-135, 152, 184, 173-175, 185, 189 186, 344-345 bibliography ...... 175 bibliography ...... 135 chalan ...... 175 chalan ...... 133-135 ...... 42, 138, 157, 186, ... 68-69, 73, 75, 78, 80, 84, 365-366, 368, 370 89, 90, 362 bhairavi ang...... 137, 359, 361, bihagda...... 171 365-366 bihari ...... 312 bhankhar...... 161-163, 164-167, ...... 338 184-185, 188, 334 chalan ...... 338 bibliography ...... 167 bilaval ...... 180, 257 chalan ...... 166 bilaval ang..... 175, 248, 266, 362 bhatihar ...... 160 bindrabani ...... 95 bhatiyali ...... 160 bhatiyar...... 158-159, 160-163, C 164-166, 167, 184-185, 188, 189, 201, 205, 266 chaiti gauri .... 182, 195, 197-198, bibliography ...... 163 203, 205 chalan ...... 163 bibliography ...... 204 bhatiyari ...... Sample160 chalan ...... 204 bhavsakh .... 248, 249, 252-254, chanchalsas ...... 114, 119 255, 256, 257-258, 368 chandini ...... 88 bibliography ...... 256 chandrakant. 55, 62-64, 80, 83, 85 chalan ...... 253, 255-256 bibliography...... 63 ...... 42, 228, 234-235, chalan...... 63 238-240, 254, 265, 270, 311, 313, ...... 307, 373 322, 360-362 bibliography ...... 316 bhimpalasi ang...... 360 chaurasi tank ...... 153 bhinnashadj...... 349, 374-375 chaurayshi tank ...... 153 bibliography ...... 376 chayanat... 40, 77, 80, 84, 87, 360 chalan ...... 376 bhookosh ...... 375 462 Comparative Study of Hindusta`nº Ra`ga-s - Vol. I

D bibliography ...... 252 chalan ...... 252 darbari kanada...... 42, 51, 56, dhaka ...... 375 211-214, 219-225, 227-229, 230, dhanashree ..... 42, 254, 290, 311, 231-232, 235-236, 244, 266, 275, 313, 342, 359-363, 365-366 279, 281, 297-298, 303-304, 312, bibliography ...... 363 314, 324 chalan ...... 362 bibliography ...... 226 dhanashree (bhairavi ang) ..... 361 chalan ...... 225 dhanashree ( or bilaval desh... 96, 106, 108-109, 119, 360 ang) ...... 362 desh ang ...... 116 dhanashree kalyan ...... 66 desh gaud. 178, 179, 183-184, 187 ...... 270, 361, 373 bibliography ...... 178 dhani kanada ...... 270 chalan ...... 178 dhannasi ...... 359 deshakh ...... 248 dhannasika ...... 359 deshakhya ...... 248 dhanyashree ...... 359 deshashi...... 248 dhavalashree .. 60, 71-72, 80, 84, deshkar 42, 57-58, 60, 62, 64, 134, 86 186, 344-345, 353 bibliography...... 72 . 113, 119, 223, 276-277, 303, chalan...... 72 368, 370 dhuliya malhar...... 96, 108, 116 bibliography ...... 283 divya ...... 374 desi ang ...... 113 divya pancham...... 333 desi kanada ...... 303 durga.. 51, 56, 78, 81, 88-89, 116, devgandhar... 279, 335, 337, 340, 145, 150, 188, 322-323, 351, 355, 342-343, 370 374 bibliography ...... 284, 343 durga kalyan...... 51, 78, 81, 88 chalan ...... 342-343 bibliography...... 79 devgandhar todi...... Sample342 dvigandhar ...... 342 bibliography ...... 344 devgiri bilaval ...... 54, 58 devranjani ..... 176-177, 178-179, G 183-184, 187 gandhar ...... 368 bibliography ...... 177 gandhari...... 335, 337, 340, 342, chalan ...... 177 368-370 devranji ...... 176 bibliography ...... 341 devsag...... 248 chalan ...... 341 devsakh. 212-213, 215, 231, 234, gandhari todi ... 336-337, 340, 341 236-237, 239-240, 242, 244, ...... 350, 352 248-251, 253, 258-259, 265, 290, ..... 80, 83-84, 88, 118 292, 368 gaur kalyan ...... 75, 81, 90 Index 463

