THE JOURNAL OF THE MUSIC ACADEMY

MADRAS

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

Vol. XLIII 1972 Parts I-IV

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“ I dwell not in Vaikuntha, nor in the hearts of Yogins, nor in the Sun; (but) where my Bhaktas sing, there be I, Narada!”

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

1973

THE MUSIC ACADEMY, MADRAS 115-E, MOWBRAY’S ROAD, MADRAS-14.

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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.

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All books, advertisement moneys and cheques due to and intended for the Journal should be sent to Dr. V. Raghavan, Editor. CONTENTS Pages The XLVth Madras Music Conference, 1971: Official Report 1-54 Samgitagangadhara of Kalale Nanjaraja: Sri B .V .K . Sastri, Bangalore 55—60 Classical Carnatic Vaggeyakaras and Compositions of the Pre-Trinity Period from1 Sangita Samprad&ya Pradarginl of Subbarama Dikshitar : Dr. T. S. Ramakrishnan, Madras 61—69 Sri Aruijagirinathar’s Tiruppugal: Sri K. C. Tyagarajan 70—83 Bansuri, the Long Flute in Hindustani Music : Sri M. N. Padma Rao, Hyderabad 84—87 The Unique System of 72 Scales of Karnatic Music : Sri S. Mukund, Bangalore 88—95 Janya Ragas-Their Number: Dr. T. S. Ramakrishnan 96-97 Tinniyam Bharati’s Sahityas: Vidwan Tinniyam Venkatarama Iyer 98—99 Mazhavai Subbarama Iyer’s Note Book : Dr. P. C. Sitaraman, Madurai 100—107 The Rsga-Tala-M&lika of Ramasw&mi Dikshitar: Sri V. V. Narasimhacharya, Kakinada 108—118 The Buddha Maddala of Kerala: Sri L. S. Rajagopalan 119—133 Gayaki in Hindustani Music: Mr. Yunus Hussain Khan, University of Delhi 134—135 R&ga Dhanyasl Vidvan Sri N. Chennakesaviah, Bangalore 136—139 ii CONTENTS

Pages The Changing Phase of Indian Music: Swarni Prajnanananda, Calcutta 140—145 Continuity in Indian Raga Tradition]: Dr. (Mrs.) E. Te Nijenhuis, Utrecht 146—169 A Rare Kriti by Margadarfi Seshayyangar : Ed., Dr. T. S. Ramakrishnan 170—173 A Rare Chouka Varga by Karvetinagaram Govindasamiah : Ed., Dr. T. S. Ramakrishnan 174-181 A Rare Tana Varga: Ed., Dr. T. S. Ramakrishnan 182—183 Tinniyam Bharati’s Songs : Ed., Vidwan Tinniyam Venkatarama Iyer 184—191 The Authorship of the Svarajati * Pahi mam Brihannayike Dr. S. Venkitasubramonia Iyer, Trivandrum 192—194 Music Instruments in a Nepalese Buddhist Tantra Manuscript: Dr. V. Raghavan 195—196 Book-Reviews: Indian Musical Traditions by V. R. Deshpande: Dr. G. H. Tarlekar 197—199 Musical Instruments in Indian Sculpture by Prof. G. H. Tarlekar and Mrs. Nalini Tarleker Dr. S. S. Janaki 199—200 THE XLVth MADRAS MUSIC CONFERENCE OFFICIAL REPORT

The Opening Day 19th December 1971 The XLVth Annual Conference of the Music Academy, Madras, was held at the Academy’s premises, 115-E, Mowbrays Road, Madras-14, from 19th Decemder 1971 to 2nd January 1972. The Conference was presided over by the celebrated contemporary composer Vidwan Papanasam Sivan. The inaugural session Was attended by a large gathering of musicians, scholars, lovers of music and the public. The Conference was opened by His Excellency the Governor of Tamil Nadu, Sri K. K. Shah. The Governor was received, on arrival at the premises of the Academy f by the President of the Academy, Sri T. S. Rajam, and the Secretaries. The President of the Conference and Members of the Exccuti/e Committee and Members of the Experts Committee of the Academy were introduced to the Governor. There was then a Group-photo of the President of the Conference, Members of the Executive and Experts Committees of the Academy and the Governor. The Governor was then taken into the Academy’s Auditorium for the Inaugural function. The invocation song was sung by Kumari R. Vedavalli. Messages Sri T. V. Rajagopalan, Secretary, read the following messages received for the success of the 45th Conference : Rashtrapati Sri V. V. Girl sent his greetings to the participants of the 45th Annual Conference and good wishes for the success of all the functions. Bharata Ratna Mrs* Indira Gandhi, Prime Minister, sent her good wishes for the success of the 45th Conference. Former President of India, Dr. S. Radhakrishnan sent hi! best wishes for the success of the 45th Conference. A . > • 2 THB JOURNAL OF THfi MADRAS MUSIC ACADBMY [Vol. XL III The Governor of Maharashtra and the Lt. Governor of Pondicherry sent their good wishes. Hon'ble Sri M. Karunanidhi, Chief Minister of Madras State, said in his message: “ It is heartening to learn that the doyen of Tamil Composers Tiru Papanasam Sivan is to preside over the 45th Annual Conference of the Music Academy, His songs had enthused three generations in South India and it is but fitting that our infant cine-industry owed its early growth greatly to his untiring zeal. In fact we must admit that he also managed to lend an aura of respectability to the industry during the nascent years. Tamil is such a versatile and virile language that though we have a prolific legacy of composition, it lends itself admirably to newer talents. I am sure that the deliberations of Music Academy will continue to enrich the art of music and dance in Tamil Nadu. I wish the Conference success ” .

Dr. P. V. Rajamannar, former Chief Justice of Madras and former President, Central Sangeet Natak Akademi, sent his best wishes to the Conference to be presided over by ‘one of the greatest of contemporary composers Sanglta Vidvan Sri Papanasam Sivan' and to be opened by His Excellancy Sri K. K. Shah and added that he was well aware of the praiseworthy services of the Music Academy In preserving and developing and spreading the traditions of music and dance in South India. He complimented the Academy on the illuminating discussions of the Experts in the morning, and sent his greetings and good wishes on the occasion. The following foreign musicians, musicologists and Institu­ tions In the field of music and Oriental art and connected with the work of the Academy had sent their best wishes:

The famous Violinist Yehudi Menuhin, President of the International Music Council, cabled wishing success for the 45th Conference of the Music Academy and hoped that the traditional Indian music was given an important part in the programmes of the Academy and wished all prosperity in the coming years to the Academy. PTS. M V ] THB XLVth MADRAS MUSIC CONFHRBNCH 3 Good wishes had been received from the Institute of Musicology, University of the Cologne, the Music section of the Royal Tropical Institute of Amsterdam, the International Music Institute, Berlin, the Institute of Ethnomusicology of the University of California, Los Angeles, the Music Department of the Colgate University, Hamilton, New York, the Music Department of the University of Hawaii, Honolulu, the Society for Asian Music, New York, the President of which Prof. Willard Rhodes who had worked in the Academy, wrote: “ Through the years, the Music Academy has pioneered in the serious study and performance of Karnatak music- The Society for Asian Music has benefitted richly from the work of the Music Academy and express its thanks and appreciation to the Academy". On behalf of The Pan Orient Arts Foundation, Mass., U.S.A., Mr. James Rubin wrote “ For almost half a century you have nurtured the great musical traditions of India, while at the same time providing a forum for new music and musicians. Your achievements are such that we may all be proud, not only Indians but the International world of music. ” Sri T. Viswanathan and Sri T. Ranganathan, South Indian musicians working in California, U. S., sent their best wishes. Sri B. Subba Rao of Mysore, Experts Committee member of the Academy, sent his best wishes. The Karnataka Gana Kala Parish at. Bangalore sent its greetings. The Tamil Nadu State Saogita Nataka Sangham sent its greetings to Vidvan Papanasam Sivan and best wishes for the Conference. Sait. M. L. Vasanthakumari sent her best wishes. Sri T. S. Rajam, President of the Academy, then welcomed the distinguished gathering at the inaugural session of the Conference and paid a tribute to the President-Elect of the Conference, Sri Papanasam Sivan. Welcome Address Dr. V. Raghivan, Secretary, then presented the welcome Address to H. E. Sri K. K- Shah. Ip the course of hjs address he said ; 4 THE JOURNAL OF THB MADRAS MUSIC ACADEMY [VOL. XUH “ We are grateful to you for acceding to oqr request to Inaugurate this our 45th Conference. We welcome you to the Music Academy, Madras. We have always associated the Head of thGovernment of Tamil Nadu for training young musicians to become qualified teachers in schools. In fact, our next immediate expansion programme is to be on our academic side for which we have planned a separate block of buildings. Both in the Concerts and in the Conference we have a large background of not only the Hindustani music but the comparative Study of the music of other countries also. We have thus provided a national and international basis for our work, emphasising thereby the universal and uiifyiagcharacter of this great art . Prs. I-IV] THB XLVth MADRAS MUSIC CONFERENCE 5 As a student of Indian thought, you, Sir, will realise that we attach to our music a high role in religion and believe in the philosophy of art as a Yoga and spiritual Sadhana. Although music and the other arts and humanities have this noble part to play in bringing together people and promoting human relations, unfortunately human perversity distorts the vision, corrupts the heart and leads to animosities and deterioration of values of life. But as the remedy lies only in the greater realisation of the place of the higher values for which man stands, let us hope that, by our devoted work and service, the message of our art and culture will make its contribution to peace and happiness in this country and among the nations of the world. We remain, Sir, your friends of the MUSIC ACADEMY, MADRAS.*' He then requested H. E. Sri K. K. Shah to inaugurate the 45th Conference and the connected series of performances. Sir S. Natarajan, Secretary, garlanded the Governor. Inaugural Address The Governor then delivered his inaugural address. He said : ** Friends, May I thank you for inviting me to inaugurate this Conference ? As a humble soldier who played bis own little part in our Freedom struggle, I am delighted to learn that in pursuance of a resolution passed by the All-India Music Conference which was included in the session of the Indian National Congress held in Madras in 1927, the Music Academy which has now grown to be a prestige institution devoted to music, was born. The Academy has not only lived to witness the dawn of Freedom but has also made a significant contribution to the renaissance of our fine arts in the post'Independence era. I would characterise the present as the efforescence of Indian music, dance and drama. I congratulate the Music Academy on its solid achievements and its top-class services to the cause of Cirnatic music in particular and music in general. A conference 6 the journal of the madras music academy f Vol. xliii like this brings together leading exponents of music, musico­ logists, lovers of music and the public. The proceedings are bound to correlate theory with practice and encourage further growth of music itself. I note with great satisfaction that the Academy follows a policy of promoting mutual knowledge and appreciation between the two living systems of Indian music — the Northern and the Southern. That these Conferences are attended by well known musicians, composers and musicologists from different parts of the country and from foreign countries is indicative of the national and international reputation enjoyed by the Music Academy. The management deserves our grateful thanks for promoting national integration through Music — a force that transcends all frontiers — and for steadfastly promoting our age-old fine arts. Our Vedas establish the divine nature of our Music. The Lord Himself said—“ I dwell not in Vaikuntha, nor in the hearts of Yogios, nor in the Sun; but where my Bhaktas sing, there be I, Narada 1” Naham vasaml valkunthe na yogihrdaye ravau Mad-bhakta yatra gay anti tatra tisjhami Narada What makes the Indian music immortal is that it is considered the pathway to Brahman — the Absolute which is ANANDA bliss. This highest goal — Nad a Brahman and Sabda Brahman— of music represents the goal of life itself in terms of philosophy, This is amply borne out by what Saint Tyagaraja soulfully sang, out of his self-experience— “ Oh mind ! Attain the bliss of Brahman by losing your­ self in Nada which is associated with varieties of Ragas, and which fulfils all righteous desires. The Trinity, all the gods and great sages have followed this path, Tyagaraja knows this.*’ How could such a saint sing the praise of a ruler, lured by wealth and honour? He refused to do so. A similar episode is recorded, of Muthuswami Dikshitar, a stalwart of the Carnatic musical Trinity, who prayed to Lakshmi for giving him not only perishable wealth in his moments of distress but also the imperishable wealth of eternal bligs. PTS. MV) XLVth MADRAS ihjftlC CONFERENCE 7 Attracted by the fame of Mira Bai, Akbar disguised as a sadhu and accompanied by Tansen — you know music festivals are held every year in honour of Tyagaraja and Tansen—visited Mira. After a long discussion between Tansen and Mira Bai on the art of music at the humble request of Akbar, Mira entertained him with songs composed in praise of her Girdhar. As she sang, the Lord appeared before her. Mira fainted, while Akbar enjoyed great ecstasy. At the end, Mira sang in the last line " la m a veritable sacrifice to the charms of my Girdhar ” (Mira Girdhar khule ksma priti kama bar gundhe). How beautifully the poet Rabindranath Tagore brings.*out the yearnings of the suppliant devotee before the Master Musician who is God himself — “ I know Thou takest pleasure in my singing, I know that only as a singer I come before Thy presence. The light of Thy music illumines the world. The life- breath of Thy music runs from sky to sky. The holy stream of Thy music breaks through all stony obstacles and rushes on. My heart longs to join in Thy song, but vainly struggles for a voice. I would speak, but speech breaks not into song, and I cry out baffled. Ah, Thou hast made my heart captive in the endless meshes of Thy music, my Master.’* Scientifically interpreted, sound, air medium and hearing lead to an understanding of a harmony in the individual. If man discovers this harmony in himself, he can seek it between himself and the cosmos. We are slowly sliding, knowingly or unknowingly into Advaita Vedanta because that is, in my opinion, what Music leads to ultimately. Otherwise, why did our wise ancients devote their entire energy, talent and experience to perfect and acquire mastery over sangeet and fine arts ? Even those who do not understand the language in which a particular song is sung, are one with the emotions with which the song is charged. I have no doubt some day the scientists and music scholars will join hands each accepting the theory of Simple Harmonic Motion and the eternal music going on as a result of the motion of the electrons around their protons In the atoms of animate and Inanimate objects—to proclaim a scientific truth that to be one i THE JOURNAL O f THE MADRAS MUSIC ACADEMY [VOL. XLfol with the Cosmic Being, call It by whatever name you like, is the grand object of music, the vibrations of which are as old as Brahman but by our own efforts, we have to be in tune with it. 1 would appeal to the Music Academy which has a lot of research work in music to its credit, to probe into these deep secrets and storm the world by its conclusions. It is clear beyond any shadow of doubt that music is the big gateway to Bhakti and it permits all to enter it and get blissful experiences for themselves. Carnatic music is our precious heritage and it is passed on from sire to son, from Guru to disciple, from artistes to the public, and from one generation to another, thus ensuring for itself unir terrupted and unimpeded growth. It fathers the light music of the film world also. I notice one wonderful phenomenon in Carnatic music. Great composers have given us songs in different languages—in some cases, the same composer has given us songs in more than two or three languages. Language discrimination, linguistic parochialism or prejudices has nothing to do with Carnatic music. How thrilling it is for a vocalist in Carnatic music to sing compositions in Sanskrit, Telugu, Kannada and Hindi when his mother-tongue is Tamil or for a composer whose mother-tongue is Telugu to compose songs in other languages! Some weeks ago, I came across a Tamilian gentleman who had settled down in Jaipur in Rajasthan, is running a dance school, has mastered local dialects and Mira bhajans and teaches dances of all the States to bis pupils! It is a tribute to Tamil Nadu and her enlightened people. India really looks to the South for the preservation and fostering of our fine arts, in all their pure and classical styles. Free India publicly honours our eminent and outstanding artistes. At State level also, honours are conferred. This is as it should be. The Music Academy here has established a long tradition of honouring outstanding artistes. This well-deserved recognition will surely act as an incentive for further growth of Carnatic music. I am glad that this year a mature and experienced composer and musician—Sri Papanasam Sivan—has been chosen for this signal honour. I offer my warmest congratulations to him. The proceedings of this Conference will richly profit by his lead aiid guidance. I have now great pleasure in declaring this Conference open." Prs. 1 -tv] THB XLVth MADRAS MUSIC CONFBRBNCB 9 May Carnatic Music reach its zenith and demonstrate the essential oneness of human beings. Vanakkam ” Vote of thanks Sri K. R. Sundaram Iyer, Member of the Board of Trustees of the Music Academy, then expressed the thanks of the Academy to the Governor of Tamil Nadu for kindly accepting their invita­ tion and inaugurating their 45th Conference. Election of the President Sangita Kalanidhi Mudicondan Venkatarama Iyer then proposed that Vidwan Papanasam Sivan be elected President of the 45th Conference. The proposal was seconded by Sangitakala- nidhi Budalur Krishnamurti Sastri, Vidvan Nori Nagabhushanam Pantulu and Justice K. S. Venkataraman. The attainments of Sri Papanasam Sivan and the position he held as the leading contemporory Tamil Composer were referred to by the speakers. Presidential Address Rising amidst cheers, Vidwan Papanasam Sivan, thanked the Academy for electing him as President of the 45th Conference and delivered his address.

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Presidential Address: English Version. “ Your ExcePeocy, President of the Academy, Members of the Executive, Honorary Secretaries, Brothers and Sisters who are assembled here ! 1 desire to slate briefly how the art of music has been guiding and directing my life, music which the Lord has been pleased to bless me with. 1 cannot forget the elders who inculcated in me a taste for music and the knowledge of what Raga and Tala were, when 1 was a listless wanderer: Trivandrum Krishna Bhagavathar, Keezhvelur Ramachandra Iyer, Manjakkudi Devaraja Iyer, Pazhayavalam Subbaiyer, Moongilkudi Kannusami Iyer and others who cut out a path for me in my life’s journey. Through the enthusiasm of friends I came forward to give performances of music. For the first time I sang in the festival of Tyaga Brahmam in Tiruvaiyuru at the instance of Violin Vidwan Govindaswami Pillai, with Papa Venkataramaiyer and Tanjore Vaidyanatha Iyer as accompaniments. Although I had been, after that, singing in several places, it is the service to the Lord by singing songs on him born of my enjoyment of His beautiful image that had possessed my mind. The call came to me in the blessed words of Saint Manikka- vachakar: “ singing allowed through every street The main inspiration for this was Neelakantha Dasar of Trivandrum and 14 fHfi JOURNAL dF THB MADRAS MlJSlb ACADEMY [VOL. iL lil my becoming interested in the Bhajana which he conducted day in and day out, which I joined when I was quite young. This prompted me to compose songs describing the beauty of the Lord according to my feelings and experience of the grace and blessings of the Lord. " Unnai tudikka arul ta ”, an embodiment in Raga and Tala of the feelings of my melted heart, was my very first song. With similar inner promptings, I started composing songs without being concious of doing so. This is not any doing of mine but the doing of the Lord who is hidden in our hearts and is inwardly prompting us.

For the purpose of composing these songs I gave expression in them to several trials and experiences of my own and brought them out. Having composed them out of His grace, I have had the pleasure of listening to them being sung by musicians out of their own desire and this I think, is a great fortune that the Almighty has blessed me with. The Lord then led me to the Cinema. He made me see several arts. He gave me wealth and also took it away and made me suffer in penury. He made me suffer in illness and through all this made me sing of Him again and again. He brought me assistance from all sorts of quarters. He gave me position and importance. Whatever fortune 1 enjoyed, is all His blessing. I said 1 did not know what music was, nor what a music performance was. I must add that 1 did not also know what was Tamil. Lakshana, Lakshya, Sastra, nothing did 1 know and my blooming into a composer is entirely His great compassion. Time was when, not knowing what the greatness of the music of the Trinity Sri Tyaga Brahmam, Sri Dikshitar and Sri Syama Sastri, as a young man, I had got out in the midst of a perfor­ mance of Konerirajapuram Vaidyanatha Iyer exclamating “ what is this music? Then time came when I attained maturity enough to understand the greatness of the music of the Trinity. Drinking more and more of the necter of their music, I learned the superiority of their music. Like magnet drawing the needle, the music of Sri Vaidyanatha Iyer drew me. The same Sri Vaidya­ natha Iyer from whose concert I got out with ths exclamation “ what is this music? ”, I am to this day adoring as my first Guru. Pts. i-iv] THB XLVth MADRAS MUS(C CONFERENCE 15 To this day I worship as the primary Gurus of music, the same Trinity of Tyaga Brahmam, Dikshitar and Syama Sastri whose songs I could not first understand. Even now, I personally prefer to sing their songs rather than my own. I consider myself as one of the several travellers walking on the royal road which these three great composers laid. To those who showed their approba­ tion of the small service that T had done and raised me to posi­ tions, I convey my affection. By virtue of my age, I would like to say a few words. In all branches of knowledge, and particularly in music, there are some things which are inimical. The first thing is the pride that one has known a great deal and the feeling of self-satisfaction, The second is to find fault with others. Music will automatically improve if these two defects are eschewed. Today music has spread all over the country. Except for a few stray cases of failure, it may be said generally that numberless people sing with good voice and in a noteworthy manner. Today music has become a profession and a means for livelihood. It can no longer be considered as being solely for divine service. Consequently Guru-bbakti has gone down. Devotion to God and to Guru forms the manure of our music. I think, a proper teacher, a proper pupil and the required patience, - these, alas, have become rare! Institutions like our Academy here are trying in some measure to remedy the situation. They are teaching here both music and dance with proper teachers and students. Also through several researches and studies, the Academy has brought out many important facts of music and has publ shed rare works of music. Through competitions and awards, the Academy has helped the growth of music. From young musicians to first rate Vidwans and with provision for instruments like Veena and Flute and the art of dance, besides vocal music, through its concerts, the Academy has f ^stered this great art. The Academy's services are immeasurable. May God bless the Academy to grow further in an excellent way. May the Academy's management find success in their efforts. Once again I express my affection and gratitude to one and all. After the inaugural address there was a Nagaswaram recital by Shaik Chinna Moulaoa accompanied by Valaiapatti Subrab- njanian on Tavil, 16 THE JOURNAL OF THB MADRAS MUSIC ACADBMY [VOL. XLIII Conference Souvenir In connection with the 45th Conference, the Academy brought out a Souvenir and programme book which carried, in addition to the annotated programmes of all the performances of the season and photographs of the President of the Conference, the opener and the President of the Sadas and of the musicians to be honoured at the Sadas with Certificate of merit and the present, and past President of the Academy, a detailed description of the Music Academy and its work and articles on 1 Chidambaram and its Musical Importance’ by Prof. P. Sambamoorthy, ‘ Music and Devotion’ by K. Cbandrasekharan, ‘ Papanasam S.van ’ by Hamsa (V. Raghavan), * Veena Subbanna ’ by Vidwan Chenna- kesaviah, * Music Then and Now' in Tamil by Sangita Kalanidhi Mudicondan Venkatarama Iyer, ‘ On playing on the Mridangam ' in Tamil by Vidwan Tinniyam Venkalarama Iyer. Agenda of the Conference The following was the agenda of the Experts' Committee meetings of the 45th Conference. I Special Demonstrations: (1) President Sri Papanasam Si van (2) Sangita Kalanidhi Mudicondan C. Venkatarama Iyer- Raga, Tana, Pallavi, Niraval II Instrumental Demonstrations: (1) Sangita Kalanidhi Budalur Krishnamurthi Sastri— Gotu Vadyam (2) Devakotui Narayana Iyengar - Chowka Kala and Tala on Veena (3) Trivandrum Kalyanakrishna Bhagavatar - Veena (4) K. S. Narayanaswami - Veena (5) Mysore Duraiswami IyeDgar - Veena (6) M. N. Padmarao, Hyderabad - Bansuri (7) T. K. Narayana Iyer, Emakulam-Stradi\arius - Violin

111 Illustrated Talks: (1) S. Subrahmanya Srauti, Mysore - Samagana (2) Prof. P. Sambamurtby - Musical Prosody PTS. I-IV] THH XLVth MADRAS MUSIC CONFERENCE 17 (3) K. K. Varma, Calcutta - The Murcchana System (4) Vasanta Raghavendar-Some Dasavatara Compositions IV Raga: (1) N. Chennakesavaiya, Bangalore - Dhanyasi Raga (2) Nori Nagabhushanam Pantulu, Hyderabad - Mitra Ragas (3) Dr. P. C. Sitaraman, Madurai - 72 Melas and 1758 Janya Ragas In Mazhavarayanendal Subbarama Iyer’s Note Book (4) S. Mukund, Bangalore - 72 Melakarta Scheme V Laya: (1) T. V. Gopalakrishnan, New Pallavi in theMarga Tala Chacchatputa (2) L. S. Rajagopalan & Party, Kerala - Suddha Maddala (3) K. C. Tyagarajan - Tiruppugazh in five Nadais VI Papers: (1) Swami Prajnanananda, Calcutta - The Changing Phase of muic. (2) V. V. Narasimhacarya, Kakinada - Raga Tala Malika of Ramaswami Dikshitar (3) Dr. Mrs. E. te Nijenhuis, Netherlands- Continuity in Indian Raga Tradition VII Rare Compositions: (1) Madurai Subrahmanya Iyer - Some Rare Kritis of Tyagaraja (2) Marutthuvakkudi Rajagopala Iyer - Original Varna- metlus of some Tyagaraja Kritis (3) Dr. P. C. Sitaraman - Varnas, Ragamalika, Chitta- svaras and some Tamil Songs in the Note Book of Mazhavarayanendal Subbarama Iyer (4) Gomati Viswanathan, Delhi University - Familiar kritis in unfamiliar Ragas and Unfamiliar kritis in familiar Ragas (5) Tinnlyam Venkatarama Iyer -3 old Tamil Songs on Meenakshi (6) Dr. S. Ramakrishnan - Pre-Trinity Compositions from Sampradaya Pradarsiqi 3 18 THE JOURNAL OF THB MADRAS MUSrC ACADEMY [VOL XLI1I (7) B. V. K. Sastry, Bangalore - Songs from Sanglta Gangadbara of Nanjaraja (8) Rajalakshmi Padmanabhan - Nilakanthadasar’s com­ positions VIII New Compositions: (1) Papanasam Sivan's Compositions - NeelaRamamurti, Papanasam Rukmini (2) Dr. E. S. Sankaranarayana Iyer’s Compositions - Saraswati Sankaran (3) G. N. B.*s Compositions - S. Kalyanaraman, V. Ramachandran (4) Palani Subrahmanya Bhagavatar’s Compositions - Kalpakam Subrahmanyam (5) M. Anantanarayanan’s Compositions - Vidya Sankar and Party (6) Mannargudi Sambasiva Bhagavatar - His own Compositions (7) K. C. Tyagarajan - His own Devi Mahatmya Keertanas (8) Kalpagam Varadarajan - Her own Compositions IX Release of New Song-Books : (1) Dr. L. Muthia Bhagavatar’s Compositions - Vol. Ill (Tamil Nadu S N. Sangam— H. M. Vaidyalingam) (2) ‘Sangita Pushpanjali’ of N. S. Ramachandran, Delhi University .(Lalita Nagarajan and Akbila Krishnan will present select songs) X Hindustani: (1) Yunus Husain Khan - Gayaki in Hindustani Music (2) Seethalakshmi Venkatesan - Swati Tirunal's Hindus­ tani Bhajans (3) Lakshmi Biligiri, Poona - Hindustani Music on Karnatic Veena XI Dr. V. Raghavan Shastyabdapurti Endowment Lecture: Pt. Ravi Sankar - Sitar and the Technique of its Playing XII Any other subject to be taken up with the President's approval Pis. I-IV] THE XLVth MADRAS MUSIC CONFBRBNCB 19 THE FIRST DAY 20th December 1971. The Experts' Committee of the Music Academy, Madras, began its meetings in connection with 45th Conference at 8*00 a m. on the 20th December 1971 with Vidwan Papanasam Sivan in the Chair. The proceedings opened with the devotional music comprising Ganesa Pancaratna and Meenakshi Pancaratna of Sankaracharya presented by Vidwan Madurai Venkdtesan, accompanied by Vidwan Narayana Rao on Violin. The President of the Conference, Sri Papanasam Sivan, then welcomed the members of the Experts' Committee and other musicians and scholars, referred to the valuable meetings of the Experts' Committee in the mornings and appealed to all the members to co-operate and make the Conference a success. Dr. V. Raghavan, Secretary, mentioning the various features included in the agenda, made special mention of the fact that in view of the President of the conference being a distinguished contemporary composer, a large number of new and rare compositions have been included for presentation during the proceedings of the Experts' Committee. He then mentioned that Palani Subrahmanya Bhagavatar who was a well known performer of the harikatha and passed away about 30 years ago, had left some Telugu and Tamil compositions and that Smt. Kalpakam Subrahmaniam, the Bhagavatar's brother’s grand-daughter would present some of these compositions- Palani Subrahmanya Bhagavatar’s Compositions Accompanied by Vidvans K. K. Adikesavalu on violin and Palghat Ramanathan on the mridangam, Smt. Kalpakam Subrah­ maniam presented the following compositions of Palani Subrah- mania Bhagavatar: Varnam-Nee Padamt gati-Sankarabharanam; Sami napai daya-Todi - Adi; Brihadeesvara-Simhendramadhyamam« Adi; Palimpavamma-Sankarabharanam-Rupakam; Salanammidira- Mohanam-Adi; Sri Subrahmanya - Saveri - Adi - and Dheem dheem Tillana- Vasanta-Adi. The President of the Conference Sri Sivan and Sangita Kalanidhi Mudicondan Venkatarama Iyer, who had both known well Palani Subrahmanya Bhagavatar and had heard his Harikathas, referred to the attainments of the late Bhagavatar 20 THB JOURNAL OF THB MADRAS MUSIC ACADEMY [VOL. XLItl and complimented Mrs. Subrahmanyam on her renderings. The President suggested that the descendants might bring out in notation the available compositions of the late composer. President’s Compositions Some of the early compositions of Papanasam Sivan were then presented by his daughter Smt. Neela Ramamurthi and brother’s grand-daughter Radha, accompanied by Vidvans Sri Narayana Rao on violin and V. Gopalakrishnan on mridangam. The following pieces were rendered: Swami Nee-Varnam-Sriranjani; Arulpuri-Sarasvati; Saravanabhava Guhane-Kannada; Amba-Panturavali; Tunaipurindarul - Hindolam; Paramukam enaiyya-Karaharapriya; Unnai Tuthikka Arul ta- Kuntalavarali; Radhamukhakamala - Kapi; Rama Bhajare Mada- laigal - viruttam - Ragamaligai. Complimenting Smt- Neela Ramamurthi and Kumari Radha, Sangita Kalanidhi Mudicondan Venkatarama Iyer paid a tribute to Papanasam Sivan as a Vaggeyakara.

