Semiosis in Hindustani Music

JOSE LUIZ MARTINEZ

MOTILAL BANARSIDASS PUBLISHERS PRIVATE LIMITED • DELHI Contents

Foreword by Prof. Lewis Rowell xi Preface xiii Acknowledgements xvii Abbreviations xix

The Signification of Indian Music 1

I On Musicology, Ethnomusicology, Musical Semiotics and Epistemology 1.1 (Ethno)Musicology and Musical Meaning 7 1.2Some Theories of Musical Semiotics 20 1.3 The Place of Music in Peirce's Classification of the Sciences ....40

II A Peircean Semiotic Theory of Music, as Applied to Hindustani Classical Music 2.1 Music and Peirce's Phaneroscopy 55 2.2 The Concept of Musical Sign and Semiosis 65 2.3Fields of Musical Semiotic Inquiry 80 2.3.1 Intrinsic Musical Semiosis in Hindustani Music 2.3.1.1 Musical qualities 84 2.3.1.2 Musical existents and replicas 88 2.3.1.3 Musical legisigns 91 2.3.2 Musical Reference 106 2.3.2.1 Icons and iconic signs in music 108 2.3.2.2 Index and indexical reference 135 2.3.2.3 Symbols in Music 140 2.3.3 Musical Interpretation 148 2.3.3.1 Perception 151 2.3.3.2 Performance 164 2.3.3.3 Musical Intelligence 174 2.3.3.4 Composition 181 vi Contents

III Hindustani Classical Music and the Rasa Theory: A Semiotic Interpretation

3.1 The Rasa Theory..., 195 3.2 The Development of Rasa Theory .209 3.3 Rasa in Hindustani Music 3.3.1 The Jati System and Rasa 228 3.3.2 Grämarägas and Rasa 245 3.3.3 Desfrägas and Rasa 261 3.3.4 The Räga-rägfm Systems and Rasa 271 3.3.5 Räga and Rasa in Contemporary Music 302 3.4 Aesthetic Rapture: A Semiotic Analysis 332 Conclusion 369 Bibliography 377 Index 39i

Musical Examples

2.3.1 1 - Structure of cäutäl and ektal

2. A cakkradar tihäl in tmtal QA 3. Anagat tihar in trma 4. Am tihar in trmal 95 5. Räga mälkauhs accordingto Bhätkhande 7. 8- A calan composed by Vedi for räga 2.3.2

10. Images ofbirdsong(cuckoo) 114

13. Chayäs in marü bihäg 124

15. J.S. Bach, Bourree, from the Lute 132 Contents vii

2.3.3 18. Räga darbän känhdä mukhya ang 163 19. Räga miyärfi kT malhär mukhya arig 163 20. Masitkhänl gat in räga mälkauns 183 21. RazäkhänT gat in räga khammäj 183 22. Tagore's 190

3.3.1 23. Jätis representing srftgära (amsa M- P) 236 24. Jätis representing karuna (arhsa G- N) ..236

3.3.2 25. The seven primary grämarägas 246 26. Rägas derived from pancama and their meanings (BD) 254 27. Rägas derived from kaisika and their meanings (BD) 255

3.3.4 28. Räga suddhabhairava, rägioTs andputräs 274 29. RäginT sauräs^i (RV 4.41) 290 30. Rägim bhüpälT (RV 4.36) 291 31. RäginT mälasrT (RV 4.30) 291 32. RäginT dhanäsn (RV 4.31) 292 33. RäginT varätT (RV 3.46) 293 34. RäginT patamanjan (SD 2.79) 293 35. RäginT saindhavT (RV 4.33) 294 36. Rägini rämakrti (RV 4.20) 295 37. Räga kalyäna (RV 4.33) 297 38. Räga chayanata (RV 4.44) 297 39. Räga näta (RV 4.45) 298 40. Räga sn (RV 430) 298 41. Räga hammTrä (RV 4.25) 299 42. Räga mälava(RV 4.15) 299 43. Räga hindola(RV 4.14) 300 44. Räga addana (RV 4.42) 300 45. Räga lalita(RV 4.28) 301

3.3.5 46. Gambhir rägas 318 47.Räga 319 48. sri 320 49. Taral or cancal 321 50. Räga miyäm ki ....325 51. Rägas komal re and pilu 326 viii Contents

52. Rägas khamäj, chäyänat, , käfi 326 53. Rägas suddh re äsävarf (jaunpun), bägesn, bihäg, gaud malhär, rämkälr, and vasant 327 54. Ragas jogiyä and gurjan todi 328 55. Rä"ga and bhinnasadja ....328

3.4 56. Räga hirujola (BD, SR) 337 57. Räga hincjola (SR) .337 58. Räga hirujola (Puncjanka Vitthäla) 337 59. Räga himjola (RV) 338 60. Räga hindola, composition (RV) 338 61. Räga hindola (SD) 338 62. Räga hindola (Ahobala-pandita) 338 63. Räga hindola (Hindustani contemporary) 339 64. Räga hindola (KPM, RVJ, SA) ...... 339 65. The relations between early and contemporary hincjola ...343 66. Semitonal shift in hindola 344 67. Räga hindola, dhamär, Syämä Moso Khelona Hon (RVJ) .346 68. Räginl todr (SR) !..... 348 69. Chäyätodr arid turuskatodr (SR) 348 70. Rägini (RV) . 348 71. The evolution of todi 349 72. Vilambit khayäl in todT, Ab More Räm-RSm (KPM) 350

Tables

1. Transliteration of the devanägan script „..xxi 2. Musical notation xxiii 3. Peirces scheme for the classification of the sciences 45 4. Peirce's basic trichotomies 69 5. The ten classes of signs ...71 6. Nava rasas and sthäyibhävas 206 7. Kinds of rasas 207 8. Sambhoga srngära 221 9. Bhoja's classification of srngära rasa 223 10. Additional rasas 225 11. Rasas and their musical structures aecording to Bharata ...... 231 12. Gramaragas and their meanings aecording to the BD 257 13. Cele&tial bodies and rägas 267 Contents ix

14. Three early räga-rägim Systems 275 15. Three schools of räga-räginf Systems according to the SD 277 16. Näyikäs 289 17.Näyakas 296 18. Terms in Hindi used as reference to musical meaning 312 19. Great rägas and their signification 313 20. Known rägas and their signification 322 21. Less known rägas and their signification 329

Figures

1. Seeger's unified field theory 17 2. Seeger's universe of value 19 3. Tarasti's three dimensional mode 26 4. Tarasti's model of musicological cognition 32 5. Hatten's model of growth in a musical style 36 6. Schaeffer's classification of sound characters 58 7. The logic of the categories 63 8. Sign diagrams 71 9. Levels of representation 72 10. The immediate interpretant 74 11. The determination of a dynamical interpretant 75 12. The final interpretant 79 13. Jäti System - a generative diagram .229 14. Grämaräga System - a generative diagram 246 15. Hintfola and its derived rägas 265 16. Suddhapancama and its derived rägas 266 17. Aesthetic rapture as the spiral of interpretants 366