bibliography...... 75 huseni kanada...... 41, 267, 271, chalan...... 75 273-276, 278-281, 288-289, 291, gauri ...... 128, 182, 184, 185, 293, 300-302 195-199, 200-204, 205, 368, 378 bibliography ...... 281 bibliography ...... 199 chalan ...... 277-278, 281 chalan ...... 197, 199 gauri ang...... 182, 195, 204 I gopi ka vasant...... 312 bibliography ...... 317 iman ...... 47 gorakh kalyan . 82, 108, 116, 119, 323 J bibliography ...... 325 gujari todi ...... 368 jaijaiwanti ...... 280, 352 gunji kanada ...... 279 bibliography ...... 285 bibliography ...... 285 jait...... 60, 344-345 gunkali ...... 145, 376 bibliography ...... 62, 346 gunkari.... 144, 145-146, 184, 187 chalan ...... 345-346 bibliography ...... 146 jait kalyan .. 58, 60-61, 62-63, 64, chalan ...... 146 80, 83, 85, 345, 353 gunkri ...... 145 bibliography ...... 61, 347 ...... 368 chalan...... 61 jaitshree...... 345 H bibliography ...... 347 jaldhar kedar...... 81, 89, 116, 351 hamir... 56, 73, 75, 77, 80-81, 84, jamini kalyan...... 47 87, 89-90 jangula ...... 180, 184, 188 hamir kalyan...... 74, 81, 89 bibliography ...... 181 hans kalyan ...... 82 chalan ...... 181 hansdhwani...... Sample82 jaunapuri ...... 336 hem ...... 74 .. 157, 223-225, 335-338, hem kalyan ...... 73-74, 81, 89, 90 340-343, 370 bibliography...... 74 bibliography ...... 339 chalan...... 74 chalan ...... 337 hem khem...... 73 jaunpuri todi ...... 337 hemant ...... 348-349 jayant kanada...... 280 bibliography ...... 349 bibliography ...... 286 chalan ...... 349 jayat...... 344 hevitri ...... 355 jet...... 344 hindol ... 80, 83-84, 86, 333-334, jhilaf...... 181, 184, 186 376 bibliography ...... 182 hindoli...... 375 chalan ...... 182 464 Comparative Study of Hindusta`nº Ra`ga-s - Vol. I jhinjhoti...... 350-353 bibliography ...... 129 bibliography ...... 354 chalan ...... 129 chalan ...... 353 kalingada paraj...... 128 jhinjoti ...... 350 kalyan .. 47, 65-67, 69, 73-74, 82, jogi ...... 142 86-87, 90 jogi asavari ... 169-170, 182, 184, kalyan ang . 45, 47, 51, 54, 56-57, 187 60, 62, 65, 68, 70-71, 73-78, bibliography ...... 170 80-81, 83-84, 101, 118, 345, 372 chalan ...... 170 kalyani ...... 47 jogiya...... 142-144, 145, 146, kamod.. 56, 73-74, 77, 80-81, 84, 147-148, 169-170, 177, 183-184, 87, 89-90, 101 186, 187, 366, 376 kamod kalyan ...... 81 bibliography ...... 144 kanada...... 104 chalan ...... 144 kanada (rag) ...... 214 jogkauns ...... 307, 312 kanada ang ...... 56, 73, 99, 104, bibliography ...... 317 211-215, 219, 221, 224, 227, 229, 231, 234, 235, 238, 240, 242-243, K 244-245, 246, 248-249, 252-254, 256-258, 264-271, 273-277, kabir bhairav .. 147-148, 183-184, 279-280, 288-293, 297-305, 186 307-315, 319, 322, 360, 368, 370 bibliography ...... 148 kanada bahar ...... 280 chalan ...... 148 bibliography ...... 286 kafi.. 42, 104, 170, 223, 246-247, kanada malhar...... 280 271, 276, 280, 297-299, 301-304, bibliography ...... 286 310, 350, 359-361 kaunsi ...... 307 kafi ang.... 298-299, 313, 360-361 kaunsi kanada ...... 139, 140, 141, kafi kanada ... 104, 215, 271, 273, 300-301, 307-315, 319 278-280, 289, 297-300Sample, 301, bibliography ...... 