THE SECOND DAY 21st December 1971 At to-day’s sittings of the Experts’ Committee of the 45th Conference of the Music Academy, Madras, with Sangita Kala­ nidhi Mudicondan Venkatarama Iyer in the Chair owing to unavoidable absence of the President Sri Papanasam Sivan, there was first a recital of Tevaram and Tiruvempavai by Dharmapuram V. Swaminathan accompanied by Sri T. Pakklrisami on the violin and Sri S. Yuvaraja on the mridangam. Sangita Kalanidhi Mudicondan Venkatarama Iyer complimented Sri Swaminathan on bis gifted voice and rendering on Tevaram and Tiruvempavai. Sangita Gangadhara Dr. V. Raghavan then introduced Sri B. V. K. Sastry, Bangalore, and his talk on the Sangita Gangadhara, a composition modelled on the Gita Govinda of Jayadeva by the well-known political figure in Mysore history, Kalale Nanjaraja- Sri B. V. K. Sastry gave an account of the political career and achievements of Nanjaraja and the patronage extended by him to Sanskrit and Kannada scholars and musicians. He also referred to a number of works, about 14 of them in Sanskrit, PTS. l-iv] THE XLVth MADRAS MUSIC CONFERENCE 1\ Kannada and Telugu and related mostly to Saivism, known to have been Nanjaraja’s contribution. The Sangita Gangadhara, modelled on Gita Govinda, was dedicated to Srikantheswara in the Temple of Nanjangud. Sri Sastry referred Dr. Raghavan’s article in the Hindu several years back on the Sangita Gangadhara and other works after the model of the Gita Govinda and then described the theme and the songs in Nanjaraja’s compositions. Srimatis B. V. Seeta and G. R. Jaya accompanied by Anoor Sri Ramakrishna on the violin and Sri K. Venkataram on mridangam then presented ihree ashtttpadis from Sangita Gangadhara, as also some of the introductory and concluding verses of this composition. To a question from Dr. Raghavan, Sri Sastry who belonged to Nanjangud, replied that there was no tradition or evidence available in Nanjangud temple for this composition having been ever sung as part of the Temple's services at Nanjangud. Dr. Raghavan then thanked the partici­ pants for their interesting programme and hoped that the speaker and the Karnataka Ganakala Parishad would bring out a critical edition of the work soon. Pre-Trinity Composers Dr. Raghavan then requested Dr. S. Ramakrishnan, member of the Experts’ Committee of the Academy and a specialist in Sangita Sampradaya Pradarsini to give his talk and demonstration of Pre-Trinity composers and compositions as given by Subba- rama Dikshitar in his music thesaurus. Dr- S. Ramakrishnan in an informative paper dealt with the following composers : Margadarsi Seshayyangar, Ghanam Siniah and Srinivasulu, both of Madurai, Giriraja Kavi of Tiruvarur, Merattur Veerabhadriah and Venkatarama Sastri, Matrubhutiah of Tiruchi, Govindasamiab, Koovanasamiah and Sarangapani, all the three of Karvetinagaram, Adippiah, author of the immortal Viriboni, Sonti Venkatasubbiab, father of Tyagaraja’s Guru, Ramaswami Dikshitar, father of Muthuswami Dikshitar, Paidala Gurumurthi Sastri, Pallavi Gopaliah and Kuppuswamiah. Assisted by his two daughters S. R. Mangalam (Veena) and S. R. Kesavi (vocal), Dr. Ramakrishnan then presented the following pieces: Inka daya rada : Kalyani (Srinivasulu); Kannatalli: : Ananda- bhairavi (Merattur Venkatarama Sastri); Maya Ni Vanchang- 22 THE JOURNAL OF THB MADRAS MUSIC ACADEMY [VOL. XLIII Kambhoji (Giriraja Kavi); Sambho puramada: Kedaragaula (Kavi Matrubhutiah); Ekkadiki poyeve: padam*2?faz/rav/(Kuppuswamiah); Uma Himachala: Saranga (Kavi Matrubhutiah); Sreyase-Paraju- (Vaikuntha Sastri) and Pahi Sesha : Anandabhairdvi (Margadarsi Seshayyangar). Dr. Raghavan supplemented the information on some of the composers and compositions and thanked Dr. Ramakrishnan for the programme presented by him. THE THIRD DAY 22nd December 1971 New Compositions When the Experts* Committee met this morning in connection with the 45th Conference, there was first the presentation of select songs from the Devimahatmya Kirtanas composed by Sri K. C. Tbyagarajan. The composer gave an account of how he came to produce these compositions. SeveD pieces from tbem in Revagupti, Keeravani, Sriranjani, Bhairavi, Sarasvati, Kambhoji and Todi were sung by Kumaris A. Radha and A. Bhanu assisted by S. Saidevi on Veena, T. H. Gurumurthi on violin and T. H. Subashchandran on mridangam. The President complimented the author of the compositions and observed that it was extremely difficult, when there were a few hundred songs in the same ragas. to create new compositions and display originality. This was followed by the presentation of the new sahityas of Mannargudi Sambasiva Bhagavatar, who had composed over five hundred pieces. Assisted by Master Chandrasekaran, Mrs. Lalitha Ramakrishnan, Malini Kasturirangan and Jaya Krishnan, and accompanied by T. S. Najayana Rao on violin and Dindigul Ramamurthi on mridangam, Sri Sambasiva Bhagavatar then presented a Varnam in Kambhoji, three h itis in Karaharapriya, Ramapriya and Saramati, a Bhajan in Aland, a Javali in Behag and a Tillana in Hindolam. Expressing his appreciation the President said that although there had been numerous composers, creative activity was a law of nature and should go on. Musical Prosody Dr. Raghavan then requested Prof. Sambamurthy to give his talk on Musical Prosody. The Professor said that a knowledge of prosody as far as applicable to music composition was necessary; it was helpful both to the composer and the singers Pis. H v ] THB XLVth MADRAS MUSIC CONFBRENCB 23 During bis examination of several new compositions, he found to his regret that some of the new compositions were deficient in respect of prosodial requirements. Compositions were both in metrical patterns padya and prose (gadya), the latter having been on the increase since the last five hundred years. Tyagaraja had composed in both patterns. Even in Gadya there were rhythmic pauses and alliterations which have to be observed. The second- letter Prasa known as Yatukai had been in use from the time of Tevaram. There were specific number of Avartas to a Tala and in the avartas the alliterations known as Yati or Monai had to be observed. There weie also the long 'and short syllables which had to accord ; the question of Padaccheda and Atita-graha which had to accommodate the Prasa ; Yatukai in respect of vowels and conjunct consonants and also alliterations called Anuprasa consisting of repetition of one or two syllables several times in the course of the charana. There should also be an equitable distribution of words in the sections of Avartas and the singer should not stop at any place out of a wrong notion of correct splitting of words. Soatches from several Kritis of Tyagaraja, Dikshitar and other composers illustrating the above points were sung by Kumari Usha. Incidentally the speaker mentioned several other critical points regarding some of the kritis and ragas as now sung. He mentioned that *Kakali Ni’ was not used in Kamas In Tyagaraja’s time, and that it became current only after the time of the Javalis and that pieces like Sitapate of Tyagaraja should be correctly renered. Diname Sudinamu in Latangi which was defective in respect of prosodial features carried Tyagaraja-Mudra but it was really a composition of one Girisa Iyer. There were eight kritis of Tyagaraja like Sri Raghuvara in which each Charana was in a different Dhatu. The Ragamalika in Anandabhairavi etc. passing as Syama Sastri*s was by Cbinni Krishna and Parakela in Kedara- gaula was not by Syama Sastri but by C. S. Krisbnaswami Iyer. Dr. Raghavan thanked Prof. Sambamurthy for his instructive lecture. THE FOURTH DAY 23rd December 1971 When the Experts’ Committee of the 45th Conference of Music Academy met this morning with the President Sri Papa- 24 THB JOURNAL OF THB MADRAS MUSIC ACADBMY [VoL. XLII1 nasam Sivan in the Chair, there was first a recital of Divya- prabandham by Vidwan Madurai Venkatesan and Sri D. G. Badrinarayanan accompanied by Vidvans M. Narayanaswami Iyer (violin) and S. Yijayasarathy (mridangam). Tiruppugazh Sri K. C Tyagarajan then gave a demonstration of Arunagiri- nathar’s Tiruppugazh. Sri Tyagarajan said that the Tiruppugazh songs of which over thousand were available now showed a marvelous variety of rhythmic settings and gave great scope for research in this line. He had worked for sometime on these rhythmic settings and was able to present before them examples of Tiruppugazh set in the five main Nadais and also some others in mixed settings of more than one Nadai in the different feet. The guidance was provided by the Vannam and Chandam of the Tiruppugazh itself. Sri Tyagarajan then sang nine Tiruppugazhs: Tisra - Palani - Hamsadhvani; Caturasra - Tiruvarur - Mohanam ; Khanda - Palani - Vasanta; Misra - Swamimalai - Hindolam; Sankarabharanam -Kanchi - Athana; and then Khanda+ Caturasra + Tisra - Chakravakam; two Khanda + one Caturasra - Tiru- chendur - Useni; two Tisras and one Caturasra - Tiruchi - SuddhasOveri and the last one in all five Nadais - Vayaloor. He was assisted by Yidvans K. R Ganapathi (flute), Chittoor Gopalakrishnan (violin), Ramanathapuram M. N. Kandaswami (mridangam) and K. M. Yaidyanathan (Ghatam). The President thanked Sri Tyagarajan for his contribution.

Veena Demonstration

Yidvan Devakottai Narayana Iyengar assisted by his daughter Smt. Y. Yedavalli then gave a demonstration on the Yeena, particularly of playing in Chowka Kala. He referred to some of the masters of the instrument like his own teacher, Karaikudi Sambasiva Iyer, as also his brother, and Dhanammal who had always accompanied with their voice their veena playing. That he said was the ideal. Accompanied by Madurai N. Krishna Iyengar on the mridangam, Sri Narayana Iyengar then rendered Mayamalamgaula (Merusamana), Bilahari (Kanukontini), Dhanyasi (Namorala) by Tiruvottriyur Tyagier with the Chittasvaram of Sri Karaikudi Sambasiva Iyer, Darbari Kanada (Ramanama sudha- rasa) of Purandarada8a and Tiruppugizh (Olamitta surumbu). PTS. MV) th e XLVth MADRAS MUSIC CONPBRBNCE 25 Original Settings of Tyagaraja Kritis Vidvan Maruthuvakudi Rajagopala Iyer, a representative of the Umayalpuram sishyaparampara, then took up the important subject of rendering of Tyagaraja’s compositions in the correct version. He referred to several pieces which had been changed in course of time. He then rendered the following kritis in the correct versions: Kasicchede in Gaulipantu; Anyayamu to illus­ trate Kapi which was quite in a mess ; Rama neevadu (Kalyani); Kanulutaka (Kalyanavasanta), Varidhi neeku (Todi). The Vidvan then referred to some rare ragas, Melaragas particularly, which have been wrongly assimilated to more popular ragas and the pieces in which had become current in wrong versions. For example, Rupavati had been assimilated to Todi, Naganandini and SooJini to Sankarabharanam and Jhankaradhvani to Kharaharapriya. To illustrate this class he rendered Manasa Sri Ramuni in Mara- ranjani. Thanking him on behalf of the Experts' Committee Sri S. Parthasarathi emphasised the importance of the subject taken up by the speaker and observed that it was useful to remind themselves every year at the Experts' Committee meetings of the correct versions of these compositions by arranging for such authoritative renderings by those who represented the correct tradition.

THE FIFTH DAY 24th December 1971 At the Experts* Committee meeting convened in connection with the 45th Conference which met this morning under the Presidentship of Sri Papanasam Sivan, Vidvan Madurai Venka- tesan first gave a recital of Tiruppavai accompanied by Sr Narayanaswamy Iyer (Violin) and Sri S. Vijayasarathy (Mridangam). Hindi Bhajans of Sri Svati Tirunal Dr. Raghavan then referred to the compositions of Maharaja Svati Tirunal which included not only a variety of musical forms like kirtana, nirupanas for Harikatha, varna, pada, javali and Bhajan but also different languages, Sanskrit, M&layalam and 4 26 THE JOURNAL OF THB MADRAS MUSIC ACADEMY [VOL. XLIIt Hindi. Mrs. Seethalakshmi Vcnkatesan, he said, had worked on the Hindi Bhajans of Svati Tiruna) and had offered to render some of them. Vidvan Tanjore Sankaran spoke briefly about the Hindustani ragas used in these Bhajans. Accompanied by Kanyakumari on the violin and Ram Dev on the mridangam, Smt. Seethalakshmi Venkatesan then gave an enjoyable recital of six Hindi Bhajans of Svati Tirunal: Savaro Theri Afurali (Sankar), Jawo Math Turn-Khayal (Malkauns), Bylo piya (Madhuvanti), Suno sakhi (Kalavati), Bansi bale{Bhup) and Jamuna Kinare (Pilu). The President Sri Sivan thanked Mrs. Venkatesan for her recital.

Hindustani Music on Karnatic Veena Dr. Raghavan then introduced Smt. Lakshmi Biligiri who had practised for several years the playing of Hindustani music on the Karnatic Veena. Accompanied by Abdul Mirajker on Tabla, Smt. Lakshmi Biligiri then played Mianki Todi in all the three tempos and then the raga Kamaj and a light composition in the same. Sri Balakrishna Misra, Director cf Vadyalaya, Madras, referred to his own work of experimenting different innovations on instruments and complimented Smt. Biligiri for her enterprise and Sadhana. He suggested that for playing Hindustani music, certain modifications could be made in the Karnatic Veena in respect of frets, tuning and the broadening of the board to enable greater facilities for pulling the strings. Smt. Lakshmi replied to the points raised by Sri Misra and emphasised that her experiment was governed strictly by the structure of Veena as it obtained in Karnatic music. Compli­ menting the peiformer, Dr. Raghavan said the suggestion that the Veena should be suitably remodelled would take away all the purpose of Smt. Lakshmi’s work and that contrary to the mis­ givings he had originally, he found that she had achieved remarkable success in bringing out on the Karnatic Veena the nuances and beauties of the Hindustani music in the vilambit and Drut. On behalf of the Experts' Committee, Devakottai Narayana Iyengar, a senior Veena Vidwan, congratulated the artist on her bold effort and sustained sadhakam and thanked her for her enjoyable recital. Several members of the audience and vidvans also examined the instrument and discussed with her. ^TS. M V] THE XLVth MADRAS MUSIC CONFERENCE l l THE SIXTH DAY 25th December 1971 The Experts' Committee meeting of the 45th Conference began today with the recital of the Tiruppugazh associated with the six main abodes (Aru padai veedu) of Lord Kumara by Sri K. C. Tyagarajan, accompanied by Sri V. R. Lakshminarayanan (Violin) and Sri T. H. Ourumurthi (Mridangam).

Bansuri Dr. Raghavan then introduced Sri M. N. Padma Rao, L. LB., Joint Secretary, Andhra Pradesh Sangita Natak Akademi, Hyderabad, who had specialised in the long North Indian flute and requested him to give his talk and recital on the instrument. Sri Padma Rao first read a paper on the history of the flute in Indian music from the Vedic times and as evidenced in literature and painting. He dealt with the suitability and the general structure of the instrument, its characteristics and limitations. In the hands of an expert player, the flute, he said, could go up to three and three and a half octaves and its Gamakas and meendst khatkas and murkhis could show greater charm and effect than even the human voice. He paid a tribute to the famous flutists of the North and South of the past and present and appealed that the instrument be given greater encouragement. He then dis­ played three flutes of bigger, medium and smaller sizes prepared by him, and explained the method of selecting the bamboo and the process of conditioning it, removing its water and moisture and drying and slowiy heating it and the arrangement of the holes and the testing of the instrument. Then, accompanied by Abdul Mirajker on the Tabla, Sri Padma Rao gave a pleasing recital of ragas Iman, Dharbari and Desh, Dr. Raghavan thanked him and the Sangita Nataka Academy of Andhra Pradesh for his partici­ pation in the Conference. He then requested Sangita Kalanidhi Mudicondan Venkata- rama Iyer to give his exposition of Ragam, Tanam and Pallavi.

Mudicondan’s Demonstration Then accompanied by Smt. T. Rukmini on the Violin and Umayalpuram Sivaraman on the Mridangam and assisted by 2$ THB JOURNAL O t THfe MADRAS MUSIC ACADBMV [Vol. XLIll Mudicondan Krishnamurthi, B. Krishnamurthi and R. Vedavalll, Sangita Kalanidhi Mudicondan Venkatarama Iyer sang Ragam, Tanam and Pallavi for over an hour drawing repeated applause. He opened his demonstration with the Kriti Raghunayaka in Hamsadhvani. Then taking Bhairavi, he demonstrated how the alapana of the raga must be developed. He showed the correct method of rendering Tanam which he explained as the singing of the raga in madhyama kala. He then sang a Pallavi in Sankara- bharana, Adi Tala and concluded with a Tillana in raga Kamas. Sri Venkatarama Iyer handled Begada, Saveri, Sahana, Athana and Sankarabharana ragas in the course of his exposition. Thanking him on behalf of the Vidvans, Sri Nori Nagabhushanam Pantulu of Hyderabad paid a tribute to his learning and the correct tradi­ tional style of the Ragam, Tanam and Pallavi presented by the Vidvan. He said that this Sampradayam was becoming scarce in the present age made-easy displays and the Academy and its Experts* Committee deserved their thanks for arranging such demonstrations of the correct paddhati. Vidvan Devakotiai Narayana Iyengar, adding his tribute to the vidvan, thanked him and the two accompanists on behalf of the Experts’ Committee.

THE SEVENTH DAY 26th December 1971 When the Experts* Committee of the Music Academy re­ assembled this morning in connection with the 45th Conference, Mrs. Lalitba Bai Shamanna first gave a recital of the Kannada Padas of Purandaradasa, Kanakadasa and Banadasa, accompanied by Lakshmi Nagabhushanam on the Violin and S. Ravindran on the Mridangam. President's Concert Then the Conference President, Sri Papanasam Sivan, accompanied by Vidvans Lalgudi G. Jayaraman on the Violin and Taojore Upendran on the Mridangam, gave a concert which included besides three kritis of Ty&gax&j*{Nannuvidachi-Ritigowlat Sujana Jeevana-Kamas and Taya dasoham-Punnagavarali), seven of his own compositions-*?/*/ Vatapi-Sahana-Adi; EnnaikkattaruU Hemavati-Adi; Samagana-Hindolam - A d i; Visalakshi - Byagada- Chapu; Srinivasa - Hamsanandi - Adi; Balakrishnan • Dhanyasi- PTS. i-iv ] THE XLvth MADRAS MUSIC CONFERfeNCfi 29 Rupakam and Vighnavinayaka - Madhyamavati - Adi- This was followed by a recital of Sri Sivan’s Rama Charita ragamalika composition in twenty-four ragas rendered by his daughters and grand-daughters accompanied by Sri P. P. Ramakrishnan (Violin) and Sri S. Ravindran (Mridangam). On behalf of the Experts* Committee members, Sargita Kalanidhi Budalur Krishnamurthi Sastrigal paid a tribute to Sri Sivan as a composer and thanked him and the accompanists for the concert. THE EIGHTH DAY 27th December 1971 When the Experts’ Committee of the 45th Conference of the Music Academy began its sitting this moinirig with Sri Papanasam Sivan in the Chair, Vidvan B. Krishnamurthi accompanied by Vidvans Tiruparkadal Veeraraghavan (Violin) and Guruvayur Dorai (Mridangam) rendered the following Divyanamakritis of Tyagaraja: Dinajanaavana (Bhupala); Dasarathanandana (Asaveri); Gatamoha (Sankarabharana); Bhaja Ramam (Useni); Sri Rama Sri Rama (Sahana); Haridasulu (Yaman Kalyani); Tava dasoham (Punnagavarali) ; Pahi Kalyanarama pavana (Kapi) ; Karunajaladhe Dasarathe (Nadanamakriya). Dr. Raghavan mentioned that the Tamilnadu Sangita Nataka Sangam acquired some years back the note-books of the Umayal­ puram Sishyaparampara of Tyagaraja containing a very large num­ ber of Tyagaraja’s compositions. These were examined by Sangita Kalanidhi Mudicondan Venkatarama Iyer, Prof. P. Sambamurthi and Dr. V. Raghavan and selections were made for publication and Vidvan B. Krishnamurthi was entrusted with the preparation of the press-copy of the selected songs. What B. Krishnamurthi rendered that morning were from the Divyanama kritis in Umayalpuram manuscripts. Dr. Raghavan appealed to the State Sangita Nataka Sangam to bring out early the editions of these gelected compositions of Tyagaraja from the Umayalpuram manuscripts. M. Ananthanarayanans Compositions Dr. Raghavan then referred to Sri M. Ananthanarayanan’s compositions and a volume of the same brought out by £6 tub Journal of tkB madras mLSic acadbmy [Vol. xLiii Smt. Vidya Sankar. Mr. Ananthanarayanan explained how he came to compose the Tamil Padas in which he had taken care not only to bring out the raga bhava but also to give for expo­ nents of Bharatanatya Tamil padas in madkura bhava, avoiding coarse expressions in the delineation of moods of love. He also referred to one of his Varnas which would be presented that morning, set in Ragamalika and designed to bring out the sruti- differences in the notes of the ragas. Smt. Vidya Sankar (Veena) and Smt. Rukmini (Vocal) then presented the Varna and five padas of Mr. Anantanarayanan in Saveri, Kharaharapriya, Todi, Kamavardhani and Yadukulakambhoji. Dr. Raghavan then requested the President of the Conference to release the publi­ cation giving these five padas prepared with notations by Smt. Vidya Sankar. In releasing the publication Sri Papanasam Sivan expressed his appreciation of the knowledge and discern­ ment of Sri M. Ananthanarayanan and hoped that his other compositions would also be published and taken up by musicians. Dr. E. S- Sankaranarayana Iyer’s Compositions Dr. Raghavan then referred to the late Dr. E. S. Sankara­ narayana Iyer of Kallidaikurichi, an Experts’ Committee member in the early years of the Academy and the large number of his compositions including those intended for Kathakalakshepam on national subjects like the life of Tilak. A volume of 50 compositions of his had been brought out by his daughter Mrs. Sarasvati Sankaran. He then requested the composer’s daughters Mrs. Vijayalakshmi Natarajan and Mrs. Sarasvati Sankaran to present a few select songs from the publication. Vidvan Veena Sundaram Iyer who had assisted in the preparation of the publication spoke a few words about the work of Dr. Sanakaranarayana Iyer. The following compositions were then sung: Mooladhara - Mayamalavagoula - Rupakam; Jagan- mohana - Somatarangini - A di; Dasoham - Kedaram - Rupakam ; Maname - Shanmukhapriya - Adi; Swaminatha-Todi - A di; Para- mukha - Suddhasyamala - Adi; Ramakatha - Phalamanjari - Adi; Padamule - Amrutavahini - A di; Rama Niyadaseva - Suddhasaveri- Adi. They were accompanied by Vidvans P. Ramachandriah (Violin) andM. Achuthan Nair (Mridangam). Justice K.S. Venka* taraman paid a tribute to Dr. Sankaranarayana Iyer and Pts. i - iv] THE XLVth MADRAS MUSIC CONFERENCE 31 announoed that all the copies of the publications now brought out by the composer's daughter were being presented by her to the Music Academy.

Seventy-two Melakartas Dr. Raghavan then introduced Sri S. Mukund of Bangalore, a young musicologist and composer, who had prepared a chart for the easy understanding of the 72 melakarta-scbeme. Sri Mukund then read a paper and explained his chart and its useful­ ness for identifying the suddho-madhyama and prati-madhyama mclas and the peculiarities of the svaras of each. He also answered the objection of some Hindustani musicians to the vivadi-melas. To a question from K. K. Varma of Calcutta, the speaker replied that all the 72 melaragas were handled by musicians and composers. Prof. N. S. Ramachandran speaking on the subject paid a tribute to Venkatamakhin and his system and emphasised that it had proved to be the source of infinite creative activity on the part of the Trinity and other composers of Carnatic music. He expressed his appreciation of the speaker's graphic aid to the easy understandability of the technique of the 72-mela scheme. Printed copies of the chart were distributed.

THE NINTH DAY 28th December 1971 When the Experts' Committee of the 45th Conference of the Music Academy met this morning, Sri T. S. Vasudevan and party gave a recital of the songs of Sadasiva Brahmendra, accompanied by K. B. Tulasiram (Violin) and S. Rajagopalan (Mridangam). The following songs were sung : Bhaja re Gopalam - Kalyani; Chetah Sriramam - (Mukhari) ; Khelati mama hrdaye (Athana); Khelati brahmande (Jonepuri); Tadvaj jeevatvam (Sriranjani) ; Tungatarange Gange (Kuntalavarali) ; Smara varam varam (Kapi). Rare Old Songs Dr. Raghavan then requested Vidvan Tinniyam Venkatarama Iyer to present the old Tamil soDgs which he had recovered. Vidvan Venkatarama Iyer said that he had heard the songs which he was going to present in his own village of Tinniyam when he was quite young. Tinniyam whose correct name was Tirunayam, 32 THE JOURNAL OF THE MADRAS MUSIC ACADBMY [VOL. XLIII had a temple to Meenakshi-Sundareswarar and there was in the village the tradition of both Tamil learning and music. Scholars and composers like Tinniyam Krishna Bharati and Appavu Iyer were known in the middle of last century as composers. There was a reference to the Tiruvilayadal kritis of Krishna Bharati of Tinniyam in the writings of U. V. Swaminatha Iyer on Meenakshi Sundaram Pillai and other celebrities. In Mazhavai Subbarama Iyer's Tiruvilayadal kirtanas also, the preface referred to Tinniyam Krishna Bharati’s Tiruvilayadal Kirtanas. Evidently the songs which he had heard and learnt in his boyhood belong to this composition. Then assisted by Smt. A. Marakatam, and Kumari Sundaravalli and accompanied by Sri K. Venkata- narayanan (Violin) and R. Venkatarathnam (Mridangam) Sri Venkatarama Iyer sang: Varam taruvaye on Ganesa in Afayamalava- gouJa; Iduve samayam on Goddess Ambal in Sri and then a song in Saveri, Amba Meenalochani, and lastly an anonymous piece in Sahana, Srimathurapuravasini with chittasvara. Sangita Kala- nidhi Mudicondan Sri Venkatarama Iyer expressed his apprecia­ tion of the efforts of Sri Tinniyam Venkatarama Iyer in bringing out these kirtanas. Music Note-book of Mazhavarayanendal Subbarama Bhagavatar Dr. Raghavan then requested Dr- P- C. Sitaraman of Madurai to give his talk and demonstration based on the music note-book of the late Sangita Kalanidhi Mazhavarayanendal Subbarama Bhagavathar. This note-book contained thirty Varnas of which nineteen were rare. These were composed by Patnam Subramania Iyer* Tiruvarur Subramania Iyer and others. Nine of these nineteen were in Ata, the rest in Adi. Dr. Sitaraman gave an account of these Varnas and their special features. The second section of the note-book contained the chittasvaras of seven ragas. He then referred to another part of the note-book which contained a record of 72 melas and 17S8 janya ragas with their aroha and avaroha. Dr. Sitaraman drew attention to the fact that some of the ragas were under melas different from those under which they were known now. In the last section, the note-book contained sixteen Tamil Padas composed by Mazhavai Chidam- bara Bharati, two of which had already been included in the book of compositions of Chidambara Bharati brought out for the PTS. I-IV) THH XLVth MADRAS MUSIC CONFERBNCB 3$ Academy by Dr. Sitaraman. He then rendered with the assis­ tance of Vidvan A. Sundaresan some of the compositions in the note-book, representing the special version and mode of these songs as rendered by the late Subbarama Iyer. The Chittosvaram of the Malavi kriti of Tyagaraja Nenarunchinanu was especially appreciated. At the end of his talk and demonstration Dr. Sita* raman presented the music note-book to the Music Academy, Madras and Dr. Raghavan received it and thanked him on behalf of the Academy. On the question of the large number of Janya Ragas in this note-book, Mudicondan Venkatarama Iyer pointed out that these were obviously taken by Subbarama Iyer from the Sangita Kaumudi of Tiruvaiyaru Subramania Iyer. Dr. T. S. Rama- krishnan pointed out that the largest list of Janyas were to be found in Nadamuni Panditbar’s book Sangita Svara Prastara Sagara, the number of these worked out there going to beyond two thousand. He suggested that we might collect these various lists and make an inventory of the total number of Janya ragas which had been worked out by different scholars and writers. Prof. P. Sambamurthy observed that the difference in assignment of Janyas to Melas was due to certain conventions observed by the classifiers. One convention was to label a Janya under the earliest Mela in the series under which It could be brought. Others followed the convention of putting a Janya under the last Mela under which it could be brought. Whatever the mathe­ matical position of a Janya, the assignment based on affinity of raga-chaya was the most important and aesthetically reasonable and the fact that some of the Janyas were far more ancient than the Melas should not be forgotten. Sangita Kalanidhi Semman- gudi R. Srinivasa Iyer agreeing with the last point, expressed himself against making too much of the theoretical scheme of 72 Melas and multiplying the possibility of Janya ragas. He depre­ ciated the emphasis on vivadi-svara ragas and ragas of little scope and asked how it was proper for a student who could not render a Jfilambari well, to be put to the trouble of negotiating Chandra- jyoti and what the aesthetic satisfaction in such an exercise was. Stadivarius Violin Dr. Raghavan then introduced Vidvan T. K. Narayana Iyer of Ernakulam who came from a family of seven generations of 5 34 THB JOURNAL OF THB MADRAS MUSIC ACADBMY [VOL. XLIII musicians, his father Krishna Bhagavatar having been a well known violinist. His father had obtained a Stadivarius Violin dated 1701 from S* S. Kodar (Senior) of community of white Jews of Cochin. He requested the owner and Prof. Sambamurthy to speak about the violin and Vidvan Sri T. N. Krishnan to play on the violin so that they might all listen to the tonal quality and excellence of the violin. The owner Sri T. K. Narayana Iyer gave an account of how the violin came into the possession of their family during the time of his father who had handled it for 40 years. Prof. Sambamurthy gave an account of the contri­ bution of Stadivarius to the making of violin and giving it the present shape, the superior tonal quality of the hand-made ones compared to the machine-made ones. Prof. Sambamurthy gave an account of the components of the violin, different woods of which it was made, of India having been the oldest home of bowed instruments and representations of a kind of violin in old Indian painting and sculpture.

Then accompanied by Vellore Ramabhadran on Mridangam, Sri T. N. Krishnan played on the violin and demonstrated its high tonal quality. He played for some time without utilising the mike and the audience who could very clearly listen to it expressed their approbation. To demonstrate the richness of the tone, he also played for a time on the Mandra string. Dr. Raghavan thanked the participants.

THE TENTH DAY 29th December 1971 The proceedings of the Experts’ Committee Meeting of the 43th Conference of the Music Academy began today with the re­ cital of the Tarangas of Tirtha Narayana Swamigal by Sri T.S. Vasu- devan and party. The following Tarangas were sung: Jay a Jay a Ramanatha {Nata); Matsyakoormavaraha (Bouli) ; Mangalttlaya- (Kedaragoula); Harimeede Srihari (Sankarabharana); Parama- karunaya (Sourashtra) ; Alokaye Sri (Useni); Pahi pahi (Naiha- namakriya) ; Srinilayam Sakhi {Varali) ; Veeksheharp Kada (Ahiri) ; Vijayagopala te (Surati). Sri K. B. Tulasiram (Violin) and Sri S. Rajagopalan (Mridangam) provided the accompaniment, ^T 3. M V ] THb XLVth MADRAS MUSIC CONFBRBNC6 35 G* N. B.’s Compositions There was then a presentation of the compositions of the late Sangita Kalanidhi G. N. Balasubramaniam by S. Kalyana- ram an and V. Ramachandran accompanied by Sri T. N. Krishnan on the Violin and Sri Karaikudi Mani on Mridangam. Sri T. V. Rajagopalan, Secretary, made a few introductory remarks about G. N. B. and his compositions and their publication. The following compositions of G. N. B. were rendered by the two pupils of G. N. B .: first a Varnam in Ranjani, Adi, and then the kritis: Varavallaba - Hamsadhvani - Adi; Niravadhisukha - Malaya- marutam - Rupakam; Kavalaiyellam - Sarasvati -Adi; Bhuvana- traya - Mohanam - A di; Mama Kulesvaram - Todi - Rupakam; Kamalacharane - Amritabehag - Adi. Sangita Kalanidhi Mudi- condan Venkatarama Iyer, on behalf of the Experts* Committee, made touching reference to the qualities of head and heart of the departed musician who, by his unique style, stormed the music world as it were. The compositions by one who was an expert in Pallavi and Svara-singing were different in quality from the com­ positions by others and it was in this respect that G. N. B.’s compositions were especially noteworthy. The Todi composition sung that morning was a prominent example of this.

Ramaswami Dikshitar’s Raga Tala Malika Dr. Raghavan then introduced Sri V. V. Narasimhacharya of Kakinada, one of the oldest members of the Experts* Committee and a keen research scholar, to present his Paper on the 108 Raga Tala Malika composition of Ramaswami Dikshitar of which unfortunately only about a half had come to us through the Sampradaya Pradarsini. Sri Narasimhacharya gave a detailed account ot this longest composition in Carnatic Music and its rQgas and the talas quoting their lakshanas. The speaker also traced the background of the composition and the development of the Ragamalika. Dr. T. S. Ramakrishnan who supplemented the information referred to the facts that this Raga Tala Malika was in honour of Dikshitar’s patron, Manali Venkatakrishna Mudaliar, that it depicted Sringara Rasa and that the heroine mentioned in it was Narayani. It was here that the Mayamalava- goula figured for the first time in a composition. Dr. Raghavan referred to the Sanskrit Campu composition called Sana Deva 36 THB JOURNAL OP TfiB MADRAS MUSIC ACADBMT [V oL. XLII* Vilasa which he had edited for the Adyar Library and which dealt with the city of Madras, its temples, patrons, musicians, composers, etc. of about 1800 A.D. and dealt with the Manali family and mentioned the musician-courtesan Kumbakonam Narayani who figured in this Raga Tala Malika. Violin Demonstration Dr. Raghavan then requested Vidvan Nori Nagabhushanam Pantulu of Hyderabad to give his talk on allied Ragas and demonstration on the violin. Vidvan Nori Nagabhushanam dwelt with what he oalled Mitra ragas and which bore affinity of one kind or another in name as well as in melodic content. Assisted then by his son Sri Srinivasa Sarma on the Violin and Vidvan Guruvayur Dorai on Mridangam he gave a recital on the Violin. He playtd Saveri and a Varna in that raga by Kottavasal Venkata- rama Iyer, a little known Dikshitar kriti in Senchurutti on Ganesa, Sadamatim in Gambhiraxani, Tanayuni in Bhairavi and Heccharika in Yadukulakambhoji. Vidvan Mudicondan Venkatarama Iyer thanked Vidvan Nori Nagabhushanam on behalf of the Experts’ Committee.

THE ELEVENTH DAY 30th December 1971 At to«days*s sitting of the Experts’ Committee of the Music Academy convened in connection with the 45th Conference, Sri P. Ganesa Ganapathigal rendered on * Nasa-m uraliflute played by nose, Vedic hymns, Durga Sukta, Sri Sukta and Upanishad.

Chachchatputa Pallavi Sri T. V. Gopalakrishnan, Mndangist and Vocalist, then rendered a new Pallavi prepared by him in the first of the Marga Talas, Chachchatputa. He was accompanied by Lalgudi Jayaraman on the Violin and Taojore Upendran on the Mridangam. Sri Gopalakrishnan first gave an account of the five Marga talas dealt with in the oldes work, Bharata’s Natyasastra, their Caturasra and Tlsra varieties, their three angas, laghu, guru, and pluta and the eight kriyas, four sasabda and four nis sabda, The Pallavi was set in Kharaharapriya raga on sama eduppu, the Poorvartga in the Yati Gopuchcha and Uttaranga in Yati Srotovaha and the Pada* PTS. I-IV] THB XLVth MADRAS MUSIC CONFBftENCB 3$ Garbha at the beginning of the laghu, half-avarra, and with eleven aksharas* karvai, before the Uttaranga. The words were Chandra­ sekhara Gunanidhe. Expressing his appreciation of the Pallavi, Saogita Kalanidhi Mudicondan Venkatarama Iyer observed that all these exercises of difficult Pallavis were a necessary training* but a musician reached a stage, when having done all these, he came back to the beauty and charm of Sarvalaghu. He thanked the participants on behalf of the Experts’ Committee. Suddha Maddala Dr. Raghavan then introduced Sri L. S. Rajagopalan of Cochin and the demonstration on the Suddha Maddala of Kerala. Sri Rajagopalan, he said, had contributed to the programme of the Experts' Committee at several previous Conferences and bad given them the opportunity to listen and appreciate the rich music of the drums of Kerala. In his talk, Sri Rajagopalan described the difference between Mridanga and Suddha Maddala, the manufac­ turing of the Suddha Maddala, its different parts, its tuning and playing and its role in the temple as well as in the folk-arts and Kathakali. He then explained the different lessons on the Suddha Maddala and the distinguished artiste, Sri Appu Kutty Puduval, demonstrated on the Suddha Maddala. The demon­ stration covered the five stages of the beginning lessons, laya- vinyasa in Chempata Tala, portions of Pancha Vadya with Vinyasam and Kalasam. In the last item, he was assisted by Annamanada Paramesvara Marar. There was then a fine display by Sri Sankaran Nambudri of a scene of a garden and its beautiful sounds and sights, the ladies sporting there and playing on different instruments and Sri Appukutty Puduval demonstrated how. the Suddha Maddala provided accompaniment to this lasya- dance. The demonstration concluded with a tani-avartanam on Suddha Maddala. Thanking the participants, Dr. Raghavan complimented Sri Nambudri on his abhinaya and also the wonderful way in which the Suddha Maddala of Appu Kutty Puduval produced the delicate effects of the humming and singing of the bees and birds, the gat is of different birds and the ball- play of the ladies. Some Little-sung Kritis Dr. Raghavan then requested Smt. Gomathi Visvanathan of the Music Department of the University of Delhi to give her Jfc THE JOURNAL OF THE MADRAS MUSld ACADEMY [V oL . XLlll talk and recital of unfamiliar kritis in familiar and unfamiliar ragas. After a brief talk, Sint. Gomathi Visvanathan, accom­ panied by Sri Narasimhamurti (Violin) aud her son Srfram (Mridangam), rendered the following kritis: Naayeda - Nabhomani (Tyagaraja); Elara Sri Krishna - Kambhoji (Tyagaraja); Siggu- mali - Kedaragoula (Tyagaraja); Rama Rama kali - Ramakali (Muthuswami Dikshitar); Ninnuneranammitira - Bilahari (Mysore Sadasiva Rao) ; and Ennadu ni - Vachaspatl (Pattanam Subra- mania Iyer). On behalf of the Experts' Committee, Sri Mudi- condan Venkatarama Iyer, expressed appreciation of the talk and demonstration of Smt. Gomati Visvanathan. THE TWELFTH DAY 31st December 1971 At the meeting of the Experts’ Committee of the 45th Con­ ference of the Music Academy held this morning with the President Sri Papanasam Sivan in the Chair, theie was first a recital of the songs of Bhadrachala Ramadas by Mrs. Sushila Achutharaman and Mrs. Kalpakam Balasubramaniam accom­ panied by Vidvans H. K. Narasimhamurthy (Violin) and Coimbatore Srinivasa Iyer (Mridangam). The following songs were rendered : Oh Rama ni Namame ruehira (Purvi Kalyani) ; Oh Raghuvira (Madhyamavati) ; Rama Rara (Kamas); Rama namame jeevanam (Anandabhairavi); Etiruga - Punnagavarali and the Mangala sloka, Ramachandraya (Surati). Muthiah Bhagavathar’s Compositions Dr. Raghavan then mentioned that with the aid of Tamil Nadu State Sangita Nataka Sangam, a project was taken up for bringing out an edition of all the compositions of late Sangita Kalanidhi Dr. L. Muthiah Bhagavatar. The composer's son Sri M. H. Vaidyalingam had been entrusted with the work of writing them in notation. Two volumes of his compositions were released in the previous Conferences of the Academy and the third Volume was to be released now. This Volume contained 114 compositions of different forms, Tana Varnas, Pada Varnas, Darus, Ragamalikas, Tillanas, and Kritis in Tamil, Telugu, Sanskrit and Kannada. He then requested the President Sri Papanasam Sivan to release the Volume. After doing so, the President paid a tribute to the personality, erudition and versatile Pts. i-iv] THE XLVth MADRAS MUSIC CONFBRBNCB 39 attainments of the late Mnthiah Bhagavatar and in token of release, presented copies to the editor, to the Secretary of Tamil Nadu State Sangita Nataka Sangam and to the members of the Experts* Committee present. More New Compositions Dr. Raghavan then referred to Sri N. S. Ramachandran, formerly of All India Radio and later head of Music Department of the Delhi University, a member of the Experts* Committee of the Academy and son of the late Nemam Nataraja Bhagavatar, a direct disciple of Maha Vaidyanatha Iyer. Sri Ramachandran who has been composing a variety of Sahityas in Sanskrit and Tamil, had now brought out one Volume of his compositions and he requested the President of the Conference Sri Papanasam Sivan to release the Volume. In doing so, the President referred to the music parampara of the composer. He presented a copy to the composer as token of the [release. Srimatis Akhila Krishnan#and Lalitha Nagarajan both from Delhi, accompanied by Vidvans G. Rammohan Rao on Violin and Vidvans T. P. Sub- ramanian and Chidambaram Nataraja Iyer on Mridangam, then recited select songs from the Volume released. Prof. Sambamurthy, expressing his appreciation of the work of Prof. Ramachandran, referred to his family music note-books preserved by his elder brother Nemam Sundaram which contained interesting data. For example, the Tyagaraja Kriti Ne pogada gunte was noted as in Raga Janavali. Sri N. S. Ramachandran then thanked the Academy and the Experts* Committee for offering the opportunity to have his songs released and recited at the Conference. Moorchana System Sri K. K. Varma of Calcutta, deputed by the Central Sangeet Natak Akademi as a delegate to the Conference, gave an instruc­ tive lecture with the aid of a number of charts and tape- recordings, of the Moorchana System of Indian Music. He called his project ‘Musicometry*, a graphical presentation by Equiangular Spiral of the octave structure of the melodic system, embodying the melodic points, the srutis in the pitch-series, the relation of the rational numbers which were 43 according to his musicometrical calculations. He then explained how the modes 46 THB JOURNAL OF THB MADRAS MUSIC ACADEMY [VOL. XLIII (ragas) were generated from this system. The modes were to be not only mathematical compositions but also melodically interes­ ting and enjoyable. According to his system there could be only two primary Gramas from which four derivative ones could be got. Moorchana was a composition of svaras obtained by shifting of the tonic note from one svara to another and yielded seven different modes. Eleven such Moorchana chakras could be made* seven basic and four obtained in reverse order, all of which could generate melodic modes which might be called the Janakas or melakartas or Thatas of his system. From these, of course, a large number of Janya ragas could be formed.

In Calcutta they had an organisation called Sarjana, which in association with the Central Sangeet Natak Akademi and the help of musicians like Jnan Prakash Ghosh, was working on this project; they had devised two new ragas as a result of their work. Recordings of these two ragas played on Sitar by Kum. Kalyani Roy, called respectively Sooryamukhi taking ^Sa, <7, G, M, D, D and N and Hemanalini taking S, Rt R, M, M - P and N, were played by the speaker. He said that the scheme could be extended, as Venkatamakhin theoritically did his Melakarta- scheme, taking notes involving dissonent notes too, if they liked. To a question from Dr. Raghavan about the aim of the project and the problem which they intended to solve thereby, Sri Varma replied that firstly they were out to explain the scientific and mathematical aspects of ancient Indian music and secondly, they could recover the method by which the ancients developed the ragas and also some of the modes that had gone out of vogue. Prof. P. Sambamurthy said that the detailed account of the scheme and the project and their findings should be circulated, and the whole thing discussed in greater detail. He compli­ mented the speaker and his associates on undertaking this project. Dr. Raghavan asked the speaker to explain whether according to him Moorchana and Jati were synonymous and how he explained the statement in ancient texts that the Moorchanas were 21 and he took them according to his scheme as being only 11 in number. This and other related questions were discussed by the speaker in further detail at a special meeting at the Academy premises on the 3rd January 1972 at 8 a.m. Some of the members interested attended. PTS. I-IV] THE XLVtb MADRAS MUSIC COtfFfiRBNCfc Prof. Saipbamurthy thanked Sri Varma on behalf of the Academy. THE THIRTEENTH DAY 1st January 1972 The Experts' Committee of the 45th Conference of the Music Academy, Madras, held under the Presidentship of Sri Papanasam Sivan began today with a Nagaswarara recital by Madoori Chinnabalaiah accompanied by Sri H. K. Narasimha- murthy on Violin and T. P. Subrahmanyam on the Mridangam. The Members' Day for the Academy was held with a reception to the President of the Conference. Hindustani Gayaki Dr. Raghavan then introduced Mr. Yunus Hussain Khan, who was the son of Vilayat Hussain Khan and taught Hindustani Music in Delhi University, to give his talk and demonstration of ' Gayaki' i. e. Raga-development, in Hindustani. Mr. Yunus Hussain Khan observed that 'Gayaki* had a special significance in Hindustani music. It was the most important characteristic of classical music. There were various styles of Gayaki. Each master had his own way of interpreting it in an immaculate way. It could be realised more in actual singing than by describing it. 'Gayaki* was the combination of different elements (angs) and presentation (rang) in a special way by an artist. It had three stages, viz. Vilambit, Madhya and drut and also various colours, Maza-meenr, Laag-daant, Lare-bandi, Amador Upaj% Taan-Bandhan and Laya-Kari (rhythm). There were various rules of raga vistara in Gayaki. First, from the scale of a raga we have to choose the phrases which help to determine the vaditva, anuvaditva and samvaditva, so that the picture of the raga was not spoilt. Secondly, it was very important to follow the spirit of the raga in relation to rasa. Each raga had its own rasa and one had to follow the rules. The Angas of 'Gayaki' were *Kan\ Murki, Gitkari, Zamzama, Layhak, Gamaka, Chhut and Hikka, Fan da, Dhoran, Sarak and Murak, Meend, Sunt and Alankar. For example, in Kirana Gharana and Gayaki, Sarak, Murakf Meend ayhak were used. Gwalior Gharana was sung with full-throated voice, Gamak, Layhak, Chhuki and lak-dant. Patiala Gharana had murkls, and difficult, fast zig-zag-pattern tanas. Every Gharana was beautiful in its own way. Accompanied by vidvans Parur M. S. $ thb journal of th* madras MUSIC acadimy [Vol. XItin

Aoantharaman (Violin) and Ramdev Jadav (Tabla), he then sang the vilambit and drut Khayals in Natabhairav, Tarana in Todi, teen tal (16) beats; Lankadahan Sarang in Japtal (ten beats) and a Tumri in Bhairavi. Sangita Kalanidhi Mudicondan Venkatarama Iyer expressed his appreciation of the exposition of Mr. Ynnus Hussain Khan and thanked him on behalf of the Experts* Committee. Dr. Raghavan Shashtyabdapnrti Endowment Lecture by Pandit Ran Shankar Sri T. V. Rajagopalan, Secretary, then requested Pt. Ravi Shankar to deliver the fourth Lecture-Demonstration under the Dr. V. Raghavan Sbashtyabdapurti Endowment, Pandit Ravi Shanker, accompanied by Alla Rakha, gave a lecture-demonstra­ tion on the history and technique of Sitar music, particularly the evolution of the instrument and its style of playing, how he himself developed his own characteristic style by adopting on it elements of other instruments like Surbahar which he had earlier handled for a number of years. He spoke also on the history of the accompaniments, the Pakhawaj and the Tabla. He regretted the decline of instruments like Bin and Pakhawaj and suggested that the Academy invite exponents of such rare instruments also. He then demonstrated the different aspects of Sitar-playing. He dwelt also on the response to Indian music in the West. He said that both taste for and knowledge of Indian music had developed in recent years and although a few vocalists and instrumentalists in the West were now able to render Indian music, be thought it would take some more time for them to attain proficiency in Indian instrumental music. He emphasised that there was a special attitude towards the cultivation of Indian music which was based on tradition, devotion to Guru and Vhutyb os modesty, qualities which were not quite evident these days among youngsters in India or abroad. But he believed that Indian music had a great future. Sri T. V. Rajagopalan thanked Pt. Ravi Shanker for his instructive Ucture-demonstration.