315-316 303-304, 319 chalan ...... 315 bibliography ...... 299 kaushi ...... 139, 307, 312 chalan ...... 299 bibliography ...... 317 kalavati...... 322-323, 354-356 kaushi bhairav ...... 137, 139-141, bibliography ...... 325, 356 147-148, 184, 186 chalan ...... 356 bibliography ...... 142 kalavati (karnatak) ...... 355-356 chalan ...... 141-142 kalavati kalyan...... 355 kaushi dhvani ...... 375 kalingada...... 42, 125, 126-129, kaushi kanada ...... 186 131-132, 138, 147-148, 153-156, bibliography ...... 317 161, 184, 185, 186, 196-197, kaushidhvani ...... 375 199-205, 225 kaushik...... 307 Index 465 kaushikadhwani ...... 375 lalit pancham.... 41, 183, 200, 357 kaushiya ...... 312 bibliography ...... 358 kausi ...... 307 chalan ...... 358 kedar... 69, 73-74, 80, 84, 88, 89, lalita gauri...... 182, 195, 199, 116, 171, 265 200-202, 205 khamaj ...... 42, 82, 171, 213, bibliography ...... 203 257-258, 348, 350-352, 368, 370, chalan ...... 201-202 372, 374 lankadahan sarang . 108, 112-115, khamaj ang...... 350-351, 362 118, 119 khanbavati ...... 116, 140, 350-351 bibliography ...... 115 khat ...... 367-369 chalan ...... 113 bibliography ...... 371 chalan ...... 371 M khat todi ...... 369 bibliography ...... 371 madhamad sarang . 42, 96-97, 98, khem ...... 73 109, 111, 118, 119, 149 khem kalyan ...... 73-74 madhu bhairav...... 168, 184, 188 kokila pancham ...... 333 bibliography ...... 169 komal asavari .. 335-337, 340, 369 chalan ...... 169 bibliography ...... 339 madhukauns...... 307, 373-374 komal bageshree...... 312 bibliography ...... 374 bibliography ...... 317 chalan ...... 374 konsi ...... 311 madhumad sarang .. 98, 107, 188, kosi ...... 311 229 koushiya ...... 312 madhur dhvani ...... 374 kudai...... 243 ...... 373-374 kulai ...... 243 madhyamadi ...... 98-99 madhyamadi sarang...... 98-99, LSample106-107, 110 bibliography ...... 100 lacchasakh...... 248-249, 356 chalan...... 99 lachari todi ...... 337, 343 malarani ...... 76, 81, 88 lakshmi kalyan ...... 77, 81, 88 bibliography...... 77 bibliography...... 77 chalan...... 77 chalan...... 77 malashree.... 60, 70-72, 80, 84, 86 lakshmi todi...... 337, 343 bibliography...... 71 lakshmisakh ...... 248 chalan...... 71 lalit...... 154-156, 179, 186-187, malav ...... 378 200-202, 205, 331, 357-358 malayamaruta ...... 355 lalit ang . 179, 183, 187, 199-200, malgunji...... 279, 352 202, 333-334, 357 bibliography ...... 286 466 Comparative Study of Hindusta`nº Ra`ga-s - Vol. I malhar ...... 104, 224 bibliography ...... 287 malhar ang ...... 99, 105, 108, miya ki sarang ...... 104, 119 114-116, 119, 213, 224, 229, bibliography ...... 105 234-235, 243, 258, 266, 280, 291, chalan ...... 105 360 mudrika kanada...... 292 malhua kalyan ...... 73, 82 mudriki kanada ...... 273-274, malhua kedar...... 89 288-293, 300-301 mali gaura ...... 199 bibliography ...... 293 maligaura...... 376-379 chalan ...... 292 bibliography ...... 380 multani ...... 363-364, 365-366 chalan ...... 380 bibliography ...... 364 ...... 139-141, 186, chalan ...... 364 307-308, 311-315, 373-374, 376 multani dhanashree 359, 365-366, malkauns ang ...... 301, 307-308, 373 310-311, 315 bibliography ...... 366 malva gauri...... 