Nilakanthadasar’s Compositions Dr. Raghavan then introduced Smt. Rajalakshmi Padma- nabhan who had contacts with some of the descendants of Nila- PW, I-IV] Th H XLVth MADRAS MUSIC CONFERBNCfe 43 kantha Sivan of Trivandrum and bid collected some of his rare compositions. It was appropriate that in the Conference presided over by Sri Papanasam Sivan,-a programme had been scheduled dealing with the life and work of one who had exerted influence on Sri Papanasam Sivan in his early years. Snot. Rajalakshmi Padmanabhan then gave an account of the life of Nilakanthadasar and his voluminous output of songs including several continuous song-poems on Puranic stories and religious and philosophical themes One of these continuous song-poems of his was the Lalito- pakhyana. The speaker gave an accont of this Puranic composi­ tion and sang a large number of pieces from them including Lali, Nalangu and Kummi from the marriage-part of this composi­ tion. The exposition was greatly appreciated. Dr. Raghavan, thanking her for the talk and recital, hoped that the descendants and others associated with the family of Nilakanthadasar would put forth their efforts to publish these songs with notation in several volumes. THE FOURTEENTH DAY 2nd January 1972 The fortnight-long 45th Conference of the Music Academy, Madras, had its last meeting today. Vidvan Papanasam Sivan, the President of the Conference, was in the chair. New Compositions Dr. Raghavan introduced Smt. Kalyani Varadarajan of A. I. R., Bombay as a versatile artist, who had also composed about three hundred songs of her own. Then, accompanied by Kanchi Janardanam (Violin) and B. Govindarajan (Mridangam), Mrs. Kalyani Varadarajan rendered select songs of hers. Old Compositions Dr. Raghavan then introduced Smt. Vasantha Ragbavender and her programme of old compositions on the theme of Dasava- tara. Smt. Vasantha Raghavender spoke briefly on the theme of the 10 incarnations of Vishnu as a recurring theme in music from the time of Gita Govinda of Jayadeva, and then assisted by the same accompanists, she sang the opening ashtapadi of Jayadeva in ragamalika, Baraiya Venkatnramana in Saveri by Purandaradasa, Dinajanavana in Bhupala of Tyagaraja and Kamalajasya of Svati Tirunal. 44 *HB JOURNAL OF THB MADRAS MUSIC ACADBMY [VOL. XLIJI Gotta Vadyam Requesting Sangita Kalanidhi Budalur Krisbnamurthl Sastrigal to give his recital, Dr. Raghayan observed that this rare instrument deserved greater vogue and appealed to students to take to this instrument. Assisted by Smt. Kalpakam Swaminathan on the Veena, Sangita Kalanidhi Krishnamurthi Sastrigal gave a recital on the Gottu Vadyam and rendered, with raga alapana, Sadachalesvaram in Bhupalam and Suryamurte in Sourashtram, both of Dikshitar, one Garbhapuri-soDg, Nannu Karuninchi in Sankara- bharanam, and two compositions of the Conference President, Kartikeya in Todi and Unnai tudikka in Kuntalavarali. Thanking Sri Sastrigal, the President of the Conference paid a tribute to his knowledge and mastery of the Gottu Vadyam and appealed for greater importance being given to Gottu Vadyam, of which there had been masters in the past like Tiruvidaimarudur Sakharama Rao. More Papers Dr. Raghavan then mentioned that the following papers had been contributed to the 45th Conference by musicians and scholars who were not able to be present in person at the session: Vidvan Sri Chennakesavaiah, Bangalore, on 'Dhanyasi Raga*; Swami Prajnanananda, Calcutta, on ( the Changing phase of music' and Mrs. Dr. Nijenhuis, Utrecht University, Netherlands on the 'Continuity of the Raga tradition in Indian Music*. These will be published in the Academy’s Journal as part of the proceedings of the present Conference. Academy’s Publication Dr. Raghavan then announced the publication of the Second Edition of the book 'Rare Compositions’ brought out for the Music Academy by Sangita Kalanidhi Mudicondan Venkatarama Iyer and B. Krishnamurthi from out of the music note-books of the late Ramanathapuram Srinivasa Iyengar. At his request, the President Sri Papanasam Sivan released the Volume. Dr. Raghavan then announced the publication of the 41st Volume of the Academy’s Journal which carried a decennial Index. Condolences Dr. Raghavan placed before the meeting a resolution of condolence touching the demise of Sangita Kalanidhis T. L. PTS. I-IV) THB XLVth MADRAS MUSIC CONFBRBNCB 45 Veokatarama Iyer, Sri T. K. Jayarama Iyer and Kumbhakonam Rajamanickam Pillai, Vidwan Keevalur Meenakshisundaram Pillai, Konnakkol Vellore Gopalacbariar, Gbatam Vilvadri Iyer, Mridangam Tiruvarur Kunju Iyer and Krovi Satyanarayana Sastri. The meeting stood in silence for a minute in honour of the departed musicians and scholars. Conclusion Dr. Raghavan referred to the various subjects and features scheduled for the 45th Conference and successfully carried out* He mentioned particularly how every day the programme included the presentation of compositions both old and new. He then requested the President to make his concluding observations. Vidvan Papanasam Sivan referred to the importance of the Conference in the mornings and thanked the Music Academy and members of the Experts' Committee meeting for making if fruitful and successful. He said that if one looked at the list o* the 44 Presidents of the past Conferences, one was struek by the brilliance of the galaxy of musicians and scholars and by the great tradition that the Conference had built up. He prayed that the Music Academy grew further and stood for all time as the great institution for music that it was. Vote of Thanks Dr. Raghavan then expressed the thanks of the Academy to Vidvan Papanasam Sivan for accepting the Presidentship of the Conference, to Governor Sri K. K. Shah for inaugurating the Conference, to the Central Sangeet Natak Akademi for their continued financial assistance to the diverse activities of the Academy, to all Vidvans and Vidushis who participated in the Experts' Committee work, in judging the Compositions and the junior and sub-junior concerts, the Hindustani vidvans, like Pt. Ravi Shankar who enriched the Conference with their perfor­ mances and lectures, to the University of Delhi which sent several delegates, to the donors of the prizes and members of the public who patronised the Academy, to the Press and Public, to the Union Govt, and the Govt, of Tamil Nadu, and to the Corpo­ ration of Madras. He referred also to Sri T. S. Rajam, the new President of the Academy and Treasurer and other members of the Executive and all those who had contributed to the success of the 45th Conference. 46 THE JOURNAL OF THB MADRAS MUSIC ACADBMY [VOL. XLIII The Conference then came to an end with Members of the Experts* Committee and Vidvans and Vidushis taking a group* photo with the President of the Conference. The Sadas The Sadas (Convocation) of the Conference was held in the auditorium of the Academy on Sunday the 2nd January 1972 at 4 p. m. with Smt. Rukmini Devi in the Chair. The proceedings began with invocation song sung by Vidwan Sri K. V. Narayanaswami. Sri S. Natarajan, Secretary, Music Academy, read the form convoking the Sadas. Sri R. Ranganathan, Secretary, Music Academy, read the following additional messages received for the success of the 45th Conference and the Sadas of the Academy: The Hon'ble Union Ministers for Railways, Industrial Development and Agriculture had sent messages. Hon*ble Sri A. P. Dharmalingam and Sri M. Kannappan, Ministers of the Govt, of Tamil Nadu had sent their good wishes and their tribute to the Conference President and the Academy, Sri K. Kamaraj had sent his good wishes. The Director-General of the All India Radio and the Secretary to the Indian National Commission for Co-operation with UNESCO, Govt, of India, had sent their best wishes. The Bharatiya Music Society had sent its greetings. The following musicians and institutions in foreign countries had sent their greetings: Dr. Richard Saylor, Chairman, Music Dept. California State College, San Bernardino; John C. Cooper, New York $ Petre Bodeut, distinguished Dance Master of Rumania and the International Institute for Music, Dance and Theatre, Vienna. Sri T. S. Rajam, President of the Academy, then welcomed the Sadasyas. Sri Rajam took the occasion to pay a tribute to Smt. Rukmini Devi, for her services to art and referred also to the association of the President of the Conference, Sri Papa- nasam Sivan, with her in the Kalakshetra. He then announced that the Academy was making a contribution of Rs. 15000/- for the National Defence Fund out of the net proceeds of the 45th Conference. He also announced that, out of a spontaneous PtS. MV] THE XLVth MADRAS MUSIC CONFERENCE 47 desire, the musicians who participated in the 45th Conference had made a separate contribution to the National Defence Fund of Rs. 1920 which, on their behalf, Sri K. V. Narayanaswami presented. Sri Rajam also mentioned that the Academy proposed to build up a fund for assisting indigent deserving musicians wbo had done services to the cause of music. He then requested Smt. Rukmini Devi to preside and confer the title Sangita Kala- nidhi on the President of the Conference and make other awards. Sangita Kalanidhi Sri Mudicondan C. Venkatarama Iyer then presented Vidwan Papanasam Sivan for the conferment of the title of Sangita Kalanidhi and read the following citation: Vidvan Papanasam Sivan Citation Born in 1890 at Polaham, Tanjore Dt., as the second son of Ramamrita Iyer and Yogambal; studied Sanskrit and yyakarana

at Trivandrum and there came under the influence of the Bhakta• gosthi of Nilakantha Dasar; later had his Bhaki and Bhajarta 48 THB JOURNAL OP THfe MADRAS MUSIC ACADEMY [VoL. XLlll tradition strengthened by staying at the Sadguruswami Math at Marudanallur; had his early music lessons from Noorani Maha- deva Bhagavatar and Samba Bhagavatar; later was associated with the renowned vocalist Konerirajapuram Vaidyanatha Iyer, whose high style he imbibed; starting with his first song on God Tyagaraja at Tiruvarur, became devoted to composing songs on Deities at different shrines which he visited and where he per­ formed Bhajanas at the annual festivals and duriilg Dhanur-masa; composed and performed Harikathas and also songs for dramas and acted in them ; in the early thirties, began composing songs for films, thereby serving Tamil film-music to maintain the Carnatic music standard; has so far composed songs for 130 Tamil films; has to his credit over 2500 songs in 75 ragaa; has received several honours including a title from H. H. Sri Sankaracharya of Kanchi Kamakctl Peetha, the certificate of Merit of the Music Academy, Madras and the Fellowship of the Sangeet Natak Akademi; leading contemporary composer whose songs are sung by all musicians. The President of the Sadas, then, read the form and conferred the Birudu of Sangita Kalanidhi and in token of the same presented to him, the Diploma and Insignia. He was also garlanded. Certificates of Merit The Academy then bestowed Certificates of Merit on the following musicians and Members of the Experts* Committee for their services to the cause of music and their co-operation in the woik of Academy. Sri T. V. Rajagopalan, Secretary, pre­ sented Vidvan Sri Nori Nagabhushanam of Hyderabad. Vidvan Sri Nori Nagabhushanam Born at Nandur, Guntur District, Andhra Pradesh, in 1905 in a family of musicians, his father Viswanatha Sastry having been a reputed Vocalist and Violinist; started learning music at the age of 5 and began giving concerts from the age of 10; studied for some time with Sri Hari Nagabhushanam of Masuli- patnam; studied Sanskrit and Sahitya, did Veda-adhyayanam and learnt also English; worked as a teacher in the District Board High Schools; performed all over Andhra and PTS. M v] THB XLvth MADRAS MUSIC C0NFER1NCB 49

received several honours and titles; conducted Sri Tyagaraja festival for 13 years at Bapatla since 1940; invited to Hyderabad in 1952 to head the Govern­ ment Music College, Secunderabad till 1962; has been Member, Experts' Committee of the Andhra Pradesh Sangeeta Nataka Akademi and the Music Academy, Madras; has composed some Varnas and Swarajatis; now editing some works on Music for Andhra Pradesh Sangeeta Natak Akademi. Sri- R. Eswaran, Member, Executive Committee of the Academy, then presented Vidwan Sri A. Sundaram Iyer. Vidwan A- Sundaram Iyer Born on 17th October 1913 as fifth son of Sri R. Anantba- rama Iyer at Kallidaikurichi, brother-in-law of the late Sangeeta Kalanidhi Sri Vedanta Bhagavatar ; belongs to the Sishya-parampara of Sri Muthuswami Dikshitar, having learnt Vina and Vocal music with Dikshi- tar’s descendent Sri Ambi Dikshitar of Ettayapuram ; had his first lessons from his elder brother A. Ananta- krishna Iyer; as desired by his Guru and with the blessings of H. H. Sri Sankaracbarya of Kanchi Kamakoti Peetha, took up the propagation of the compositions of Sri Muthu- swamy Dikshitar by pub- 7 50 THB JOURNAL OF THB MADRAS MUSIC ACADEMY [VOL. XL!l! lishing them with svaras In a series of books of which 15 Volumes have so far been brought out; wrote also music text books in Tamil, in accordance with the Government Syllabus for Lower and Higher Grade Technical Examinations in Indian Music, and other books like * Sangeeta Pracheena Paddhati *; from 1933 onwards, has been conducting the ‘ Karnataka Vainika Gana Vidyalaya* originally started by Sri Ambi Dikshitar and has been conducting also postal tuition in Carnatic Music for the benefit of Tamil music-lovers and students in Malaya; has been asso­ ciated with Music Academy for three decades editing rare kritis of Sri Muthuswami Dikshitar in the Academy’s Journal. Sri T. V. Rajagopalan, Secretary, read the citation for Vidvan Kunju Iyer of Tiruvarur who unfortunately passed away on the eve of the Sadas. Vidvan Tiruvarur Kunju (Rajagopala) Iyer Born at Kurumbal near Tiruvarur in 1900 as son of Swami- natha Iyer, a vaidika brahmin; started first as a Ghatam accompanist, having undergone training in this under Talaijnayar Gopala Iyer and Kodimangalam Narayanaswami Iyer and learnt Mridangam under Tiruvarur Kuppanna Rao ; was associated with Violin Etlur Swaminatha Iyer and Simizhi Sundaram Iyer of Tiruvarur, Karamurali Natesa Iyer, Ghatam Sundaramier and leading vocalists and laya vidvans of the time; worked for some time as a Mridangam teacher in the Kalakshetra; has taught a number of Mridangam pupils including his son Tiruvarur Nagarajan, well known Mridangam and Kanjira artiste; in bis last days had been teaching Mridangam in the Music Trinity Sabha, Tiruvarur; expired on 27-12-71 while he was playing on Mridangam in the Radha Kalyanam Festival, at the time of deeparadhana to Lord Krishna. The President of the Sadas bestowed the Certificates of Merit 09 the above musicians, Pis. I-Ivj THE XLVth MADRAS MUSIC COfcttEfeBNCE M Felicitations were then offered to the recipients of awards by Sangita Kalanidhi Sri Semmangudi Srinivasa Iyer, Vidwan Tiruvizhimizhalai Kalyanasundaram Pillai, Prof. Robert Simon of U.S. and Sri K. Chandrasekharan. The recipients of the awards then acknowledged the honour done to them. Competitions Sri P. S. Ramacbandran, Member of the Executive Committee, then introduced the winners of Medals and Prizes in the various competitions held during the 45th Conference and requested the President of the Sadas to give the Medals and Prizes to the successful candidates (see list below). Special Awards Dr. V. Raghavan, Secretary, then introduced the winners of the special awards for their meritorious performances in the afternoon series for the encouragement of rising talent. The President then made the awards to the prize-winning musicians (see list below). Teachers’ College Dr. V. Raghavan, Correspondent of the Teachers’ College of Music, then presented the successful students of the Teachers* College of Music conducted by the Academy, who had passed out in the Diploma Examination of the Teachers' Training Certificate held by the Government and requested the President to give them the diplomas. The President gave away the diplomas. President’s Speech The President of the Sadas, Smt. Rukmini Devi, in her speech, paid a tribute to the attainments and the services of the eminent composer who presided over the 45th Conference and expressed her satisfaction at the honour done to him. She said that if the Kalakshetra had a name, it was because of the seeds sown by Sri Sivan. She complimented the other winners of awards and referred to the excellent work the Academy was doing in various ways. Sri V. K. Ramaswamy Mudaliar, Member of the Trust Board of the Music Academy, then proposed a Vote of thanks to the President of the Sadas, to the various musicians, judges and others who had contributed to the success of the competi* tlons and to the donors for the awards of prizes and medals. COMPETITIONS AND C0NCERTS-PR1ZES, 1971-72

COMPETITIONS DONORS WINNERS the

Vocal Music, Ladies T. R. Venkatarama Sastri Prize - Awarded by 1 Prize - Radha Warmer J Sri T. V. Rajagopalan 11 Prize - N. Vasumathi ournal III Prize - N. Padmavathy

Veena Dhanam Memorial Prize - Endowed by I Prize - R. S. Jayalakshmi of Sri M. Sudarsanam Iyengar II Prize • Subbalakshmi

Subramanyam thb

Modern Compositions L. Muthiah Bhagavatar Memorial Prize I Prize - Meera Partha- madras sarathy

Tamil Songs The * Amarar Kalki * Tambura Prize - Endowed by I Prize - K. Shanthi Sri T. Sadasivam II Prize - Radha Warrier music III Prize - N. Padmavathi

Maharajah Swati Tirunal Murthi Memorial Prize - Endowed by I Prize - N. Padmavathi academy Compositions The R. K. Murthi Memorial Committee II Prize - N. Gomathi Purandaradas Padas Endowed by V. S. S. K. Tobacconist, Jaffna I Prize - Ramamani II Prize • K. Shanthi [V Spl. Prize • Mrs. Kamala Krishnakumar ol . Pallavl Singing Dr. Sankaranarayana Iyer Memorial Prize - I Prize - Sarada Gopalan xliii Endowed by Dr. S. S. Krishnan II Prize - Ramani T. -V THH XLVth MADRAS MUSIC CONFERBNCB PTS. I-IV) COMPETITIONS DONORS WINNERS

Dlvya Prabandham and Sri Vijayaraghavalu Naidu Memorial Tiruppavai Prize- I Prize - Meera Partha- Tevaram Awarded by Vijayaraghavalu Memorial and Religious sarathi and Charitable Trust, Edamanai, Sirkali, C/o II Prize - B. Prema V. Ramachandran, Bheemanna Mudali Street, Madras Sanskrit Compositions Dr. V. Raghavan Prize - I Prize - S. Jayanti Awarded by Smt. Priyamvada Sankar II Prize - Radha Warrier Special Awards to Junior K. R. Sundaram Iyer Shashtyabdapurti Prize - Sri V. Ramachandran Musicians Tambura for the Best Sub-Senior musician-Awarded by Sri K. R. Sundaram Iyer Shastyabdapurti Trust Dr. Johanna Spector’s Endowment for Violin in Sri K. Venkatachalam Memory of her brother violinist Naum Lichtenberg for the best Sub-Senior Violinist Dr. Henry Cowell’s Prize - Endowment for the best Sri V. Gopalakrishnan Sub-Senior Mridangist Sri T. V. Subba Rao Prize for the best Junior Musician Kumari Charumathi awarded by the Executive Committee of the Music Academy, Madras Semmangudi Narayanaswami Iyer Memorial Prize for Sri Bangalore Seshagiri the best Junior Violinist - Awarded by Sri Rao V. Panchapakes&n U tr COMPETITIONS DONORS WINNERS th

V. R. Sambasiva Iyer Memorial Prize for the best Kumari Sita BJ Junior Vocalist - Awarded by Sri S. Natarajan ournal Veenai Shanmukavadivu Memorial Prize for a deserving Kumari Rajeswari young Veena Player-Endowed by Smt. M.S.S. Ladies Padmanabhan

Felicitation Committee 6 f

Sangita Kalanidhi G. N. Balasubramanyam Memorial I Prize - B. Govindarajan thb Prize for Vocal - gents M

Smt. D. K. Pattammal Prize for a deserving young Lady Kumari R. Vedavalli adras Vocalist - Endowed by D. K. P. Ladies Felicitation

Committee music Kasturi Ranga Ayyangar Memorial Award - Donated Special award to Neyya-

by the “Hindu” tankarai Vasudevan acauemy Teachers* College Raja Sir Annamalai Chettiar Prize for the best Student S. Balasaraswaty in Practical and R. N. Sarma Prize for Theory tVoL. SAMGITAGANGADHARA OF KALALE NANJARAJA Sri B. V. K. Sastry, Bangalore

Last year I bad the privilege of presenting selections from a Geyaprabandha * Gitagopala * of one of the illustrious rulers of Mysore, Chickadevaraja. This year I am happy to present a similar work but composed in Sanskrit. Whereas ‘ the Gitagopala ’ was in praise of Krishna, the work which is presented now is in praise of $iva and was composed by another prince of Mysore, Kalale Nanjaraja who lived in the 18th century. Some of the students of history who are here may be familiar with his name because NaHjaraja was also involved in the wars of Karnatic. The work that is being presented now testifies to his deep devotion to S'iva. I am presenting only four songs and that too, parts of them because they are all Ashtapadls and are in the same metre and keep the same pace and may become mono­ tonous if presented In their entirety. Secondly this will occupy too much time. Nanjaraja or Nanjarajayya as he was familiarly known, hailed from the powerful Kalale family of princes, an illustrious line of warriors, statesmen, poets and patrons of art and literature. His father Veerarajayya was the commander-in- chief under Ka^thiravaraja of Mysore and was a man of letters. Notable among his works are * Vaidya Samhita Sarargava* and he also wrote Mahabharatam in Telugu. Nanjaraja and his brother De^arajayya held important posts under successive rulers and became the most powerful figures in the history of Mysore during the 18th century. The brothers were deemed as king­ makers. While Devarajayya as the commander-in-chief controlled the army, Nanjarajayya as the Sarvadhikarin controlled all administration. In fact the brothers deposed and exciled one ruler for showing signs of independence. And when Nanjarajayya tried to repeat it with another ruler Immadi Krishna Raja Wodeyar who happened to be his son-in-law, he met his Waterloo. One of his proteges, a corporal named Hyder Ali, joined hands with the ruler and it was the Sarvadhikarin who was dismissed. But Nanjarajayya was confined to Mysore city and allowed to pursue 56 THB JOURNAL OF THB MADRAS MUSIC ACADBMY [VOL. XLIII his literary interests and patronage of scholars and artistes. Nanja- rfija was also called Karachoori Nanjarajayya meaning * a person with a dagger in hand ’ in one sense and ‘ of a peremptory temperament * in another sense. This rose perhaps due to his ruthless administration despite his fondness for literature and arts. Nanjaraja himself was an author and has more than 20 works written in Samskrit, Kannada and Telugu to his credit. Some of his well known works in Kannada are : 1. KakudgirjmShatmya 2. KaSimahimarthadarpana 3. Kagl Khanda 4. Garalapuri Mahimadarda 5. Bhaktavilasa Darpaoa 6. Siva Geeta 7. S'ivadharmottara 8. S'ivabhaktimahatmya 9. Saivadharma 10. H&lasyamahatmya 11. Harivam£a 12. Haradattacarya-mahatmya In Telugu he was written: 1. Halasyamahatmya 2. Kalimahimarthadarpaoa And in Samskrit, the Samgltagangadhara, the work which is being presented to day. One of the poets patronised by him, Nrisimha Kavi, describes Nanjaraja through the words of the Sutradhara in bis drama * Candrakala-parinaya ’ as follows: Tatkavi-samaksameva kptinayakena Kalalekula-cirantanasukrtaparipakena svakapola-kalpita- Sangita-Gangadharadyanekaprabandhabhinaya- dargana-janitakoutukena karoatakabhasaviracita- Halasya-mahatmya-Sivabhaktavilasadi-bahu- prabandha-samudayena sakalavidvajjana-bhaga- dheyena nutaoa-bhojarajena nanjarajena sabahumana- hutaty samadi§to’smiti...... His munificence is evident in the numerous works in Kannada and Samskrit written under his patronage. The same Nrisimha Kavi £T3. I-IV] SAMGITAGANGADHARA OF NAHiARAU & from whose drama I have quoted above, also wrote an Alamkftra work entitled * NanjarajayaSobhu§ana * on the lines of the * PratiparudrayaSobhusana ’ of Vidysnatha. Another author Ramanujacharya wrote a work Atharvafikhavilasa. Many poets like Nooronda, Venkatesa etc. wrote works in Kannada at his instance. The Geyaprabandha * Samgitagangadhara * of Nanjarija commences with the following verse : SrI-Sailajacarana-sarasa-sikta-cittah Srika^thapada-sarasiruha-cancarikah Sri Viraraja-nrpa£ekhara-satkumarah S'rl-Nanjarajasukavifr kurute prabandham

‘ Contemplating on the moist lotus-like feet of the daughter of the mountain, that is Girija, and like a bee hovering around the lotus-like feet of the one holding poison in throat, that is Srikantha, the poet Nanjaraja, the noble son of Viraraja, the distinguished among kings, has composed this prabandha.' This verse immediately recalls the opening verse, 4 Vagdevata-carita-citrita-cittasadma* etc. of Jayadeva in the Gita Govinda by the striking similarity. It is not surprising either because Samgitagangadhara which has been aptly called Sivagtapadi in the manuscript, is indeed influenced by Gita Govinda. It is an imitation though not a carbon copy of Gita Govinda because there are slight variations to suit the theme.

While the Gita Govinda describes the romance of Sri Krishna and Radha, the central characters of Gitagangidhara are Siva and Gouri. The very choice of Siva as the hero of a highly romantic theme may be amusing and even look absurd. While we have taken it for granted that Krishna is the emobodiment of all that is exciting and ennobling in Sringara rasa, it is very hard to reconcile a fierce-looking person smeared with ashes, decorated with bones and serpents and covering himself with the hide of an elephant like Siva with any romantic sentiments, let alone that degree of intensity detailed in Gita Govinda. She must have been extraordinarily beautiful to evoke a tender mood of love and romance in a person like Siva* 8 58 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XLllI This anomaly might have occurred to the authors who brought $iva and Parvati into a romantic setting. However, it may be presumed that the depth of their devotion to £jva surpassed any discretion because there are a good number of Ashtapadis composed around &iva and Parvati. In his very illuminating review of this Gitagangadhara in the Hindu about 36 years ago, Dr. Raghavan has given a list of Ashtapadis built around Krishna, Rama and Siva. Among them there are a dozen devoted exclusively to Siva and three of them have identical names, that is Gitagangadhara. Now the Gitagangadhara proper. As I already stated it is composed on the lines of the Gita Govinda. It is intensely romantic in its mood like the Gita Govinda and has an equal number of Ashtapadis, that is 24. But the number of verses linking these songs is less, that is 72. Now we shall hear in the words of the author what he intends to narrate in this work. Kridakoutukatatpare paragive sakam munipreyasi* Jatenaturatamupetya vipine mohakulabhuduma Pagcat sangathayoh sakhivacanatah saprema sanjalpatoh Gouiigankarayor jayanti kapilatire mitah kelayah.

* By her fervour and love Gouri will conquer Siva who is dallying with the wives of Rishis on the banks of the Kapila While Jayadeva chose the Jamuna for the romance of Krishna and Radha Nanjaraja has chosen the banks of the Kapila, a tributary of the Kaveri. This is because Nanjaraja has dedicated the work to his tutelary deity Sri Srikantheswara of Garalapura or Nanjagud as it is popularly known. This town is about 16 miles from Mysore city on the banks of river Kapila with a temple of hoary past. Nanjaraja belonged to the powerful Kalale family hailing from the village which is about 3 miles from Naojangud on the road to Nilgiris. Nanjaraja’s deep devotion to Srikantheswara is manifested in several ways. Apart from literary works dedicated to the lord, he also expanded the temple and the bathing ghats on the banks of the river. He also got the Utsavamoortis of the 63 ancient Saivite saints and these figures are being carried in procession during the Ardra darianam every year. What an FTS. 1-IV] SAN OITAG A NO ADH A R A OF NANJARAJA 59 ardent devotee of Siva was Nanjaraja has been described in one of the contemporary works as follows : He is a devotee of Neelakantha of Garalapura; learned in Sivagamas and always surrounded by scholars and poets; initiated into the sacred truths of Sivapancakshari by guru Sundareswara; adorned with Bhasitat Rudrakshamala and daily worships of Sivalinga; has the titles-Garalapur- Sdhinathacaranaravinda - seva - samasadita - girvanSndhra- karnatakadi-nana - bhasba - vis'esha - kavyaracanacaturl - dhurina, danakshatradhiswara, Hanumadhvaja * birudan- kita, nutanabhojarSja etc.

Consequently it is apt that he chose his guardian-deity as the central character in one of his important compositions where his sense of &ivabhakti may have outstripped the needs of Sringara at some stages. Nanjaraja was a contemporary of Tulajaji of Tanjore. It was a period of intense cultural revival despite the unsettled political conditions. The Gitagangadhara features ragas that are familiar today. Of them NaojarSja seems to be fond of Ramakriya which has four songs; with Bhairavl, Mukhari, Bhoopali and Madhyamavati in the descending order. The songs follow the same metre as Gita Govinda and are in Adi tala. Despite the similarities with the Gita Govinda, Nanjaraja has made certain modifications to suit the changed setting. For instance, while the opening song * Pralayapayodhi' of Gita Govinda describes the ten incarnations of Vishnu, the opening song of Gitagangadhara beginning with the words ' Kalayati kamalabhave ’ describes the ashtamoortis or the eight forms of Siva, namely, the five elements (earth, water, fire, air and ether), the Sun, the Moon and the Yajamana. The opening sorg is in Malavagoula. Only two or three caranas of each song will be presented because of the sameness of the metre.

Now are presented parts of three more Ashtapadis in the Gitagangadhara. The first of them corresponds to the 5th Ashta- padi of the Gita Govinda and expresses similar sentiments. Here the love-lorn Gouri, recapturing the beautiful figure of Siva who is dallying with the women, is beset with a feeling of grief and concern. The song with the opening words * §undaramukura * is in N&gagandharJ. 60 THE JOURNAL OF THE MADRAS MUSIC ACADBMY [VOL. Xfcllt The next one is the 12th in the series of Ashtapadis where a maid approaches &iva and narrates how the grief-struck Gouri, inflamed with love, awaits him in the bowers on the banks of the Kapila. The opening words are-1 Katipaya - nimfsha - viyoga- bharega ’ and the song is set in Sankarabharanam. The next one is the last one, that is the 24th Ashtapadi, in which finally Siva and Gouri join each other and with mutual love-words, Siva rearranges the dishevelled attire and ornaments of Gouri and decorates her, the situation being like that in Gita Govinda. The opening words of the song set in Ramakriya are- * S'itala-sarasa-patira \

The Gitaprabandha concludes with four more verses in which the first two describe how S'iva re-arranged the ornaments of Gouri and in the other two, the author requests one and all learned in music and literature to peruse this Sangitagangsdbara composed by the devotee of Siva, Nanjanrpa. Before concluding this demonstration 1 thank the Music Academy for having afforded me this opportunity to present an important composition of a member of the Royal -family of Mysore before this distinguished gathering of Vldwans and lovers of music this year. 1 am particularly thankful to Dr. Raghavan whose illuminating Inaugural Address to the ‘ Musical Heritage of Karnataka * Series organised by the Karnataka Ganakala Parishad at Bangalore last year gave an impetus to us to delve into the musical heritage of Mysore and bring to light some valuable works that had almost gone into oblivion. CLASSICAL CARNATIC VAGGEYAKARAS AND COMPOSITIONS OF THE PRE-TRINITY-PERIOD FROM “ SANGITA SAMPRADAYA PRADARSlNl ” OF SUBBARAMA DIKSHITAR Dr* T. S. Ramakrishnan, Madras In the history of Classical Carnatic Music, the pre- Trinity Period, i. e., the latter half of the 17th Century and the whole of the 18th Century (the period immediately after the great Venkatamakhi) is of the greatest importance. It was during this period that Classical Carnatic Music was modernised in its Lakshya Marga by the then scholars in music and VSggeyaksras under the fervent patronage of Vijayaranga ChokkanBtha Naik (1659-1682), King of Madura, and the three more important Mahrata rulers of Tanjore, Pratapasimha (1741-1764), Tulaja II (1765-1787) and Amarasimha (1788-1798). These four kings were great patrons of arts and letters. Through their bounty and munificence hundreds of scholars and musicians adorned the Tanjore Court and thrived well. Among them there were some very eminent scholarly musicians, master craftsmen, highly versed in their art and hence known as Mffrga- dartfiS’ The Msrgadailis standardised the art of music and laid the real foundation for our highly developed present day modern Classical Carnatic music in its Lakshya Marga, at the same time following strictly Venkatamakhi's 72 Mela scheme and Lakshaga as described in his “Caturdagdfprakigikk

As a first step, among the musical forms the “ Krlti '* was evolved. It was the same devotional Kirtanas among the Prabandbas but garbed in a higher degree of classical musical setting (Dhstu) and the words (Matu) or sahitya composed in appropriate language. This * Kriti ’ came now to be con­ sidered the prime official type of composition for the concert displacing the former “ Gita ” from its high status.

Besides Kritis other new forms of compositions were coined and their structural pattern systematised. Some of these new form? were Pada varna, Tana varna, Svarajati, Jatisvara, Raga- 62 THE JOURNAL OF THB MADRAS MUSIC ACADBMY [VoL. XLII1 maliks, Tillana, etc., which along with the earlier Pada composi­ tion, became important items in concerts and dance recitals. Also Pallavi-singing was developed as a major and important item after the Raga alapana in the concerts and the other Prabandhas were considered for the conclusion of the concert. All these types of compositions, in strict accordance with their structure standardised by the Margadargis, were followed by later composers including even the Trinity, thdugh they later established their own individual styles in their Kriti compositions. £rl Subbarama Dikshitar has furnished in his “ Sanglta Sampradaya Pradargini” samples of these highly classical compositions of the VaggeyakSras and has also given us short biographies of these learned composers. Now I want to mention briefly about the more famous and important of these Vaggeya- ksras and their achievements in the field of music according to their seniority. 1. Margadargi $6shayyangar of Srirangam, who flourished about the middle of the 17th Century; had gone and stayed at Ayodhya for some time and returned ; was chiefly responsible for modernising the structure of the previous Kirtanas into Kritis and hence bearing the title '* Margadargi was thus mainly responsible for the ousting of Gitas from their high and prime status; his Ankitam in his compositions “ Kosala ” reminds his sojourn at Ayodhya. In the Pradarginl two Kriti compositions are given :— (1) “ &riranga Sayinam ” : Dhanyasi raga, Jhampa ta}a (2) “ Rangapate *’ Kapi raga, Rupaka tala. A third Kriti, “Pahi 3esha $aila Nayaka” , in Anandbahairavi raga and Rupaka tala, is given in “ Oriental Music in European Notation M by Mr. A. M. Chinnaswami Mudaliar, M a. (As this Kriti is not found in any other book on music, 1 am giving the text of the same in Tamil script and in the usual present day S. R. G. M. notation.) 2 2. Ghanam Siniah of Madurai, minister to Vijayaranga Chokkanatha Naik, King of Madura (1659-1682); a great scholar and Ghana style performer; a Vaggeyakara of Kritis and Padas with Ankita “ Mannaruranga A Kriti and a Pada of his are given in the Pradarginl £ t S, I-IV] VAGGBYAKAkAS OF PkE-TfclNITY PERIOD 63 1. “ Sevinci dhanyudaiti M Saveri raga, Triputa taja 2. “ Sivadikshttparu” A Pada in Kuranji raga and Adi tala (very popular in our present day concerts). 3. £rinivasulu of Madurai; a contemporary of Ghanam Slniah; a great devotee of Madura Minakshi ; a great Vaggeya- kara with Ankitam in his Kritis “ Vijaya Gopala (or Ranga) **, the name of his patron ruler. In the Pradargini three Kritis of his are given:— 1. “ Nivu Nannu Brova” : Kapi raga, Khapda Chapu taja 2. “ Ninnu Minchina ” Natakuranji raga, Adi tala (sung even at the present day by some artists) 3. *' Inka Daya Rada ** Kalyaui raga, Triputa tala. 4. Giriraja Kavi: flourished in Tiruvarur during the early decades of the 18th century, perhaps during the reign of Sahaji (1684—1710) in Tanjore and prior to Pratapasimha’s reign; grand-father of the great Tyagiah; composer of Kritis in simple style with philosophical theme, style following that ofBhadra- chala Ramadasa. In the Pradar£ini only one Kriti of his is given:— “Maya Ni Vanchana *' Kambhoji raga, Adi tala. 5. Margadargi Virabhadriah of Tanjore Court during the reign of Pratapasimha (1741—1765); came from the N orth; considered the greatest Vaggeyakara and Margadarli of the period; early teacher of Ramaswami Dikshitar: standardised the structure and pattern of Kritis; besides, coined and systematised several new types of compositions (some not in vogue before) for concerts and dance recitals, such as Pada varna, Tana varna, RSgamalika, Svarajati, Jatisvara, Tillana etc.* gave importance to and improved the rendering of Pallavis in concerts; his Marga was followed by all later artists and Vaggeyakaras and hence he was a founder, and mainly responsible for our present day highly developed Laksbya Marga; “PratSparama " is his Ankita. In the Pradargini only two of his Kritis are given ■ * See earlier volumes of this Journal, Vols. XVII. pp. 154-6, and XXIV pp. 151-54 for a Svarajati inUseni and a Pada in Mohanam of his given by Dr. V. Raghavan from Sarasvati Mahal mss. 64 TUB lOUkNAL OP THE ifADtlAS MUSIC ACADEMY [VoL. XLltl 1. “ Patita Pavana ** Bbairavam raga, Adi taja 2. “ Sevimpa Raramma Kapi raga, Triputa tala. 6. Kavi Matrubhutiah of Tiruchi; a contemporary of Vira- bhadriah; a Vaggeyakara of Kritisand Padas with highly classical musical setting (Dhatu) and scholarly sahitya (Matu); his Ankita is *' Trteira In the Pradars'inl four Kritis and one Pada of his are given 1. ** Tarali boye ’* Tsdi raga, Adi ta}a 2. “ £ambho pura ” Kedaragoula raga, Adi ta|a 3. “ Kanugoni ” Kalyani raga, Ata ta)a 4. '* Uma himachala” : Saranga raga, Adi tala 5. “Inti chakkadana” Mohana raga, Adi taja. (Pada) 7. GovindasSmiah of Karvetinagaram (in Chittoor Dis­ trict) during the reign of Venkata Perumal Raju, his patron, belongs to about the same period as Virabhadriah; author of several Tana and Chouka Varnas, his Ankita being “ Venkata Perumal **. In the Pradar£ini we have two Tana Vardas of his: 1. “ Ni sari samana ** Kedaragoula raga, Adi tala 2. “ Sarigani dani” Mshana raga, Adi tala. (I have with me a Chouka Varna “ Nerajanudani **; Mukhari raga, Adi tala, of this composer from manuscripts of my elders and 1 am presenting a copy of the same in Tamil script and in the present day SRGM Notation). 8. Koovana Samlah, brother of GovindasSmiah; composer with the Ankitam “ Venugopala ”, the deity of Karvetinagaram. In the Pradar&ni one Tana Varna of his is given:— *' Inta Aluka ** Natakuranji raga, Ata tala. 9. Sarangapani, also of Karvetinagaram and an official in the court of Venkata Perumal Raju and hence a contemporary of the above two brothers (7th and 8th); a well known composer of S'rng&ra rasa Padas In the same style as those of the famous Kshetrajna. His Ankitam is “Venugopala**, the deity of KarvStf- nagaram. In the Pradargini, we have a Svarasthana Pada of h is:— •*DSni Prayamu** Kalyani raga, Adi ta|a. Fib. i-iv] vaggbyakaras in prb-trinity pbriod 63 10. Adipplah of Tanjore Court: a junior contemporary of Vlrabhadriah, whose Marga he closely followed; one of the most famous V&ggeyakaras; among his compositions the most popular and famous even in the present-day concerts and dance recitals as given in the Pradariini are :— 1. “Viriboni*’ Tana Varna in Bhairavi r&ga, Ata tala. 2. “E Mandayanara” Svarajati in Huseni rsga, Rupaka ts|a. (1) Viriboni Tana Varna in Bhairavi r3ga, Ata taja, is the most popular of Tana Vardas, perhaps the best, a model and standard composition that we possess; it is heard in almost every concert of the present day. Concert Vidvans of the present day do not render this Varna completely and conclude the composi­ tion after rendering the first Avarta of the Carana, “Ciru nau momuna”, repeating it after the prescribed svaras. These svaras are four in number, but the third svara is also left out by the present-day vidvans. This Tana Varna was composed by Adipplah in accordance with the structural rules framed by the early Vaggeyakftras, with a Carana consisting of 8 Av&rtas, of which the first Avarta-sBhitya is “ Ciru nau momuna**; in its meaning it is a mere phrase leading to some more words to follow in order to complete the sense in the theme of the sahitya. It is true, later Tsna Varna composers have only one Avarta of a Carana together with its svaras to follow. Besides the Tana Varna-composers like S'r! Subbarama Dikshitar and a few former VSggeyakaras, we have Vina Kuppiah among whose Tana Varnas, three have four Avarta Caranss leading to the Muktayi svara and then the pallavi, as in Viriboni Varna, to conclude the piece as in the case of other compositions like Kritis, etc. In the case of Tana Vargas com­ posed with only one Avarta carapa the meaning will be found complete in its sense or may lead to that of the Pallavi. The present-day scholars have named the lines of Sahitya occurring after the first line as “Anubandha**, yielding the idea that these remaining lines were added as extra sahitya-lines of the compo­ sition as a separate Anga of the Varpa and considered unnecessary to be rendered This is like concluding, for instance, the famous Kriti “Cakkani Rajamargamu** after rendering the first line of Its Carana “ Kagtfki Sundaratarg ’* and after a set of mgo9 * 6 6 THE JOURNAL OF THB MADRAS MUSIC ACADEMY [VOL. XLlII dharmtc svaras following a niraval and then not proceeding with the remaining s&hitya lines as from “ Kanti nota celage” leading to the Pallavi. It is only in the Pradarfini we have this “Viribopi** Varna with its complete carana and the third svara of the same. (2) “E Mandayanara”, a Svarajati, in Huseni raga, rupaka tala. This was composed by Adippiah in honour of his patron King PratBpasimha, for use in dance recitals, with all the pres­ cribed structural Angas which include a Pallavi, an Anupallavi, Muktayi jatisvara, followed by a Cara9a “ Auraura bSgaya ** of two Avartas in length, same to be repeated after a set of four svaras unlike the later composers who have composed “ Svara­ jatis” without the first three Angas, viz. Pallavi, Anupallavi and Muktayi jatisvara. Such compositions came to be called also Svarajatis, whereas they are really Kritis with a Pallavi followed by multiple Caranas, for example “ Sri raghuvarSprameya ’’ in Kfimbhoji by Tyagiab, and the three so-called famous Svarajatis of Sy&ma Sastri, in Bhairavi, Todi and Yadukula Kambhoji. The Dhatu of this Huseni Svarajati, because of its highly melodious and model Huseni Raga-picture, became very popular, and lead to several imitations:— (A) The famous VBggeyakara Merattur Venkatarama S'astrl of garabhoji's period, was so fascinated with the Dhatu of this Huseni Svarajati, that he composed another version of the Sahitya beginning with the words for the Pallavi “E Mayaladira” in the same Dhatu (musical setting) and sahitya words in Anupallavi in praise of his patron, Mallarji. In addition he introduced sahitya for the Muktayi jatisvara and sahityas for all the four svaras following the Carapa already composed by Adippiah, viz. “Auraura....” (B) We have another composition “ Pahi mam Bfhan- nayike'* in praise of Bribadambs, the deity of shrine in Pudu- kottai, locally very popular there, in the same Dhatu setting of the Huseni Svarajati with all its Angas. Ankita words in the Sahitya are (1) “Vasavakula Vijayaraghunatha” and (2) Kamala- nabhanute” ; composer not known.

*On this see V. Ragbavan,, ‘The Useni Svarajati * io Vol. XVII. pp. 14^-96 of this Journal.—Ed. H i . I-IV] VAOOBYAKARAS IN FRB-TRINITY PBRIOD 6^ (C) Sri Subbarama Dlkshitar has composed in Tamil, a Svarajati in Kamas raga, rupaka ta|a, beginning with the words “M&mohalahari” and having the same structural pattern of carapa “O ho ho...” and the svaras (to follow) of the same structure as that of the Huseni Svarajati. 11. SoQti Venkatasubbiah of Tulaja-period: father of So$ti Venkataramaniah (Guru of TySgiah); younger contempo­ rary of Adippiah. In the Pradar£ini we have two Tana Varpas of this composer:— 1. “Nenarunchi**: Bilahari raga, Ata tala, In praise of Tujaja. 2. “ Ninnu kori” Gamakakriya raga, Ata taja, with sahityas for the Muktayi svara and Carapa svaras. 12. Rimaswami Dikshitar (1735-1817) of Tiruvdrur; flourished during the reign of Tulaja II and Amarasimha and early Serfoji-period; father of Muthuswami Dikshitar; author of Hamsadhvani raga with a lakshya prabandha for the same; at first had his tutelage under Virabbadriah, later under Venkata Vaidyanstha Dikshitar of MadhySrjuna (of Venka|amakhi*s descendants); learnt advanced music, both Lakshaga and Lakshya, in accordance with Venkatamakhi’s tradition which he strictly followed. His later patrons were Maijali Venkatakrishna Mu da liar and his son Chinniah Mudaliar; became very famous as a Vaggeyakara ; composed several Kritis, Taoavarnas, Svara- sthana Padas and particularly Ragamalikas, one in praise of Amarasimha, one on Lord Venkatega of Tirupati, one on Madura MeenBkshi, and lastly the most famous and longest of RSga- m&likas, the 108 Tala Ragamalika, dedicating some to his patron Venkatakrishna Mudali. In the Pradar£ini this Ragamalika is incompletely given (only 13 Caracas in 6 ragas and ta|as). 13. Vaikuptba Sastri, contemporary of Ramaswdmi Dikshi­ tar; a learned Vaggeyakara; Ankita “ Vaikuntha” ; in the Pradars'ini we have one Kriti by this composer: “ Sreyase Dhy&y&mi” Paraju raga, Triputa taja. 14. Paidala Gurumurti Sastri of Kayattar in Tirunelveli District, a junior contemporary of Ramaswami Dikshitar ; a pro­ found Sanskrit scholar and Vaggeyakara ; very famous as a composer of Gitas (thousand ?)-very popular even at the present 68 THB JOURNAL OP THP MADRAS MUSIC ACADBMY [Vol. XUlfc day; he visited Madras and met Manalt Chlnniah Modal! and was honoured by him ; Ankitam “ Gurumurte **. We have only one Kriti of his in the Pradarlini— “ Sphuratu te ” : DevagindhSri raga, Adi tala. 15. Pallavi Gopaliah of Tanjore court during Amara- aimha and early Sarabhoji's period; followed the Lakshya marga of the elder vidv&ns Virabhadriah and Adippiah; Ankita " Venkata** in his compositions, both Kritis and Tana varpas (specially his TiDa varna “ Vanaj&kshi M in Kalyani raga, Ata taja, is very famous and perhaps comes in popularity at the present-day only next to the “ Viriboui" in Bhairavi raga of Adippiah); the greatest Pallavi exponent of his times and a Margadargi for the art. In the PradarSini we have 4 Kritis and 3 Tina Varnasof his:— 1. “ AmbaNhdu Kriti in Todi raga, Adi ta)a; popular and often heard 2. " Harisarva ” Kriti in Kambhoji raga, Rupaka tala, not heard 3. ** Nidu murtini ” Kriti in Na^akuranji raga, Adi thla, popular 4. “Mahlshasuramardini” : Kriti in Kalyani raga, Rupaka ta(a: not heard 5. “ Kanak&ngl *• Tana varpa in Todi riga, Ata taja, in praise of Sarabhoji; widely known but six svaras are to follow the carana; but 2nd, 5th and 6th svaras are not rendered now-a-days 6. “ Intacalamu” Tana varna in Kambhoji riga* Ata tala; in praise of AppurSya Candra of Mysore; widely known 7. 4i Vanajakshi *’ Tina varna in Kalyapi raga, A{a taja; as already mentioned very popular and heard in most pre­ sent-day concerts, but with only five svaras following the carapa i*TS. m y ) vaggbyakaras in pr b -t r in it y p e r io d 6$ out of the six svaras composed by the author. This Varpa Is also concluded with the first carapa incomplete line (the same word •• Ciru nau momuna ** as that of "ViribOQi”. Bhairavi varna), the remaining lines of the carapa completely forgotten. 16* Kuppuswimiah, contemporary of Gopaliah; a noted Viggeyak&ra: Kritis and Padas with Ankita “ Varada Venkata'*; In the Pradars^ini we have as his:— 1. **Ni sari skri” Kriti in Todi raga, Ttfra Eka tala 2. “ S'ri Venkatedvaruni ” : Kriti in Darbar raga. Milra Eka tala 3. ** Nike daya '* Kriti in Kalyani raga. Tilra Eka taja 4. Rada namida ” Kriti in Hamir Kalyani r&ga, Ti$ra Eka ta|a 5. “ Vaddante Pada in Paraju raga. Rupaka tala 6. Ekkadiki poyeve” Pada in Bhairavi raga. Adi tala. 18. Merat^ur Venkatarama Sastri*: of $arabhoji and early S'ivaji-period (latter half of the 18th century); famous Vag- gcyakaraof the period and noted for his other achievements in the field of Bharata Natya and Dance-Dramas. In the Pradariini only one composition of his is given; “ Kanna talli ” Kriti in Anandabhairavi. Adi tala I am placing the above details before the learned body of experts gathered here for their kind consideration with a request that only the utility value in my remarks be taken more than anything that may be found adverse or wrong. Lei this pave the way for further research in this interesting subject.

"On him and his contributions. see V. Raghavaa’s article in the Souvenir of the Academy's 26th (Silver Jubilee) Conference. If52-3 pp. 2J.2f. Ed. iSK&m&if'tofrpitssr fiQULi&tfau uirL-d)&6if*& &(T$2p}lb f560)L- fSISQIDIJL/asrr

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M. N. PADMA RAO, b.a., ll. b., Hyderabad The flute is the oldest instrument found in all ages in all countries in some form or other. Bamboo which is a natural growth in forest was in existence since the beginning of the vegetable world. Before men in the caves could make any experiment with stone or metals, the chafers, beetles and other insects in their innocent quest after food used to make boles in bamboo-stems. As a result of which the natural sounds and various pitches and octaves were heard in bamboo-forest inviting man’s attention in discovering many of the principles, laws and truths relating to music.

When we turn to mythology we find £ankha (conch) in the hands of Lord Vishnu, Venu (flute) in the hands of Lord Krhhna, Veena in the hands of Goddess Saraswati and Damaru (drum), in the hands of Lord Siva. Out of these main sources, in later periods, a number of wind, string and percussion instruments were evolved. In the Vedic period too, we find that the ancient Maba Tandya Brahmana enjoins that the wives of the sacrificers should accompany the chant of the Rajana Saman on the Kdnda Veena or a brmboo flute and a string instrument played with a plectrum. In Silappadikaram three types of flutes are mentioned and Sarn- gadeva in his Sangita Ratnakara mentions about fifteen varieties of flutes. It is said that the flutists of that period were very much skilled in the art of flute-playing and they could play different ragas on various pitches and scales. Apart from documentary proof we have got ample evidence in the form of sculptures and paintings in different parts of our country in caves or temples by which it is evident that the flute instrument was the most popular and ancient instru­ ment for solo or accompaniment. For example, in Ajanta fres­ coes we find ladies playing the flute. The types of flutes depicted in the Ajanta caye-paintings are the long ones. PTS. i-IV] BANSURI, THB LONG FLUTB IN HINDUSTANI MUSIC 8$ After giving the history of the instrument, I would like to say about the suitability of a long bamboo flute for the expres­ sion of Hindustani music. Human voice and the flute aie alike in many respects. The instrument of flute like vocal chords can produce only one note at a time and can continue the note like human voice unlike string or plucked instruments. It is the most suitable instrument for an artist who has got a bad voice due to natural defect in throat. The deep rich tune with a perfect resonance which can be produced in a long bamboo flute Is in no way inferior to a golden voice of a first grade musician. On the other hand, it is on the advantageous side in conveying tans and gamaks in a pure vivid form. The flow of sound and the vibrations produced from this instrument are very pleasing and soothing for the audience. The way in which a short flute of Karnatlc Music gives a happy sound of Koyal (Kokila-dhvani), the long bamboo flute of Hindustani Music gives the sound of a conch (S'ankha-Nadam) and blends so beautifully with the druti of the Tambura that the listener is carried away to an elevated stage of sublimity and perfect peace.

The human voice usually has a range of 2 to 2\ octaves but the long flute can easily produce 3 octaves and the instrument in the hands of an expert can even produce 3 to 3£ octaves. The gamakas and the meends, khatkas and murkis, which are produced through the instruments have far greater charm and effect than human voice. In Hindustani Paddhati great stress is laid on iruti and its slidlngs at the time of svara-vistQra in the form of combination and permutation in Vilambita Laya. The long flute is the proper instrument for such a performance and it excels in depth and expression when a person plays it with emotion. To illustrate my view I can readily give the name of the late Sri Pannalal Ghosh whose long flute with rich deep tune had very emotional effect. It appeared as though it was not the flow of breath but the outpouring of heart and the quickest appeal to the divine. He could render classical and light classical and folk music and he enjoyed all the rights and privileges of a first grade musician in All India Radio National Programmes or in any Music Conference. When we go back we find that Kovalan, the hero of Silappadikaram, was an expert flutist. From Jehangir’s Memoirs, we learn that the Emperor honoured 86 THfi JOURNAL OF THB MADRAS MUSIC ACADEMY VOL. XLIII Ustad Mohammed, a flute player, by weighing him and giving him his equivalent weight of silver coins of Rs. 6,330/- of those days- Besides, the musician was also given an elephant with a howdah to ride and carry the money. In South India too we have heard the names of the leading flutists in Karna- tic music, the late Sarabha Sastri (1872-1904), the late Palladam Sanjeev Rao and among those with us, T. R. Mabalingam. It is said that when Sarabha Sastri played Punnagavarali Raga on flute the snakes used to come out from the holes to listen to the enchanting music. Therefore he was called Sarabha Sastry (•* Sarabha *’ meaning ‘ Snake ’).

The flute is not only a sweet instrument but also a very handy one to carry about. It does not require any tuning like string instruments and there is no danger of going out of tune at the time of actual performance. No time is wasted in getting ready with it and there is no problem of changing the spare parts or strings during display. Being a portable instrument it can be carried easily from place to place and climatic changes have very little or no eifect on the seasoned bamboo. It is one of the cheapest instruments of the country and an average man can easily afford to purchase and can practise on it during spare time.