195, 199, 205 chalan ...... 366 mand .... 161-163, 166, 188, 255, 348 N mangal bhairav ..... 145, 149-150, 185, 188 naiki kalyan ...... 81 bibliography ...... 150 naiki kanada .... 56, 211-215, 219, chalan ...... 150 223, 231-236, 237-238, 240, mangal kanada ...... 292 242-244, 250, 258-259, 264, 266, manjh...... 348 271, 277, 290-292, 301-303, 315 maru bihag ...... 89, 334, 363 bibliography ...... 236 marugaura...... 376 chalan ...... 236 marwa. 65, 67, 86, 161, 195, 198, narayani...... 108, 115-116, 119 205, 377-379 bibliography ...... 116 marwa gauri...... 195,Sample 198, 205 chalan ...... 116 marwa kalyan ...... 67 nat...... 40, 69, 90, 136, 186, 360 megh...... 213 nat bhairav...... 136, 184, 186 megh malhar 42, 51, 99, 115, 119, bibliography ...... 137 229, 234-235 chalan ...... 137 meghranjani ... 178-179, 183-185, nat kalyan ...... 81 187 nur sarang...... 102, 119 bibliography ...... 180 chalan ...... 179 P mirabai ki malhar...... 280-281 bibliography ...... 286 pahadi ...... 171, 350, 353 miya ki malhar.... 104-105, 213, pahadi jhinjhoti ...... 353 223, 234, 280-281 panch kalyan ...... 74, 81, 89 Index 467

bibliography...... 74 ang ...... 195, 197-202, chalan...... 74 204-205, 379 pancham ...... 333-334, 375 purvi kalyan ...... 82 bibliography ...... 335 chalan ...... 334 R pancham bageshree ... 289, 300, 304 raisa kanada .. 215, 233, 254, 264, pancham malkauns...... 312 267-268, 269-272, 273, 276, 278, bibliography ...... 318 289, 291, 293, 300-301, 309 paraj...... 128, 183 bibliography ...... 272 ...... 362 chalan ...... 272 patdeep ang ...... 362 ramkali.. 126, 128, 130-131, 155, patdeepki ...... 362 184, 185, 368 pathahansika ...... 110 bibliography ...... 132 patmanjari...... 277 chalan ...... 132 bibliography ...... 287 ramsakh... 248-249, 252, 257-258 prabhat bhairav..... 155-156, 184, bibliography ...... 258 186, 200 revti kanada...... 303 bibliography ...... 156 rewa ...... 42, 134, 186, 345 chalan ...... 156 pradeepki ...... 362 S pranvendra madhyam ...... 331 purba ...... 65 sahana kanada...... 264 purba kalyan ...... 67 sahna kanada ...... 264 purbya ...... 65 sakh ang .... 215, 248, 249, 251, puriya...... 42, 65-67, 86-87, 199, 253, 256-257, 368-370 377-379 salang ...... 96, 118 puriya ang ...... 379 samant...... 106 puriya dhanashreeSample. 40, 66-67, 87, samant kalyan...... 75, 81, 89 195, 199, 202, 205, 360, 378-379 bibliography...... 75 puriya kalyan .. 65-67, 80, 82-83, chalan...... 75 87 samant sarang .. 106-109, 116, 119 bibliography...... 68 bibliography ...... 109 chalan...... 68 sampurn pancham...... 334 purn pancham ...... 333 sarang ...... 95, 96, 101, 104, 108, purva ...... 66, 86 148-149, 223-224, 229, 368, 370 purva kalyan ...... 65-67, 86 sarang ang...... 93, 95-99, 101, bibliography...... 68 105-106, 108-116, 118-119, 213, purvi .... 40, 65-66, 82, 195, 204, 224-225, 228-229, 234-235, 360, 377-379 238-239, 243-246, 250-251, 258, 468 Comparative Study of Hindusta`nº Ra`ga-s - Vol. I