The only musical instrument which perhaps tires and dis­ courages the beginner in the earlier stages is the flute, and if he is not dejected on this score he can conquer the field of music very easily in the course of a few years. It is a very sensitive instrument. All the delicate' graces, curves, embellishments and shades of music can be performed to perfection. The highest order of music can be played on this instrument and its resonance In mandra sthayi (mellow tone) leaves a rare charm in the minds of the listeners. Even very fast runs, turns, leaps and shakes are possible on this instrument and in fast tempo an artist ean successfully perform all shades and styles of Sitar Jhala by touching notes in low and high octaves in rapid succession. The rich deep resonance of the low notes combined with the high pitch notes gives effect of double instruments and adds to the beauty of a flute solo. At its zenith when jatxta svaras are played ;n rapid speed it becomes a tough job for a tablist to keep PTS. I-1V] BANSURI, THB LONG FLUTE IN HINDUSTANI MUSIC 87 company with the artist and the curiosity of the audience increases for a happy end of the duel fight.

Thus we find that the long bamboo flute is a superior instru­ ment in every respect and contains all the fine qualities which are required for a fine expression of Hindustani Music, whether it is classical or light classical. The Heads of Music institutions should bear in mind that they owe a duty to promote and popu­ larise an instrument with such qualities. THE UNIQUE SYSTEM OF 72 SCALES OF KARNATIC MUSIC S. MUKUND, Bangalore

Indian Music is full of rich traditions and has a glorious heritage. The legacy handed down to us from the prominent composers of yore is invaluable indeed. Our music is firmly based on science. It is highly artistic, yet if you go deep into the theory, it is highly mathematical and scientific. There are various rules to which practical music has to conform. Still, in spite of the apparent rigidity, it allows very great scope for the imaginative skill of the performer, la India, Music has been put into full use as nowhere else in the world. Our magnificent galaxy of ragas can depict and crystallize a variety of moods and emotions. The music of Bbarata abounds in various intricate melodies called ragas. Jn Western Music ragas do not find a place since harmony is stressed to a very great extent. Only the simplest of harmonical combinations are allowed in our music. This is because our musical norms lay down that clarity and purity should be upheld while multiplicity and ambiguity should be eshewed. In North India, only ten partial scales called thats are in vogue, though there are numerous beautiful ragas. In the West the Major Diatonic Scale (our Dhirasankarabharana) scores over the others. Yet the five modal scales which are its homomodes are in use; besides some slightly irregular modes (like our Bhairavi) are also in parlance. Of our 72 scales the 6 ancient modes on which most of the Western tunes are based are Dhirasankarabharana (29), Mechakalyani (65), Harikambhoji (28), Nathabhairavi (20), Hanumathodi (8) and Kharaharapriya (22). Of these chief scales of Occidental Music, mostly Sankara- bharana is used. Occasionally Nathabhairavi or some other mode is used.

Whereas in North India only 10 thats are recognised as major scales, we here have 72! Of these 72, actually only 32 are proper scales which are the general permutations and combina­ tions of the 12 notes in the octave. But there were some folk melodies like * Nata * and * Varali ’ which did not fit in. So, the THE JANAKA RAGA SVARA SARINT By S. MUKUND

su fcu Su C a C a Sha Da Da Da D a D a D a B, B. B*. »* jyT "*■ ^ 7 Ot ' ■ J / r I« i r / * - j p / V*. ' f l y * * y & * ^ " ' V a* * £ £ / V. i!w .v w y o * r © v % J9 PVV r ^ ' t ? *r\ J y / bt sp|r Jk fw V, r * V jy*4'V G* £ 7 — 7 5at Ca. ' w " ' k M A s ? '# ■ j/v «>* & 0>* lJ t Sa a * f t / W & y * ./ =T' i t /

®"ar "-'O *>N 7 v v» ^ ' V A) * ) + / '^•£s!H'Sr t s l & f » y / * 7 0 E7J»' ' R* y v c \* | / v A> p Q > '< y Ml ' MB mb, MB S u Kai Ka Kai Ka Ka Ni Ni N i Ni Ni Ni Note: Melakartas 1 to 36 take Sudd'ia Madhyama (Upper Triangles). i. Melakartas 37 to 72 take Prati Madhyama (Lower Triangles). ii. Su = Suddha; Ca = Catusriti; Sha = Shatsriti. Sa Sadhara^a: An = Antara; Kai = Kai$ikl; Ka = Kakali. iii. Ri = Rishabha ; Ga = Gandhara ; Da = Daivata ; Ni = Nishada : In this Chart, the 72-Me}akarta scheme as propounded by Sri. Vehkatamakhin has been arranged in easily identifiable and conveniently comparable order, in the design of a geometrical square. Given in the mela, the notes can be found out and vice- versa. PtS. I-IV] THE SYSTBM OF 72 SCALBS OF KARNATIC MUSIC 89 genius of the South Indian mind raised the number of 32 to 72( thus including new scales in which *ri* acted as ‘ga* and vice versa, and * da * acted as ‘ ni * and vice versa. The Murchanas or modal shift of tonics gave a lot of support to the 72 scale-scheme as opposed to the simpler 32 scale-scheme. This great step was achieved by the eminent musicologist, the father of the 72 raga- system, Sri Venkatamakhin some 400 yeais ago. Not only did he give birth to so many ragas but gave all of them beautiful names on a perfectly scientific basis based on Katapayadi system* In no country in the world except India do we find even more than 10 of these scales in use. Another remarkable feature’of Indian music is that we do not require a special and elaborate musical script. Our music can be easily and understandably written in our ordinary scripts, with notations for the various notes of the gamut. The other outstanding characteristic of our Sangita &astra is the conception of the 22 £rutis. Each of the 12 notes (that is, excepting sa and pa of the saptasvaras) are subdivided into two, and thus we have 22 $rutis which are used in our ragas derived from the 72 sampurga ragas. Except India no other country uses these 22 varieties so exclusively, though there are ample evidences to show that Pythagoras and other ancient geniuses knew these in the Occident. But these £rutis can be heard dis­ tinctly on the violin, flute etc. of Indian music and sometimes in Western Music. Some ragas of India cannot be sung without following this system of &rutis, whereas Western music is not so entirely dependent upon it. In the oriental countries like Japan, China and Indonesia, native music is quite underdeveloped. Iran and Egypt have a musical system parellel to that of the West in the sense that they are also based on the six important modes. In Hindustani music, apart from the irregular derivatives, as well as the regular derivatives of the 6 scales, they also use mainly the derivatives of Mayamalavagaula (IS), Gamanasrama (53), *There is no evidence of his having given them all names. See V. Raghavan's paper in a previous volume of this Journal (XII. 1940, pp. 67-69), ’Venkatamakhin and th$ 72 Melas’, iz $0 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XUII Kamavardhini (51) and Subhapantuvarali (45), and also derivatives of many others of the 72 scales. Now I come to the point of presenting to you the chart 1 devised so as to study the structure of the 72 mela ragas. In the chart named ‘ Janaka RSga Svara Ssrini*, these 72 scales have been arranged in a scientific and mathematical way, for easy comparison and identification. I worked it out long ago. It was a fascinating project. At the encouragement and instance of Professor S. Sambamoorthy I published my humble work in December 1963, some twelve years after 1 devised the chart. To understand the chart and make use of it in the proper manner, one has to have some knowledge of theoretical aspects of our music. Mere knowledge of practical music will not make one understand the chart thoroughly. In this chart, the 72 Melakarta-scheme as propounded by Sri Venkatamakhin has been arranged in easily identifiable and conveniently comparable order, in the design of a geometrical square. Given the mela, the notes can be found out and vice versa, This chart can be put to good use when one wants to identify a new raga that he or she has heard on the radio or at a perfor­ mance. As the raga might be new to the person, he or she has to find out its character. By tracing the notes we hear, upon the chart, we can identify the parent scale from which the raga originates. Given the notes, we can find out the raga too. Similarly by looking at the chart we can find out the notes taken by a scale. It is difficult to explain either without the aid of a black board or without pointing out at the chart itself or even without the harmonium key board which the audience can watch. 1 shall try my best to explain the chart without these visual aids. Now let us take up what the chart can show us :— In the chart the geometric square comprises 6 rows and 6 columns. Each square is further subdivided into two triangles, the upper being shaded and the lower being plain. All the meias in the two bordering rows and the two bordering columns give us the 40 vivadi meias, the so-called dissonant or difficult mejaf. I*TS. I-IV] THE SYSTBM OP 12 SCALBS OF KARNATIC MUSIC 9 i The 16 squares in the middle contain all the more important consonant melas, called the samvadi melas. The two triangles in each square contain the Suddha Madh- yama (shaded upper triangles) and the Prati Madhyama (plain lower triangles). (E. g.):—Nathabhaiiavi and Shanmukhapriya (Numbers 20 and 56). Similarly 15 Mayamalavagaula and 51 Kamavardhini; 27 Sarasangi and 63 Latangi. Antipodal melas, that is, the melas for which all five notes differ, can be found in opposite triangles in opposing squares. E. g. ;—Mayamalavagaula (15) and 58 Hemavati. Similarly 39 Jhalavarali and 34 Vagadhiswari ; Dhirasankarabharana 29 and Bhavapriya 44 ; Suryakanta 17 and Shanmukhapriya 56. (Fold­ ing the chart imaginably). When a mela is given, the svaras can be traced out. E.g. :— Take no. 23 - Gaurimanohari. The answer from the chart is, it takes Chatusruti Rishabha, Sadbarana Gandhara, Suddha Madh­ yama, Chatusruti Dhaivata and Kakali Nishada. By finding out the ri, ga, da, and ni mentioned at the ends of the column and row in which the square bearing no. 23 is situated, the svaras can be found out. Since it is in the upper triangle it takes Suddha Madhyama. Now supposing we have a set of five notes apart from sa and pa which are always constant. E.g.:—Suddha Rishaba, Antara Gandhara, Prati Madhyama, Shatsruti Rishaba and Kakali Nishada. The answer is no. 54, the mela’s name being Yiswambari. As the raga takes Prati Madhyama, it most be in the lower triangle. The column of Sha, Da and Ka. Ni cuts the row of Suddha Ri and Antara Ga at 54 in the lower trlangie ; so the raga is Viswambari, We can also find out ragas dififering in ri only like Hanuma- tbodi 8 and Nathabhairavi 20; in Ga only, 39 Jhalavarali, 45 Subhapantuvarali and 51 Kamavardhini; in Ma only, 26 Caruksesi and 62 Rishabhapriya; in Da only, 57 Simhendra- madhyama, 63 Latangi and 69 Dhatuvardhioi ; in Ni only, 28 Harikambhoji and 29 Dhirasankarabharana. (Then a few ragas in the series were sung and their differences Identified). 92 the journal of ik e madras Music ACAbBMY [Vol. xliii Let us take up 6 consecutive ragas, melas 55, 56, 57, 58, 59 and 60. All these have the same Ri, Ga and Ma. The differences are only regarding Da and Ni. There are three varieties each of Da and Ni. All the 6 ragas take Catusruti Ri, Sadharaca Ga and Prati Madhyama, besides Sa and Pa. Now, 55 Syamalangi takes Su. Da and Su. Ni 56 Shanmukhapriya takes Su. Da Kaisiki Ni 57 Simhendramadhyama takes Su. Da and Kakali Ni 58 Hemavati takes Catusruthi Da and Kaisiki Ni 59 Dharmavati takes Catusruti Da and Kakali Ni. 60 Nitimati takes Sbatsruti Da and Kakali Ni (The above ragas were then demonstrated). Though the ragas sound similar, since they have the same lower tetrachord yet there is difference in the upper tetrachord comprising pa da ni sa. The first three, viz. Syamalangi, Shanmukhapriya, and Sim* hendramadbyama have the same Su. Da.^The 4th and 5th, viz. Hemavati and Dharmavati take Catusruti Da. Nitimati the 6th alone takes Shatsruti Da. Su. Ni is taken by only Syamalangi, the first in the group. The second and fourth, namely Shanmukha­ priya and Hemavati take Kaisiki Nishada, while the 3rd, 5th and 6tb, viz. Simhendramadhyama, Dharmavati and Nitimati take Kakali Nishada. Since Suddha Ni and Cha. Da are same as far as their musical value Is concerned, they cannot occur together in the same raga. Similar is the case of the pair Shatsruti Da and Kai. Ni. Thus the genius of Sri Venkatamakhin has created the orderly and most scientific arrangement of all the 72 scales with mathematical accuracy and precision. The frequency of the notes progressively and methodically increase from 1 to 72. The counterparts of the Pratimadhyama-scales 55 to 60 are 19, 20, 21, 22, 23 and 24 which take the same notes as the other set except for substituting Pra. Ma with Su. Ma. (Then Jhankaradhwani, Nathabhairavl, Kiravani, Kharahara* priya, Gaurimanohari and Varunapriya were sung). ^TS, MV] THE SYSTfeM OF 72 SCALBS OF KARNAT1C MUSIC 9^ Another variety of such groups will be found in the vertical columns of the chart. For example, take the case of the 4th column: 4 Vanaspati 10 Natakapriya 16 Cakravaka 22 Kharaharapriya 28 Harikambodhi 34 Vagadhiswari. Here the upper tetrachord is constant with Cha. Da and Kai. Ni. But though Ma is constant as Suddha Ma, Ri and Ga vary. Thus, Vanaspati - Su. Ri and Su. Ga Natakapriya - Su. Ri and Su. Ga. Cakravaka - Su. Ri and Antara Ga Kharaharapriya - Cha. Ri and Sa. Ga Harikambodhi - Cha. Ri and Antara Ga Vagadhiswari - Sha. Ri and Antara Ga Their counterparts are also in the fourth column in the lower triangles since Su. Ma has to be replace ! by Pra Ma. They are respectively 40 Navaneeta 46 Shadvidhamargini 52 Ramapriya 58 Hemavati 64 Vacaspati 70 Nasikabhushini. In this way by making use of this chart, the whole concept of the 72 Melakarta-scheme of Sri Venkatamakhin as well as the basic scientific and mathematical structure of the ragas or melodies which are the heart and soul of Indian Music can be understood after a careful study. This goes a long way in helping us to understand the characteristics of all the innumerable Janya Ragas. It.is very heartening to note that some importance is also being given to musical theory now - a - days along with learning music practically. It is my hope that the depth of the rich legacy of Karnatik music handed down to us from generation to generation by venerable musicians will be nurtured, cultivated and broadcast to the public. My sincere desire is that the great system of music which has been the path of saintly devotees to attain mukti such as Sri Purandara Dasa, Sri Tyagaraja, Sri Muthuswamy Dikshitar, Sri Syama Sastri, Sri Svati Tirunal, Sri Muthiah Bhagavatar, Sri Vasudeva- charya and recently r Sri Papanasam Sivan, to name only 94 the Journal ofe the madras Mtrsic academy [Vol. xtrti a few of a host of eminent composers, will not be given an unimportant place in the modern era of renascent culture. Even now in the North, there is an opinion that the 72 Mela ragas of the South are quite unnecessary and the 32 non~Vivddi Melakartas are sufficient. It is surprising to note that some vidwans in the south also feel so. Thirty-two ragas might have been sufficient to explain the permutations and combinations of the 12 notes in the gamut* However from ancient times we know that Varali and Nata, two ancient ragas which also figure in ancient Tamil music, do not fit into the 32 Mela raga*scheme. They can be accommodated only under the 72 scale-scheme since they use two Rishabas and two Gandharas and Nishadas. Similar is the case with Kalgada and Hejajji where two Dhaivatas are used.

Apart from this, when the modal shift of tonic is applied to the non-vivadi melakartas, vivadi melakartas result and vice versa as murchanas. A vivadi melakarta is able to give birth to a non- vivndi melakarta, whereas certain non-vivadi melakartas like Ramapriya do not give birth to any melakarta whatever. On this basis and several other considerations, ragas of aesthetic appeal like Vagadhiswari, Raghupriya, etc. the 72 melakarta- scheme has come to stay since the time of the Musical Trinity as a treasure house from which numerous rare ragas are being continuously unearthed. Not only is this 72 melakarta-scheme our foundation but there is no parallel at all to it in the music world. What Sri Venkatamakhin said is too true that even Brahma cannot invent a better scheme of Melakartas. The unnamed scales of this genius have been assigned names by later writers like Sri Govindarya. Even a 108 scale-sheme comprising two Madhyamas and esehewing Pancaraa was thought of and given up. Just as the South has absorbed many ragas from the North and has developed them in its own tradition, the North which Is absorbing many ragas from the South has to accept the 72 .Melakarta-scheme to strengthen its own melodic system as the ten thats prove quite inadequate now. PTS. MV] THE SYSTBM OF 72 SCALBS OF KARNATIC MUSIC 95 It is really heartening to note that the West, especially those in America and Germany, are taking keen interest in Karnatak music. It is noteworthy that both North India and the West are appreciating our quarter-tones or 22 srutis where the Ri, Ga, Ma, Da and Ni of the 12 Svarasthanas are further divided into two each so that we get 22 notes in all. Apart from this, the application of gamakas make them change slightly here and there to bring us the proper aesthetic appeal. Outstanding examples can be quoted such as Todi ga, Bhairavi ni, Varali ma, Begada ma, Gaula ri, Madhyamavati ri, Kuranji ri, Devagandhari ga and dha etc. Thanks to the technique of Veena our gamakas have developed to a great extent. Verily each and every student of Karnatak music who aspires to become a real vidvan must certainly take keen interest in understanding, appreciating as well as knowingly: practising the great beauty, art, science, mathematics, aesthetics and divinity behind the ragas of our glorious Karnatak Music. May the Sapta-svara-matrkOs bless us all! JANYA RAGAS - THEIR NUMBER Dr. T. S. Ramakrishnan

Sri M. Nadamuni Panditar in his “ Sanglta-svaraprastara- sSgaram ’* (1914) has given the longest list of Janya Ragas of the various 72 Melakartas, numbering 2044 in all, as detailed in the following table:—

Pruva Melas (Suddha ma) (Uttara Melas with Prati ma) •

Mela Janyas Mela Janyas Mela Janyas Mela Janyas 1 28 19 20 37 32 55 21 2 21 20 51 38 21 56 23 3 22 21 23 39 31 57 26 4 21 22 100 40 20 58 19 5 17 23 25 41 20 59 22 6 20 24 23 42 22 60 19 7 23 25 26 43 27 61 24 8 41 26 21 44 24 62 19 9 22 27 50 45 24 63 40 10 25 28 103 46 21 64 37 11 20 29 76 47 18 65 34 12 17 30 27 48 22 66 24 13 27 31 27 49 19 67 25 14 22 32 27 50 18 68 19 15 90 33 22 51 34 69 21 16 41 34 26 52 38 70 18 17 20 35 20 53 23 71 13 18 21 36 25 54 19 72 17

Different Janyaragas with same name under melas mentioned :—

Raga-name Janya Raga-name Janya under Melas under Melas Indrapriya 1,24 Bhogachintamani 1,7 Udayaravi 20, 36 Bhogavati 12, 22 Iravati 45, 64 Bhogavarali 12,37 Onkari 22, 48 Manjula 27, 36 Kannada 20, 29 Madhukari 27,50 Kalavati 16,31 Madhulika 26, 37 I ts. i-iv] JANYA RAGAS--their number 9) Raga-name Janya Raga-name Janya under Melas under Melas

Kanchanangi 19, 55 Manoranjani 5, 22 Kantimati 31, 60 Mayuradhvani 44, 45 Kuntala 16, 61 Madhavakalyaoi 10, 65 Kuntalaranjaoi 60. 68 Madhavamanohari 22, 57 Kusumavali 38,71 Manini 47, 66 Komalangi 26, 27 Maruvakannada 15, 35 Gitapriya 13, 63 Muktavali 48, 62 Gbantaravam 2, 20 Mrigendramadhyama 32, 35 Candrakantam 8, 65 Mridani 26,31, 35 Candrajyoti 16, 41 Ratnamani 11,27 Chayagaula 3, 15 Ravipriya 42, 57 Cintamani 7, 52, 59 Varite 4.21 Divyagandhari 18, 20 Vasanta 15, 29 Devagandhari 22, 29 Vitapi 4, 37 Devaranjani 22, 28 Syamakalyaol 12,65 Desakshi 28, 35 Sivakambhoji 22, 28 Nandini 14, 28, 30 Srutiranjani 36, 61 Navarasacandrika 13,49 Satyavati 15. 67 Nagagandhari 20, 23 Sarasvati 28, 64 Narayani 16, 28, 29 Savitri 28, 40 Pratapam 50, 52 Sindhu 17, 29 Pataka 48, 67 Sind huramakriy a 15,45 Paramesthi 43,64 Spbutalapini 61,72 Phalamanjari 22, 29 Somamanjari 62,67 Bbarati 19, 44, 45 Hemangi 1,54 Bhargavi 9, 37 Shadananapriya 15, 51

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401 *008 IXON S.WAI VHYHVaans IYAYHZYH [a i-i *8X4 THE RAGA-TALA-MALIKA OF RAMASWAMI DltCSHITAR V. V. Narasimbacharya, Kakinada

Ramaswami Diksbitar lived between 1735-1817 A.D. He belonged to a family migrated from Kanchi region to Tanjore. There he learnt music from Vlrabhadrayya, aTelugu musician. Ramaswamy was associated with the parampars of Venkata- makhj (author of the CatuidapdiprakSgikS) and so followed that school of raga-system. He was a connoisseur of the art and was a Vttggeyakttra. He has composed Kir tanas, Varyas and RSgamdlikas The present Rdgat slants lik 3 is one of his works. It is a Pada Varya.

It is to be noted that before him Kshctrayya had composed Padas which are replete with NSyaka-NSylkd-bhOvas in Madhura• bhakti for Abhinaya in Natya. They are in the vilambitaksla and are full of rdga-bhsva. After him Adiappaya composed the famous Varna “ Viriboni Varna is a composition with jati or citta-svaras and muktsyi svara-murchanas set to tala jati varieties with rSgabb&va to enable the daocer to exhibit the varieties of carayas and karayas in the art. Next Govinda- swamayya composed “ Sariga danipai”, a Pada Varna in Mohana raga to which he got his disciple, the daughter of the Raja of Karvetinagar, to dance and get the favour of the prince of Venkatagiri for her marriage. The Guru of Ramaswami Dikshitar, Vlrabbadrayya composed “ Akkaro-ipudindura ** a Pada Vaina for dance. For the same purpose perhaps, Rama­ swami Dikshitar composed the RagatalamBlika, as a Pada Varpa and here is an innovation in the changing of ragas into a garland of them called “ RagamalikS.” The change of Raga is at every avarta or pada or the line in the stanza of the carayas. In addition to this difficult task, he has introduced the changing of the t&las too and even they are from the Marga-tslas which have gurus and plutas. It is an astonishing and a laudable attempt. He used as many as sixty one ragas and forty-six Marga- tslas in addition to the seven sulsdis in all the thirteen caranas. So it is a masterly piece that should attract one and all, the Scbolart the student and the lover of mysic. ?Tf. I-IvJ THE RAGA-TaI a-IIALIKA OF RAMASWAM D1KSBITAR 109 The Margi and the Desi Systems In the arts, especially in music, the old system had been held as the Mttrga while that in usage was DeSU The two varieties had been in existence side by side in the country at all times as under­ stood from the classical works on music. The Deii that was pre­ valent at one time had become Marga in the later period as the arts were changing in accordance with the tastes and environment of the people at different times. The old system was Mdrga or classical as it is also called. The classical art is for the scholars or the intelligent while the Deii is patronised by the common man and it is also now called light music by some. The Jati ragas of the writers of the pre-Christian era were called Marga ragas by the authors during the 12ih-13th centuries. $arnga- deva (1220-1247 A D j has the classification of jdti ragas under Bkashs, Vibhasha and Antarabhasha while his Deil Ragas are mentioned under Rdganga, UpOnga, Bhashdnga and Kriydnga. He has mentioned 243 ragas in all and this classifica­ tion had been followed by the later artists and authors. The Rttgdngas were held as Melos by later authors and different authors have had different Melas. Vidyaranya (1340 A.D.), the earliest had 19 Melas while Rsmamatya (1560 AD.) mentioned 20, Somanirya (1609 A.D ) 23, and Venkatamakhin (1650 A.D.) 72. Venkatamakhin is the originator of the 72 Melakartas and Ramaswami Dikshitar, as will be seen presently, has followed this system. The Ragas The Raga system had been in existence in our country from the hoary past and it is our heritage and culture. The five Bharatas namely Kohala, Dattila, Bharatamuni, Matanga and ' Nandikeswara who lived in the pre-Christian era had mentioned the Grsmas, Svara-murchanas and Jdtis on the basis of the two, $adja and Madhyama, Gramas. The difference of the Gramas was of the Pancama which, having four $ rut is in $a4ja Grama, deflects into one of three Srutis in the Madhyama Grdma i.e. it has three Srutis in Madhyama Grama. The extent of deflec­ tion (Apaktfta) was held as the Pramarya Sruti by Bharatamuni and it is the Pythagorian comma of 81/80 interval. During later centuries many ragas came into existence and as mentioned above, $arfigadeva had 243 ragas. Later Venkatamakhin had ilO tHB JOURNAL OF TtlB MADRAS MUSIC ACADBMY [VOL. x tll l contrived tbe 72 Mela-system with the permutation of Prakrti and Vikrti svaras which are 12 with 16 names, under 12 cakras, each having six Ragas and the Ragas being classified under the Melakartas according to the qualification, i.e., V ibtis of tbe svaras of the Ragas. As mentioned earlier Ramaswami Dishitar has employed 61 ragas in the Ragamalika. He has used all the five Ghana ragas namely, Nata, Gowla, Varali, Sri and Arabhi and these have peculiar and particular or intrinsic s'ruti notes in them to be grasped. He had his Bhupala with Sadharaoa Gandhara; Bowli, Mcchabowli and Ramakali as the janyas of the 15th Melakarta and with delicate difference in svaraprastiras. In Bowli *ni* is used whereas in Mechabowli *m* and *ma* are used. Ramakali has the same Arohi>pa and Avaroba^a-svaras as in Bowli, * sa ri ga pa da sa’-*sa ni da pa ga ri sa.* One should be carefui in the prastOra in these kindred i&gas as in the Raga- malika. Mecha Bowli has prayogas ‘ pa da ma da pa, ma ga ma ga ri sa-da pa ma ga \ He has introduced the twins Kedara* gowla and Narayanagowla ragas in succession with only Nilambari in between them. The djfference is in*sa ri ma pa ni da ni sa* in.Naryanagowla in the Ragamalika. Again, Ramaswami Dikshitar has used the Mandra-svara- sancara-ragas Nowrosu and Saindhavi which are not in usage now. Nowrosu is a janya of the 29th Mela while Saindhavi is of the 22nd. There are some more unfamiliar rSgas in the Ragamalika like 4 Padi ’ which is a janya of the 15th Mela and has * sa ri ma pa ni sa ’ and ‘ sa ni pa da pa ma ri sa * as its Arohana and Avarohana; Jhankarabhramari which is now called Jhankaradhvani having suddba ‘ ni’ and it is svara-vahra-sancara* raga as * sa ri ga ma pa da ni da sa *, * sa da ni pa ma ga ni sa *; Natanarayani, a janya of 28th mela with svaravakra-sancQras like * ri ma ga ri * - * ri pa maa ’ - * ma ga ri ga ri sa' without nisbada. But tbe later composer Singarachariar has the * ni *. Ramaswami Dishitar has used almost all the important melakarta ragas like Todi, Malavagowla, Bhairavi, Kambhoji, Sankarabharana, Kalyani, Pantuvarali and Gamakakriya (Gama- nasrama as it is called now). He has used many upanga and bhashanga ragas like Sama, Mohana, Manirangu, Bilahari, Saveri, Punnagavarali, Kuranji, Surati, Begada and Devagandhari. Hit PTS. I-IV] RAGA-TALA-MAL1KA OF RAM AS W AMI D1KSH1TAR 111 Pratimadhyama ragai are Ramakriya, Kalyani, Saranga, Yaman and Gamakakriya. The Talas Like the Marga and Desi classifications of the ragas the talas also have two such varieties running side by side. The Marga or the classical talas are one hundred and eight according to our authors. Sirngadeva has mentioned about 120 talas in which the additional ones were his own innovations. The Desi talas are the Suladis and are seven and with the five changes of the Laghu in them, 35 Talas have been formulated and are in vogue. The Marga talas have Guru and Pluta in them along with the Druta and Laghu. But Suladis have no Guru and Pluta in them. The masterly mind of Ramaswami Dikshitar has utilised many of the Marga talas with Gurus and Plutas. The Talas are formed by the combination of the five Avgas, Anudruta, Druta, Laghu, Guru and Pluta. The present-day Deli* talas have Anudruta, Druta and varieties of Laghu which are Tilra, Caturalra, Khanda, Milra and Sanklrna. Anudruta is seen only in the Suladis and that too in only Jhampa tala and it has one matrakala. The Druta has two mStras, the Laghu has four, the Guru eight and the Pluta twelve. S'arngadeva has referred to Druta&ekhara and Laghuiekhara for three and six mat rak alas respectively. The classical authors from NSrada of the 4 h century A.D. have mentioned It'8 MSrga taias with their Afigis and nomenclature. The Deli Suladis are the seven talas namely, Dhruva, Mithya, Rupaka, Jhampa, Triputs, Ata and Eka. These seven Talas by their five changeable varieties of Laghu namely, Tilra, Caturalra, Khanda, Milra and Sanklrna having 3, 4, 5, 7 and 9 matras repectively. have developed into 7 x 5 = 35 (thirty five) Talas. There are signs to the Angas as assigned by the classical authors like Narada, Sarngadeva and others. Anudruta has been represented by semi-circle as * w *, Druta by the circle as * O *, the L*ghu by a small vertical line as * 1 * (one), the Guru by ‘S' called Kankana and Pluta by a comma on the sign of the Guru as S ’. The Angas are measured by * Salabdakriya * or sound-beat and * Nifclabdakriya ’ or silent beat or counting of the fingers on the hand* The Eka (or one) matra Anudruta has one 112 THE JOURNAL OF THB MADRAS MUSIC ACADEMY [VOL. XL1IJ sound-beat called Dhruvaka. The Dvimatradruta hat the Dhruvaka for one maira and the other matra has Sarpinl which is the silent throw of the right hand to the left side. The Laghu is measured by Dhruvaka or Tala (a sounded flap of the hands) followed by Sarptni and counting of the fingers for the matras silently. The Guru is measured by Dhruvaka or Tala followed by Sarpini and counting of the 4 matras on the left side silently and then by Krishya which is to get the hand from the left to the right side and counting of the rest of the 4 matias. The Pluta is measured by Dhruvaka or Tala followed by Sarpini and Krishya for eight matras and by Padmini in which the hand is thrown down with downward palm of the hand and counting of the remaining 4 matras to complete the 12 matras in it.