266-267, 271, 291-292, 298, 335, shuddh bhairav...... 156 360 shuddh kalyan.. 49, 51-55, 56-58, saraswati...... 73, 372-373 60-63, 64, 68-69, 74-76, 78, 80, savani kalyan 83, 85, 89-90 chalan...... 90 bibliography...... 55 savant...... 106 chalan...... 55 savant sarang ...... 106 shuddh karnat ...... 214 saveri...... 143-144, 184, 187 shuddh malhar.... 81, 89, 116, 351 sawani ...... 68, 69 shuddh pancham...... 333 sawani kalyan.. 68-70, 80, 90, 353 shuddh sarang ...... 77, 88, 95-96, bibliography...... 70 100-103, 111, 118, 119 shahana...... 254, 257 bibliography ...... 103 shahana kanada .... 56, 212, 215, chalan ...... 103 233, 242, 245, 264-268, 269, 271, shuddh vasant ...... 334 273-276, 278-279, 288-292, 293, shyam ...... 368 300-301, 309-311 shyam kalyan .. 74, 76-78, 80, 82, bibliography ...... 269 84, 87, 88-89, 101-102 chalan ...... 268 sindhura...... 223, 246-247, 301, shahanai kanada ...... 244 303-304, 350 shahna kanada...... 264 ...... 333-334 sham ka vasant...... 376 sorashtra bhairav .... 153-154, 184 sham ki vasant ...... 379 bibliography ...... 155 shana kanada ...... 264 chalan ...... 154 ...... 51, 56, 60, 71, 81 sorashtra tank ...... 153 shankara kalyan ...... 51, 81 sorat...... 96, 360 shiv bhairav...... 156 sugharayee ...... 246 shiv mat bhairav ... 156-157, 184, sughrai kanada ..... 212, 214-215, 186 223, 228-229, 231-233, 237, bibliography ...... Sample158 239-240, 242-245, 246-247, chalan ...... 157 250-251, 253, 258-259, 265-267, shivranjani ...... 323 290-292, 308, 368, 370 bibliography ...... 326 bibliography ...... 245 shobhana kanada ...... 264 chalan ...... 245 shorastra tank ...... 187 suha kanada... 212, 214-215, 228, shree...... 178, 196-198, 203-205, 231-236, 237-240, 242-244, 378-379 246-247, 250-251, 253-254, shree ang...... 134, 197-198, 379 258-259, 265-267, 274-275, 277, shree bhairav ...... 156 292, 308, 311, 368-370 shree gauri...... 195, 198, 205 bibliography ...... 241 shree kalyan ...... 75, 81, 86 chalan ...... 241 bibliography...... 76 Index 469 suha sughrai kanada ...... 212, chalan ...... 138 214-215, 229, 231-232, 234, 237, vashaspati...... 40, 82, 372-373 239-240, 242, 244, 246-247, 253, bibliography ...... 373 258-259, 308 chalan ...... 373 bibliography ...... 248 vindrabani ...... 95 chalan ...... 247 vindravani ...... 95 sur malhar...... 108-109, 116 vindravani sarang ...... 51, 95-97, sut sarang...... 100 98- 99, 103- 104, 106- 107, 109-111, 118-119, 243 T bibliography...... 97 chalan...... 97 ...... 82, 312, 350-351 vinod kalyan ...... 81 bibliography ...... 318 vriddhans ...... 110 tilak shyam ...... 82 todi.... 42, 157, 337, 340, 368-370 Y V yaman...... 47-49, 63, 66-67, 75, 78-80, 82, 84, 85, 86-88, 90, 126, vaijyanti...... 77-78, 81, 86 222, 372 bibliography...... 78 bibliography...... 50 chalan...... 78 chalan...... 50 vairati...... 368 .. 47, 49-50, 55, 74, vangeshree ...... 350, 352 85, 89 varari ...... 368 bibliography...... 51 vasant ...... 334, 378-379 yamani bilaval... 49, 80, 83-84, 89 vasant mukhari ..... 137-138, 141, yamuna kalyan ...... 47 184, 186 bibliography ...... Sample138 ËE To read the whole text Pour lire le texte intégral Order the book directly on the site Commandez directement le livre sur le site http://www.moutal.eu http://moutal.eu/articles/published-books-en/727-comparative-study-of-hindustani- raga-s-vol-i.html

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