It is all credit to Ramaswamy Dishitar that he had mentioned the names of the Ragas and Talas in the Ragatalamalika-pada- varna. In the Telugu Sabitya the names of some Talas are mutilated perhaps by the later non-Telugu Tamil musicians or copyists. So Subbarama Dikshitar, his grandson, has said that the Talas unvler the names Lali, Lakshana, Akshara, Kala, Sri, Kutumba and Madi, have been untraceable and the Sabitya or the Matu could be sung for Adi tala as is prominent nowa­ days. And so some corrections of the Telugu words in the Matu of the Varna are not out of place; on the other hand they are a necessity. The errors may be due to the scribes and not of the author in as much as he was a scholar in Telugu as is seen from the Sahitya used. These are in five places only. The Ragas and the Talas in the Caranas are mentioned thus:—

The Pallavi of the Varna runs as “ Natakadi vidyala balu meti vadhutti yavura yedi dhruva- muga **. Then comes the Cittasvara followed by Muktayi svaras. The Muktayi is at the end of each carana in consonance with the Tala jatis and the Raga Pidappu Pallavi completes with:—

"Neetuladi bagotv/a/ita gunanidhi ya mate muditanu ganu sati leni j&varalidi manmatha-rwoo/ni Aralita Venkata krishncnUra I” PTS. I-IV] RAOA-TALA-MALIKA OF RAMASWAMI DIKSHITAR 113 In this 1. Nata raga and Dhruva tala 2. Gowla and Matya 3. Varali and Ripaka tala are mentioned. The first Carana runs thus:— “ Sarasambow leelala chaturoktula satiki velputojjampena gonu mati | sura sdlanga natahi neepai sokkl maitri puta—marinchenu dani harusbambe joodage nitya sriyata lalalitantaranga yadhi arudara bilachi eka bhog- amuga ati lalita yanuchunu lalitanelumga” Here comes the Muktayl swaras. The ragas and talas in this are: 4. Bowli and Jhampa; 5. Saranganata and Triputa; 6. Sri and A ta; 7. Arabhi and Ekatala and 8. Lalita raga and Lalita tala. Lalita tala has 2 Drutas, Laghu and Guru in the order as 0 0 1 S and has 16 matras. The 2nd Caraga is :— “ Ramakriya viseshamulenna Lakshanavali yawra sarasi- jakshi samama mamratileela kideti sankarabharanamu jayamagura dhtemanirangu meeru mariyunu dinamu darpana kapolana podagani I ya malamsree kenyagunadi nijamuganu raja chooda- mani kalayamu ” Here Muktayi is sung. The ragas and talas in this are :—9. Ramakriya (a janya of 31 Kamavardhani mela) and Lakshana tala which is unidentified and so is sung to Aditala; 10. Samaraga of the 29th melakarta and Ratilila having Laghu, two Gurus and Laghu as 1 S S I with 24 matras; 11, Sankarabharana and Jaya tala having Laghu, Guru, 2 Laghus and two Drutas ending with Pluta as 1 S 11 0 0 S' with 36 matras; 12. Manirangu, a janya of the 22nd mela without dhaivata and Darpana tala having two drutas and guru as 00 S with 12 matras ; 13. 'Malavasri raga of the 22nd mela, a vakra raga without Rishabha and Rajacudamani tala having two drutas, and two laghus as 0 0 1 10 6—0 0 1 1 with 24 matras. The third Cara^a is “ Patapadi meppincura vadana padmamalara todi tettuni tarati | satiyaina kalyanirajasama—sowra?tra desa muniki sukirti I botimeti nichbalu b&huseni pondukori yunnadi ku/n/nradanara | matiki kannada yelara madanaka malaharhale nedayaka kmfalagana. ” 13 114 THB JOURNAL OF THB MADRAS MUSIC ACADBMY [VoL. XLIII Here the Muktayi is sung. The ragas and talas in this are: 14. Padi raga, a janya of the ISth mela having no Gandhara and Madana tala which has two drutas and pluta as 0 0 having 16 matras; IS. Todi raga and Rati tala which has laghu and guru as I S, having 12 matras; 16. Kalyani raga and Raja tala with guru pluta, two drutas, guru, laghu and pluta as S S' 0 0 SI $ having 48 matras; 17. Sowrashtra raga of the 17th mela and Kirti tala having laghu, pluta, guru, laghu, and pluta as I £ S I S of 48 matras ; 18. Huseni raga of the 22nd mela and Kunda* tala having guru, druta and guru as S O S with 18 matras; 19. Kannada raga, a janya of 29th mela and Madana tala which is mentioned above in the first Caraga and 20. Malahari raga and Krida tala which has two drutas and Anudruta having 5 matras. The fourth Carana is : “ Kanaka surpabhai ravika kikkariyugabbi channuladuma vijaya nan da mu | mana saranganu nelukorayika maditala&u nikkamu gadacal vanajasanan neekedara yanuchu valachi yananganu nenitu vachiti I manavi delipi ram mane nava- mohanamama viravikrama jayagura | *’ Then the Muktayi is sung. The ragas and talas in this are :—21. Bhairavi raga and Vijayananda tala which has two laghus and three gurus as 11 S S S having 32 matras: 22. Saranga, a janya of the 64th Mela Vacaspati and Madi tala which is untraceable and is sung to Adi tala; 23. Kedara raga of the 29th Mela and Ananga Tala which has laghu, pluta, two laghus and guru as 1 £> 1 1S having 32 matras and 24. Mohana raga and Vira­ vikrama tala which has laghu, two drutas and guru as 1 O O S having 16 matras* The fifth Carana Is: t Hammlrula mecchadu dhairyambunaatlvanadumu sim- haleela anatagu I bimbadhari sahana kshilikenajagu- prema-galadi = rati yupakramamuna I tumburu veena- nu palike gowlipantu reeti sakunamu yidi sampa- kveshtamu** | ambujamukhi jhamkarabhramarikx nalu- kuchun ninnu sama ratu-laku rammane.” Then the Muktayi is sung. The ragas and talas in this are 25. Hamviru, a janya of the 65th mela and Simhalila tala which has a * S'arngadeva has not mentioned this tala, f With shiver or fear. v * Having desires that have matured or have been fulfilled. PTS. I-IV] R AG A-TALA-MALIKA OF RAMASWAMI DIKSHITAR 115 laghu, three drutas and a laghu as 10 O 0 1 having 14 matras ; 26. Sahana and Rati tala which has a laghu and guru as IS having 12 matras; 27. Gowlipantu, janya of the 15th me la and Sampakveshta which has pluta, three gurus, and pluta as S S S SS having 48 matras; 48. Jhamkarabhramari, the ) 6th mela, a vakra raga and Sama tala which has two laghus and two drutas

The 6th Cara^a is: “ Pogadika meereetigowla viprula pujinchunepudu, simha- vikrama I nagu natanaroyaniy&nu namamu = thamuguda caturmukhini ranira I migula jantragatram bilahari madi mechchajeyu = srinandana vinera I maguva jada hindola Ti}\vishamambagu vahana maina bahuvldhamula.”;

The Muktayi is then sung. The ragas and talas in this are:— 29. Ritigowla, a janya of the 22nd mela and Simhavikrama tala with three gurus, laghu, pluta, laghu, guru and pluta in order as S S S IS I S S having 64 matras ; 30. Natanarayani. a janya of the 28th mela and Caturmukha tala which has laghu, guru, laghu and p lu taasIS IS ' with 28 matras; 31. Bilahari and Srinandana tala which has guru, two laghus and pluta as S 11S with 28 matras; 32. Hindola, a janya of the 20th mela and Vishama tala which has three drutas and drutasekhara as O O O S having 9 matras.

The 7th Carana is:— "Lemave gavahinai namtrinaleela*dstu>/agfctfeft/zara lilala I somukakakadu vasantabhairavijuti natulara | vasanta nibha | aa myachabowli raga bhavamula nanda merigi vanamalim pogadunu I mamuguda manasaveri tarula madi mechchadu srikirtiaidana ! ”

The Muktayi is then sung. The ragas and talas in this are :—32. Vegavahini of the 16th mela and Laghusekhara as I having 6 matras; 34. Vasantabhairavi of the 14th Mela and Vasanta tala having three laghus and three gurus as 111 S S S with 36 matras; 35. Mechabowli, a janya of the 15th mela with no Madhyamaand Vanamali tala having four drutas and a laghu as O O O O I with 12 matras ; 36. Saveri and Srikirti tala which has two gurus and two laghus as S S 11 with 24 matras. 116 Trie JOURNAL OF the madras music academy [Vol. xliii The eighth Carana is : “ Nabhisamamupunnaga varaliki - nayamagu valulu trtlyamugSL | sabhilashala pantuvaralenchanadita antara- kridalagunu I bhumi kambhojakalingamu yitara desamula nabhanga garimanu I sreebharateesatula kuranji tamuga- celuyalaruchunnadi parvati daya | ” The Muktayi is then sung. The ragas and talas in this are:— 37. Punnagavarali and Trtiya tala which has two drutas and drutasekharas O O S having seven matras; 38. Pantuvarali with Sadharana Ga and Krida tala which has 5 matras (see 2nd Carana); 39. Kambhoji raga and Abhanga* tala which has laghu and pluta as I $ with 16 matras; 40. Kuranji of 29th mela and Parvati tala which is not found in the classical Marga talas. But there is one Parvatilocana. Or, ‘Parvati’ may be corrected as *Gowri* which has five laghus with 20 matras. The ninth Carana is— '* Madavatifca p/rudulisuka tinnelu - manini kanthamu kokilapriyamu I adinee nataku,ranji[& rammane - hamsa- nadamwna balikenura [ sadaya! s'ukapikamwfc/ran bala- manichi sure sare kandarpude chutaku | bedarij'nmzmatula juchute mera, bittari sri ranga ranga yanuchu The Muktayi is then sung. The ragas and talas in this are : 41. Kapi, a janya raga of 22nd mela and Kokilapriya tala which has guru, laghu, and pluta as SI& with 24 matras; 42. Natakuranjiof the 26th mela and Hamsanada tala which has laghu, pluta, two drutas and pluta as 11$ O O 5 with 32 matras ; 43. Mukhari raga and Kandarpa tala which has two drutas, laghu and guru as O O IS with 16 matras ; 44. Yaman raga of the 65th mela and Sriranga tala which has two laghus, guru, laghu and pluta as 11 S I S' with 32 matras. The tenth Carana is: “ Bhogananda bhairavi purahara pujita pratapasekhara leela, yela I naaga needu darubaru gachinadi—nayamu- naraga vardhanamuga. I vegasuratini yandalamuna nilpa ravachu nitaku lali /opriya yanata/gu paagareeka vagalu= nayaki bhavamunanya merayu srimatkirti yechutaku”

* “ Abhango laplutau”. Sangttaratnakara, V. 292. t*TS. I-iv] RAGA-TALA-MALIKA OF RAMASWAMI DIKSHITAR 11) The Muktayi is then sung. The ragas and talas in this are:— 45. Anandabhairavi and Pratapasekhara which has drutase- khara and two drutas as S 00 with 7 matras. This is almost equal to Tritiya Tala as 0 0 S. 46. Darbar raga of the 22nd mela and Ragavardhani tala which has druta, drutasekbara, druta and pluta as 0 0 0 S with 19 matras; 47. Surati raga of the 28th mela and Lalita tala as mentioned above in the 1st Carapa; 48, Nayaki of the 22nd mela and Srimatkirti which has two laghus and two gurus as 1 1 S S with 24 matras. This is also equal to Kirti tala (S S I I) The eleventh Caraga is:— ** Maruni kedaragowla takkanidhimadidalaochuka neeraka, vilokita I garima ganaka neelambari yainadi karuna nenayumu mukundas&ma naranarayanagowla manuchu krishnabhidana nikhila rajavidyala I merayuchu balamuna baladevakriya meeru caturtha sikbuman! kanumide”. The Muktayi is then sung. The ragas and talas in this are: 49. Kedaragowla and Vilokita which has laghu, two drutas and pluta as 1003 with 20 matras ; 50. Nilambari and Mukunda tala which has laghu, two drutas, laghu and guru as 10 01S with 20 matras; 51. Narayanagowla and Raja tala which has guru, pluta, two drutas, guru, laghu and pluta asS&00Sl£ with 48 matras ; 52. Devakriya raga of the 20th mela and Caturtha taia having two laghus and druta as 1 1 0 with 10 matras. The twelfth Carana is : “ Kanya jyenaya kori suvrataoo/>e gadapu chunnadi 1 kutumbamugal chennuga yichchatiki navarojul&lo cheluva vi/ayamandaga dalaci I yunnadi gamakakriya vadalaka- taanunnadi maruni turangalila yana | ninne yahariga- madi nenchuchu needu adharamakarandam banaga” The Muktayi is then sung. The ragas and talas in this are: 53. Begada of the 29th mela and Kutumba tala which is not clear; but there is Kudukka and we can accept it in the sahitya and if not, it can be sung to Adi tala. Kudukka tala has two drutas and two laghus as O O 1 I with 32 matras; 54. Navaroju 1 1. Kutumbamuga can be corrected as Kudukkuga since there is no Kutumba tala. 118 THfe JOURNAL OF THE MADRAS MUSIC ACADBMY [VOL. XLII1 of the 29th mela and Vijaya tala which has two plutas and two gurus as £ $ S S with 20 x 2 = 40 matras; 55. Gamakakriya which is Gamanasrama, the 53rd melakarta and Turangalila tala which has two drutasekbaras and two drutas as S S O O with 10 matras ; 56. Ahiri, a janya of the 8th mela and Makaranda tala, which has two drutas, three laghus and guru as O O 1 1 1 S with 24 matras. The thirteenth Cara^a is: “ Mudukrishna bhupala nandana mudita malavagov/la maratulu I oddika = rajmbangala dharadhipulu uchita saindhavi yanadivi yakshara l muddiya rahiganchu ramaka• /ikini mudamuve/ayn kalasigaravinchu I siddhamu deva* gartdharini pondu srikara Venkatakrishna vizira.”* The Muktayi is then sung. The ragas and talas in this are :—57. Bhupala, a janya of Todi having Sadharana Gandhara and Nandana tala which has laghu, two drutas and pluta as I O O S with 20 matras ; 58. Malavagowla which is the 15th Mela andRajaban* gala tala, which has guru, laghu, guru and two drutas as S I SOO with 24 matras; 59. Saindhavi raga of the 22nd mela a mandra- sthayi raga and Akshara tala. Here the Sshitya requires cor­ rection as ‘udbhata’ ’which has three gurus as S S S with 24 matras. The tala is defined as ((Udbhato maganagcaiva 60. Ramakall raga which is akin to Bowli and Laya tala having guru, laghu and pluta as S I S' with 24 matras; 61. Devagandhari raga, a janya of the 29th mela and Srikirti tala as the sahitya should be Srikirti instead of Srikara. Srikirti tala has been mentioned above in the 7th Caraija. THE SUDDHA MADDALA OF KERALA L. S. Rajagopalan

Maddala is a drum of great antiquity. The original Sanskrit name for this instrument is seen as 'Mardala* and the derivation of this word is given as 55ifcT ffcT (that which receives blows). The antiquity of the instrument can be known from fact that it is mentioned even in the Mahabharata (8. 44.16):

Bharata’s Natya Sastra gives an interesting story of the origin of drums. The sage SvBti went to fetch water from a lake. A sudden rain came and Svati noticed that the falling of the rain­ drops on lotus leaves produced different tones of sound. Going back to the hermitage he devised the Mridanga. In Kerala a mythological story is current, which says, that while Lord S'iva was doing the Tandava during the pradofa• period, Nandikelvara took a broken pillar and shaped a drum out of it which resulted in the Maddala. Due to the association of Maddala with the cosmic dance of Siva it is called a * Deva Vadya * in contradistinction to * Asura Vadyas * which are not used in temple-rituals though they may be used in temple- festivals. This association of divinity, particularly of S iva1, is expressed in the Sangitamakaranda: feTcft Vi OTI StfaffcrTt I

(Siva is present on the right side and Uma on the left of the Maddala and the sound from the Maddala is divine). In the Natya Sastra, while Mridanga and other instruments are mentioned, Mardala is not mentioned specifically. It is however mentioned in the Sangitaratnakara. Several verses are devoted to its specifications, construction and the

). See Appendix,

l 120 THB JOURNAL OF THE MADRAS MUSIC ACADBMY [Vol. XLlII mnemonics for playing it2, apr s5$r*fcT— etc. etc. the first portion of which may be summarised as follows:— " Wood of a good fruit tree has to be used for the barrel* Thickness is to be \ finger, length 21 fingers, left face 14 fingers and right 13 fingers. The middle of the body should be thicker by a finger; circular thick hides are to be fixed on either side, forty holes to be made in the rim of the leather and fastened by hide strips interlocked in a zig-zag manner- Rings are to be fixed on either end and through these rings a silk or other attrac­ tive cloth*bend has to be passed and tied to the waist for playing* Such an instrument is called a Mardala, Mridanga or Muraja. Suitable minerals have to be mixed with rice-paste and applied to the left face in a thick layer like a 'Poori* and the other face has to be lightly smeared ; and it produces thunderous sounds. The mnemonics used are the Dhi Theim Daim Nam Dam etc. etc. The Sanglta Damodara gives almost the same but even a more lucid description in 3 ^lf^: t[ta: etc. which can be summarised as follows :— “Khadira Wood (Acacia Catechu)is best for Mardala; others are inferior but red sandalwood gives a superior sound. It should be one and a half * hands * long. The right end should be 13 or 12 fingers and the left less by half or one finger. The ends should be covered with hide. The middle of the barrel should be bigger than the ends. The hide used is to be taken of a 6 month-old goat. When the body is made of mud it is called Mridanga. A paste made of holy ash, minerals, rice, the fruit (or root?) of a particular astringent plant should be applied thick and should be made to hold fast on the right end; it should merely be smeared on the left end. This is how the superior instrument Mardala is made. When it is played with other instrument it enlivens them."

In the Natya Sastra it is mentioned that Mridanga gets its uame because it is made of Mfd (mud). From these it will be seen that the old Sanskrit texts do oot make any material

2. See Appendix 3. See Appendix PTS. M V] THB SUDDHA MADDALA OF KERALA 121 distinction between Mridanga and Mardala. It is possible that instruments of different sizes, though of the same construction, were known by different names and it is also likely that the distinction was brought about later. In Tamil the instrument is known as Maddalam and seems to have been popular in Tamil Nadu even during the Sangam period. During the period known as the Golden Age of Carnatic Music we hear of one Thambiappan attached to Tiruvarur temple, who was a disciple of Muthuswamy Dikshitar and who was an expert £uddha Maddalam player. It is reported that Suddha Maddala is played at Tiruvarur temple always whenever the chief deity Tyagaraja is taken out in the festival and also at the daily services before this deity. A nother instru­ ment known as Pancamukha Vadya was also in use in Tiruvarur Temple. In Malayalam the instrument Is known as 1 Maddalam* though in some old manuscripts it is even referred to as “ Mat* thalam ”, •* Matthali ’* or ** Matthuli ’,4. While its use in Tamil Nadu is rare, it is widely used in Kerala during temple-rituals and temple-festivals. The shape of the Maddalam in Kerala is similar to the Mridanga though in the construction and playing there are a few significant differences. There are three types of Maddalam in Kerala, Toppl Maddalam, Vira Mad* dalam and $uddha Maddalam. Essentially the difference is only in the size and naturally in the use too to which they are put. All the three types of Maddalam are tied round the waist for playing. The Natya Sastra mentions three types of instruments, Ankya, Alingya and Urdhvaka, i.e., the instruments played by (i) keeping them on the lap (ii) keeping them in an embracing position and (iii) keeping them in an upright position. According fo this Maddalam will come under the Alirgya type. In the case of Toppi Maddalam some used to hang it over the shoulders (as the sacred thread is worn), keep it in an inclined position and play it. Toppi Maddala: In size and construction it is similar to the Mridanga. It does not have the meettu leather as in the Mridangam and the bulge in the barrel is in the middle. No 4 4. Malayalam translations of Amara Kosa in Palm leaf manus­ cripts in possession of Azhuvancheri Thamprakkal made available through the courtesy of Pandit K. P. Narayana Pisfiaroti. 16 122 THE JOURNAL OF TfiE MADRAS MUSIC ACADEMY [VOL. XL1II rice-paste is applied to the left end. Toppi Maddalam is normally used for rituals inside the temple. It is also used in art forms like Ottam Tullal and Kuratti Attain. It is being replaced by the Mridanga. Vira Maddala: As its very name suggests, it is obviously intended for Vira Rasa and is associated with royalty. For example, in every ritual and function connected with the Maha­ rajas of Cochin, the Vira Maddala has to be played. It is a truly king-size instrument and one may aptly apply the Vedic sentence in describing it, (its very appearance will make clear its superiority). It was used during military marches and campaigns and during Attachamayam procession of the Maharaja of Cochin-this procession being a commemoration of a victory of their dynasty. For the elephant-procession of Triprayar Thevar (Sri Rama) for the famous Arattupuzha Pooram, Vira Maddalam is used, the idea being that Sri Rama is received with royal honours. In the southern districts of Kerala this instrument was being used by a community known as ‘Panas’, a scheduled caste people who are professional singers; one type of their song is called “Tukilunarthuka” (a sort of carol singing)5. Then we come to the standard Maddala. The normal size of an instrument is about 27 inches long and the diameter at the two ends is about 11 and 10 inches. A ridge £’* x 1” protrudes outside round the middle of the barrel. Normally jackwood is used to make the barrel, but Konna (Cassia Fistula) and Venga (Pterocarpus Marsupium) are also used. The right face (the black-coloured bigger face) is covered with ox-hide and the left face (white, smaller) is covered with water-buffalo hide. These faces are fixed tight with buffalo-hide circular caps which are then tightened with buffalo-hide straps as is done in the Mridangam. It Is reported that formerly both faces and straps were of - ox-hide. In the construction of temples and even houses there are restrictions on the relation between the length and breadth of buildings and even rooms according to &astras. Similar restrictions were observed in the construction of musical instru­ ments also. For example, the length of a drum and the diameter ?♦ Normally 'Panas* use only the drum known as Udukku (dhakka). Pts. i-iv] the suddha maddala of kbrala 123 of its face should satisfy the “ Yoni ’’-relations6. Of course, when instruments are made by unlettered artisans they usually follow the dimensions of an instrument known to be good. The tightening of the straps and the tuning of the Maddalam is an arduous task. The hides have first to be soaked in water for several hours and three persons, heavy hammers and pegs are required to bring them to proper tension. One Maddalam requires almost all the bide from a water buffalo. A paste made from carbon obtained by burning arecanut palm fronds and Puranakitta (iron slag) and cooked raw rice is applied in a thick circular layer on the right end and the juice of raw betel nut is rubbed on to make the paste adhere better. On the left face of the instrument nothing is applied. Formerly there used to be 16 holes on each end cap for tightening the straps as in the case of the Mridangam. Now 17 or 18 holes are made. Unlike the Mridangam it is not possible to adjust the S'ruti in the middle of a performance. But once the &ruti is set it does not alter easily. The Maddalam is tied round the waist with a long piece of cloth passed through hide-rings fixed to the ends of the drum. The drum is kept in a horizontal position and played with both the hands. Fingering is much lesser than in the Mridangam. Fingers, particularly the right hand ones, are covered with gummed cloth-rings and caps for protection and for louder sound. In keeping with the size of the instrument and its use in open space, the force of the beats is much harder and justifies the Sanskrit name * Mardala * fully. The average weight of the

%. In books of Temple Architecture etc. the term *Yoni* is explained as the balance obtained by adding the length and breadth and multiplying it by three and dividing by eight. Only if the Yoni obtained is an odd number the dimensions are approved. Even number Yonis are taboo. See Tantrasamuccaya :

...... tgwr fefsj i || WfawRfatTO 3FTT: | 124 THE JOURNAL OF THB MADRAS MUSIC ACADEMY (VOL. XLIII instrument is 37 lbs. and one can well understand the strain that is involved for an artist in not only playing for hours together with the instrument tied to his waist but also in walking with it in processions. A couple of decades ago, it was not uncommon for the same Maddalam artist to play non-stop from 9 p.m. to 6. a.m. in Kathakali performanees. Apart from the difference in size and the origin of the hides used, one important difference between the Maddalam and the Mridangam is that the Meettu leather is not found in the Maddalam. Also the * black-pasted * end in the Mridangam is played with the right hand whereas in the Maddalam, it is played with the left hand. Because of the bigger size and the greater quantity of the black paste applied, it gives a deeper and more resonant sound.

Maddalam is used during temple-rituals, in temple-festivals, elephant-processions, in Kathakali, in Krishnattam play and in some folk arts in Kerala. Methods of teaching:—One may wonder as to how a young boy-the training starts even before a boy is in his teens- would start learning on such a heavy and big instrument. This difficulty is easily solved by using a dummy instrument for the trainee. This is called a Sravana Palaka (literally a plank for hearing). This consists of two small planks held in a vertical position and joined together in the middle by a length of reaper. The following mnemonics (Solkattu) are used:— First Lesson: Tha Thi Thom Nam -This is very similar to the first lessons of the Mridanga. Double Lesson: Tha Tha Thi Thi Thom Thom Nam Nam. Third Lesson: Dhikkinna Dhikkinna Dhi Dhi Dhi Kinna Dkikkinna Dhim. All these are practised in four tempos. Dhimrutha Lesson: Dhi Tha Ka Na Dhi Tha Ka Na KKI Nna Dhim Tha Ki Na Dhee Tha Ki Nna Kinna. This is for good practice of the left hand. Lesson for Practice of Fingers: Tha Kki NNa Ki Ta Tha Ki Tha Tha Kki Nnna Ki Ta Tha Ki P t S. I-IV} THB SUDDHA MADDALA OF KBfcALA After the practice of such preliminary lessons the student Is taught the playing of Kelt. There are two types of Ktlis. One is SandhyQ Keli performed in temples after the evening Depart)- dhana. This is part of the festival rituals known as * Vilakku- acaram/ In this one Maddalam, one Chenda and a pair of Elathalams do laya-vinnyasa t in Chempata tala. This can last from 15 minutes to one hour or more, depending on the time available and the ability of the player. While set mnemonics are taught, there is also scope for improvisation. This type of Keli is also played at sunset at the venue of a Kathakali, there being a slight difference in the beginning of the playing. Another type of Keli is performed during Kathakali before the play starts. One of the two Maddalams play laya-vinnyasa. Tala - accompaniment is by * Elathalam ’ and * Chengila.' Only Chempata tala is played (Adi tala). Ti6ra, MiSra and Khanda Nadais are played under the name of ‘ Kooru Vayikkal.' Towards the end before the playing of the finale, one Cheoda also joins them to keep time - just to give a forceful effect. Im­ mediately after this Keli the Maddalam is again played (with an Elathalam accompaniment), the play being called * Choritta Kai.* The tala is Adi tala, but the treatment is different from the play­ ing of the Keli and the duration is only a few minutes. During temple-festivals, especially at night when the deity is brought out for elephant-procession round the temple, per­ formances on individual instruments are played. There will be Tayambaka on the Chenda, then there will be PSttu7 (eutrtf) on the Maddalam. Pattu is only laya-vinnyasa on the Maddalam and it is the same as the Keli before the start of Kathakali. It Is known under a different name since the occasion is different. A Pattu for name's sake may last only for 5 minutes in small temples. In big ones it may last for one or one and a half hours. Normally three Instruments take part, but in former days in temples like Trippunithura (family temple of the Cochin Maharajas), as many as 30 instruments used to play together. In such a large ensemble, unless the artists are properly trained, the chances of harmonious blending are poor. Three or five instru- 7

7. The playing of P attu on Maddalam is the same as Tayambaka on the Chenda. See the author’s article on Tayambaka in the Journal of the Music Academy, Vol. 38. pp. 83-102. 126 THfc JOURNAL OP TUB MADRAS MUSIC ACADBMY [VoL. XLIII ments are normal and produce good effect. In some plaees one Chenda also joins the Maddala during the Pdttu. In playing the Pdttu the various stages of the tempos are known as 1) Vilambakalam (2) Etanila (3) Etakalam (4) Pathinja- Erikita and (5) Murukiya Nila. Mnemonices for each stage is taught, which the student can elaborate by improvisations accord­ ing to his ability. Different Nadais are played during the vilambakala and this is known as * Kooru Vayikkal.* Pancheri Kooru is Tilra, Atantha Kooru Is MiSra and Champa Kooru is Khanda. One of the most important uses of the Maddalam is in the Pancavadya ensemble of Kerala. There are two types of Panca- vadyas - one for rituals like Etakka Pradakfipa and another for festivals. In the Kriyanga Pancavadya the smaller Toppi Maddala is used along with Etakka, 3anku, Timila, Chenda (the booming right side alone is played), Kombu, Kuzhal and Elatalam. It is now performed as a ritual with little emphasis on the art. For Sevanga Pancavadya or the Pancavadya used for temple-processions, for reception of V. I. P.'s and so on, the instruments used are S'anku, Etakka, Timila, Maddala, Kombu and Elatalam. Formerly the Kuzhal was also being used but not so now. About fifty years ago the Maddalam was not having the prominence it now has in Pancavadya.8 It used to be played only on one side in the vertical position, similar to the use of Timila. It was Sri Venkitachala Iyer (alias Venkichan Svamy) of Thiruvilvamala9 and his disciple Madhava Warrier who brought about a revolution by playing the Maddala in the horizontal position for Pancavadyam also, as was being done for 8. It is regretted that in some books written by some eminent authors, a mistake has crept in since Maddalam is left out from Pancavadya of Kerala and Chenda is given in its place. 9: The Malayalam sloka (ascribed to Parikshit Maharaja of Cochin) quoted below would go to show the eminence of Venkichan Svamy in Maddala:

(Since Lord S'iva has blessed in full measure the famous brahmin, Vengichaa cannot be met with in combat, by any one in Maddala). Pts. I-IV] THB SUDDHA MADDALA OF KBfcAtA 127 playing PSttu, Kell etc. Venkichan Svamy also systematised the playing of Pancavadya and his system is followed to this day. Our artist here, Sri Appukutty Puduval is a direct and the top­ most disciple of Venkichan. A Pancavadya performance lasts from one hour to four hours or more. It is played in the Triputa tala but till the tempo is brought to a quick level, the tala will appear as Adi tala since only Caturagra nadai is played and the t&la is divided into units of 8 matras, One talavattam in the first ativilamba stage consists of 1792 matras and it will take about 15 minutes to play one talavattam. The second stage is 896 matras, the third 448 and the tempo is increased to 3^ matras for the final atidruta stage. In playing the Pancavadya in each stage, first all instruments will play together, then there will be competitive VinnyQsa between Maddala and Timila artists. Then all the instruments will play together and finish in a Koottikottal (muttayippu). The change of tempo from 1792 matras to 3£ matras is not in stages of halving the matras but only in slow degrees akin to the increase in tempo in the Bhajanas of South India.10 The most important role of Maddalam Is in Kathakali and it can be classified under the following heads: 1. K elt: This is laya-vinnya&a on the Maddala and a Cheoda with Elatalam to keep time and is done at sunset at the venue of the Kathakali. It serves as an announcement that Kathakali Is going to be performed at night. 2. AraUgu Keli: Immediately after the lamp is lighted on the Kathakali stage a Suddha Maddala is brought and placed near the lamp. The artist then comes and takes the instrument after prayer, sounds both sides and then only fixes 'it on his waist. The Maddala-artist has to perform throughout the Kathakali and the only rest he gets is when llokas are recited. He then plays the Arangu Keli {Keli on the stage) of S'uddha Maddala. 3. Before the start of the actual Kathakali, there is an item called ‘Melapada*. The musician sings the Astapadi ‘Manjutara- kunjadala* in the Jhampa tala to the accompaniment of Ghe^da and a Maddala. Here the Che$da and Maddala artists get 10. See the author's article on Timila for the Pancavadya in the Journal o f the Music Academy, 1970. 128 THB JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XLIIV an opportunity to exhibit their skill individually and in unison. At the end of the song the Chegda and the Maddala (without the musician) take the stage and play laya-vinyasa in Chempata tila. This brings out the best in the artists. 4. The most significant role of Maddalam is as an accom­ paniment to the music and dance of Kathakali. While the male characters take the stage (taydava) both the Chenda and Maddala are played but when the female characters take the stage (lasya), only Maddala is played. Kathakali music and dance are set to different talas and nadais and only in Kathakali does the artist get an opportunity to play the tala other than Chempata and Triputa. The talas are the same as in classical Carnatic music, though known under different names. Tala Matras Equivalent in Carnatic Music Chempata 8 CaturaSrajati Triputa (Adi) Adanta 14 Kbandajati Ata Muri Adanta 7 TiSrajati Triputa (also TiSra Capu) Panchari 6 CaturalrajSti Rupaka Champa 10 Mifrajati Jhampa Eka 1 Eka While the Pada is being sung the Maddala has to play as an accompaniment for the music. After each Carana of the pada the actor does a dance {Kalaiam) where the Maddala has to accompany the dance. After the padas are sung and acted, some­ times the actors converse in sign-language to bring out details left out in the padas. Sometimes a single character on the stage will have the soliloquy or may render a description of what he sees around, all in sign-language. This is known as Elakiattom and Thantetattom. The Maddala artist has to give the proper background for all this. In Kathakali rhythm is supreme, every action of the artist should be rhythmic and it falls on the Maddala (and Chendai) to give the proper accompaniment. Another interesting aspect of Maddalam-playing in Katba- kali is the interpretation in sound of the action and gestures of the actor. For example, the actor shows a lotus flower opening out, a bee or a butterfly coming and enjoying the honey, the cuckoo cooing in the garden, lovers coming into the garden, the fas. i-Ivj THB SUDDHA MADDALA OF KIRALA 129 lover tuning the Mridanga and his fiancee tuning a VlijS and playing. All these are translated into sound by the competent Maddala artist. How effectively this could be done, has to be seen, to be believed. Krishpattam. Also known as Krisnanattam, this is a dance- drama normally performed only at the Guruvayur temple. It is the story of Kr§na's life and the text followed is Kr$$agiti of Manaveda (a Zamorin of Calicut). Kr§nattam is even older, though a bit primitive than Kathakali. In this, the main t&la accompaniment is the Maddala. One Maddala is S'uddha Maddala and the other is a Toppl Maddala, though bigger than the small Toppi Maddala detailed before. The function of the Maddala is the same as in Kathakali, namely, to accompany the songs and dance. In Knnattam Chepdai is not used. Folk Arts. Suddha Maddala is not normally used in folk arts but in some processions connected with folk arts Panca- vadya is played. In Palghat District in Kerala, there used to be staged “ Miijak§i-kalyaua ” done in a mixture of Kathakali and drama styles. £uddha Maddala is reported to have been used in its staging.1 From the demonstration given by the artist it would be clear that $uddha Maddala deserves more popularity than it has at present, especially outside Kerala. It would bo a suitable accompaniment for outdoor performances. It is gratifying to note that many dance troupes and cinema orchestras have already started using &uddha Maddala. There are a few training institutions in Kerala for $uddha Maddala. The Kerala Kalamapdalam is the foremost of these institutions where systematic training is imparted for a course of four years under the able personal instruction of the artist here, Sri Appukutty Puduval. As in the case of most other instru­ ments, there are no books available on the subject. Encourage­ ment of bodies like the Music Academy of Madras should induce an eminent artist-cum-teacber like Sri Puduval to put in his profound knowledge for the benefit of posterity. *S.

1. See Keralatttle Natoti Natakahgal (Folk plays of Kerala) by Dr S. K. Nayar. 17 IS # THE JOURNAL OF IfHE MADRAS Mt7SIC ACADEMY jV O tr S tlli

Appendix From S'arngadeva’s Sangitaratnakara

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wit *wi fisisi^ w ft g% | $">satl: HIRtiplfafoTOIT < II TO-ai faarr ?gt fepmf i araaflaar H «®rsTO*5it #mgnf I ftasfa a at® a*ir 11 ssp i^a gftai 3^R5W, i TO^TO5lfolfa:5iir 3 cR. II ajaft^or aria ftapftifiratara, i 'jffoPRRT f t W a . II %5°n^i darssm f%*^#i • ^ aaa^proftft asfil safi: II PT». Wv] THB SUDDHA MADDALA OF KBRALA 131

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From Sangitadamodara as quoted in tbe Sabdaka Ipadruma Mfe OTfo: M tft: I iCMR^CM^T 1T$[ II M|%*MMMFF 3 t«i*TST I ^RM^R! II

M M ^ ^%Mptf?3&M MT I W I W « % M^ %T II w W m^ km^ mm mm^ i s R m ^ S a S k MfoftRM: ii Hid^ld, *sr{m 4i«hkmH} ^ m^& i R^ijd^Rqj MM) ^ II m fafefc ^^RfftfaMM; i fife M&T: II

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* 4s ♦ 132 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [Vot. XLlII BIBLIOGRAPHY 1. Natya&astra, Translated by Manomohan Ghosh. 2. Sangltamakaranda, SaAgitBdhyaya, Caturtha-pada. 3. Sangitaratnakara, Vadyadhyaya (6th) 4. Sangitaddmodara as quoted in the Sabdakalpadruma. 5. Silappatikaram, Edited by Dr. U. V. Swaminatha Iyer. 6. Life of Muthuswamy Dikshitar, T. L. Venkatrama Iyer. 7. * Music in Kooti Attam' by L. S. Rajagopalan, Sangeet Natak 10, 8. ‘Thayambaka, by L. S. Rajagopal, Journal of the Music Academy, Madras, 1967. 9. ' Panchavadya by Dr. S. Venkatasubramonla Iyer. Ibid 10. * Drum of India through the ages *, S. Krishnaswami. Ibid. 11. * Why is the Mridangam so called* by Dr. V. Raghavan, Journal of the Music Academy, Madras, Vols. XXIV and XXVI. 12. ‘Some rare talas in Kerala Music’ By Dr. S. Venkita- subramonia Iyer, Sangeeth Natak 14.

Demonstration o f Suddha Maddala - The Artists

Maddalam Artist Sri Appukutty Puduval who is 48 years old (born in 1199 M. E.) belongs to Kandanchathu family and is the son of Smy. Kunjammalu Puduvalasyar and Sri T. S. Ramachandra Iyer. He belongs to Tiruvilwamala village which has produced many illustrious Laya Vidvans (including Sri T. S. Mani Iyer). Sri Puduval started learning Maddalam at the age of 10 under the illustrious Maddalam exponent Sri Venkichan Swamy (who was the uncle of Ghatam Vilvadri Iyer). He is now the chief Maddalam instructor at the Kerala Kalamandalam and is considered the foremost artist for playing Maddalam for Katha- kali. PTS. MV] THB SUDDHA MADDALA OF KERALA 133 He has toured all over the world including England, France, Italy, Germany, Holland, Belgium, Switzerland, U.S.A., Canada, Japan, Hong Kong, China, Australia, Indonesia, Malaya, Iran and Lebanon.

The Kathakali Artist Sri P. M. Sankaran Nambudirl joined the Kalamandalam after passing his Pre-university exam. He had 8 years’ training there for Kathakali Acting and he had 2 years* training in Ceylon in Kandyan dance. He is now on the staff of the Kerala Kala­ mandalam. He has toured all over Europe, America, China, Japan, Indonesia, Iran etc. with the Kathakali troupe of Kala­ mandalam and he has participated in many lecture-demonstra­ tions. The Timila and Talam Artist Sri Annamanada Parameswara Marar is already known to the Music Academy as he had demonstrated the Timila last year. He is the chief instructor in Timila at the Kerala Kalamandalam and is the foremost authority on Pancavadya in Kerala. He is currently engaged in giving final shape to his book on Panca- vadya. GAYAKI IN HINDUSTANI MUSIC Mr. Yunus Husain Khan, Delhi University. * Gayaki ’ has a significant place in Hindustani Music. In a way * Gayaki' is the only thing by which the classical music is presented. Through Gayaki we have various ideas and styles in Hindustani Music. In fact it has contributed a lot in making the North Indian style rich by the old and new great masters of Hindustani style. Because, each master has his own inter­ pretation in his immaculate way. Gayaki can only be understood by practice and not by theory. Gayaki is the combination of different styles (anga) and presentation (ranga) in a special way by the artist. In other words Gayaki is the mode of Raga-vistara, the means by which the artist gives shape and colouring to the bare frame of the Raga structure, according to his conception and imagination, but keeping in mind certain accepted principles to make it authentio as well as aesthetic. It would be worthwhile to mention here that unfortunately there is a trend among some of the established musicians, as well as music critics, to do away with the accepted principles and bring in cheap touch of lighter variety in Khayal Gayaki to accentuate rasa unnecessarily, which should actually be desisted. Gayaki has certain accepted rules in the Raga-vistara. From the scale of a raga, one has to choose particular phrases which will determine the Vaditva. Samvaditva and Anuvaditva, so that the basic structure of the raga is in tact. It is absolutely necessary to follow the true spirit of the raga in relation to its basic rasa. In Gayaki it is very essential to preserve all forms of raga- aldpana and rupa-alapana. No Gayaki would be complete without these basic tenets of classical raga-music. There are various colours in Gayaki like Maza-Meer (touch­ ing the notes in such a way as to evoke imagination of the listener), Laag-Daant (bold and vigorous utterance of the Swar), Aamad or Upaj (unexpected short tanas) which adds beauty to reach the sama of the tala), Laare-Bandi (the repetition of the first line of the song in a variety of ways and patterns), Laya-Kari pTS. I-lv) GAYAKI IN HINDUSTANI MUSIC 13$ (the game of rhythm using the words as well as notes) and Taan• Bandhaan (a variety of tanas). Here are some ahgas of Gayaki: Kan, Murki, Phhanda, Sarah, Murah, Me end, Soont, Chhoot, Lahyah, Gamak and Alankar which are quite familiar to the listener. There are, however, some other angas which require special introduction. Hikka is swaying of a note at its base and then bounce to its place in the higher octave. Dhorart is the combination of Hikka, Gamak, Kaan and Soont. These are the important terms which give the credence to Gayaki. Now a question arises - if these embellishments are used by every musician in their Gayaki, then what differentiates the various Gharanas or traditional Schools of music ? The answer is quite simple. While most of the musicians may use all these embellishments, some of these may be very prominent and pre­ dominant in the music of a particular Gharana, which identifies and distinguishes it from the others. For example, in the Gwalior Gharana, the musicians sing in a full-throated voice with a prominence of Lahak, Gamak, Chhoot, Laag-Daant, and Laya• kari. The Agra Gharana lays emphasis on Bol-banao (beauti­ fication of the word), BoUvlstar, Bol-baant (division of words with particular rhythm), Bol-taans and Taan bandhaan. In the Patiala Gharana the stress is on Murki, Phanda and fast tanas in a ziz-zag pattern. The Kirana Gharana abounds in Sarak-murak, Meend, Lahak, and Bol-vistar. Every Gharana has its beauty in its own way and it is very difficult to examine each critically.

Many Gharanas have come into existence since the time of Akbar the great. Many styles of Gayaki have also cropped up. But originally there were only four Vanis which later on took the shape of different Gharanas. The Gayaki of these well- known Gharanas have withstood the test of time and whatever we have to-day in our music is attributed to them. RAGA DHANYASI Vidvan Sri N. Chennakesayiah, Bangalore

qfw aprar s b : s

The raga DhannBsI is derived from the GramarBga $uddhakai£ikl-madhyama which takes its form from the two classifications Sadjamadhyama and Kaigiki.

This is the description of Dhanyasi, one of the ancient ragas, in the Sangltaralnskara, where it is also classed as a Raganga raga. Ri is absent in the arohana, Ga and Pa are unimportant and Ma is the Nyasasvara. This is not the Dhanyasi with which we are familiar. While compassion and^ tenderness are the main characteristics of the present-day raga, Vlrarasa is the characteristic in the description above. The description in Haripallyt, aw:

Tfw fi! WWI»IKqWT | # «rantf II and that extracted in Bharatako&a, 3RI: srenfiffiT sfT*fiT I

irRnqwq^T: # n srcnfofit n are a reiteration of the description in SaiigltaratnUkara. This raga variously named as Dhanyasi, Dhanyashi, Dhann&si, Dhanashri, Dhanashri, Dhannasika, DhanySshika and Dhanasari, has its lak$aQa described by Ramamatya in his SvaramelakalUnidhi. ^TS. I-lv) Raga dhanyasi l i i

*ntr f a g f e i fa: sirawt as|: II He derives this raga from the $rlr3ga mela entirely without Ri and Dha and classifies it as an important raga (uttama-raga). Somanatha, the author of Ragavibodha, confirms the same opinion. sRffffail frfal HRRiraflfT Sira: Oovinda Dik§ita also says that the Sampradaya of Vaipikas is to present this as an Audava Raga without Ri and Dha derived from &rlraga. Venkatamakhi, while appearing to follow the tradition of his father Govinda Dlk§ita, gives it a slightly different name, calls it Suddha Dhanyasi derived from the &riraga (22nd) mela, and gives us another Dhanyasi, derived from the 20th (Narlrlti- gowla) mela, which he describes thus:

Here we come to the use of Suddhadhaivata in this raga. Again, Pundarika Vitthala in his SadrQgacandrodaya makes Dhanyasi a Janya of S'riraga-

«ivi#fir spi^ i srerrifor 11 In the Sangitadarpam Dhanasri is a ragini of £>riraga with only Ri absent. *rar i Ahobala Papdita gives us a Dhanashri which is Audavasampurpa-

^fl5W#ira% II but also describes three kinds of Dhanyasi. a ragini of S'riraga according to Hanumanmata, one Sampurpa, a second $adava and a third 'Audava. 13 138 THB JOURNAL OF THB MADRAS MUSIC ACADBMT [VoL. XLlfr

srtfrt

KRT«ft«r st i Tulaja in his Sangitasaramrta describes a Dhanyasi which is our present {Suddhadhanyasi—

m i i ftsr^nn^ptszr m m ii and in addition presents another Dhanyasi derived from the Bhairavi mela—

G«JO|? Rsnfiftsf I W ^iramSI RRIJfeT II This rdga with //v/*a-r§abha cannot also be our Dhanyasi* Dhanyasi is a ragipi of S'liraga according to Bharata,a ragini of Malava in Sangitadamodara; a ragini of Bangala according to Narada, derived from Bhairavi according to Ragarnava and is a Janakardga itself in the Rdgatarangim. The Northerners sing four kinds of Dhanyasi derived from (1) Bhimpalas, (2) Bhairavi (our Thodi), (3) Patamanjari and (4) Bilaval. Of these the one derived from Bhairavi with Ri and Dha absent in Arohana and which is Vakra-sampurna in the avarohapa, (Ni dha pa ma pa ga ri sa) is nearer to our Dhanyasi than the others. While thus the near-consensus established over centuries among lak§anikas for the use of the higher Ri and Dha for this rdga was slowly veering round for a change towards the lower svaras, we have Govinda, the author of Sangrahacudamani giving us the outline of our Dhanyasi of to-day-

sirat i

The use of the lower Ri and Dha must have derived further strength from the rule regarding Vadi and Samvddi Svaras, and Pts. 1-1V) RAGA DHANYASI 139 the Catu&rutl Rsabha in use must have changed to £uddhar§abha as the Buddha varieties of Ri and Dha are the natural vadi and sarhvadi of each other. We may say that by the time of Govinda we have the raga in its present form. The present Dhanyssi is a derivative of the eighth mela Hanuma Todl and an Autfava Sampurna yaga. Ri and Dha are absent in the arohapa and the avarohana is whole (sampurna). Though derived from the Todi mela as the Gandhara and Ni§5da are slightly different from those used in Todl, Venkatamakhin makes this a derivative of Ritigowla in his Laksana Gita and calls it a BhS§anga raga. With the Suddha varieties of sa, ri, ma, pa and dha and Sadharapa Gandhara and KaiSiki Ni§ada, in this raga Gandhara and Nigada are Vadi and Samvadi Svaras and Ri and Dha have no strength. We may call these two anuvadi svaras. Gandhara W * touches Rsabha and comes down to Sadja while Nisada strokes Dhaivata and descends to Pancama. Gandhara and Ni§ada are rendered with Kampita Gamaka in the arohana : ma-ga ma ga- Sa ni - S i ni and in the avarohana they slide down from the higher note - Sa) Ma). These are the Jiva-svaras of this raga. Ni, Ga Madhyama is to be rendered pure and will add charm to the raga.

’TT, SFTT, •m ,

OTT, m ; f t * # ,

tfn , f t s i ,

y # , ♦ • ♦ * 9 These are the sancaras that add colour to the raga. The old Vaggeyakaras and Haridasas have given us a number of composi. tions in this raga. Tyagaraja is said to have left this world while hearing his disciples sing ** £yamasundarahga ”, one of the six or seven kritis he has given us in this raga. This raga has been used to sing the praise of saints and ascetics by our composers, and may be said to evoke the sentiments of devotion and renunciation in the hearers. This is a raga to be sung mainly in the morning. THE CHANGING PHASE OF INDIAN MUSIC Swami Prajnanananda, Calcutta

The gltis or types of song were known by their respective ragas, and they were called rOgagltis. Matanga (5th-7th century A. D.) fully dealt with the characteristics of the raga- gitis in the BrhaddeSi. In Bharata’s Natyatastra, we find the mention of some foimalised regional dramatic songs (natya-gitis) like magadhit ardha-magadhl, prthula and sambhavita. They were used along with the dhruvas. The ragaglth like Suddha, etc. and natyagltis like magadhi, etc. had their base in the two prime scales or gramas, satfja and madhyama, and the formalised deSl-gltis owe their origin to these gitis.

The newly evolved regional tunes or de&i ragas were divided into main ragas and upa-ragas, i. e. main and subordinate melody- types. The post-Bharata musicologists further divided them into ragas-rngafiga, bha$anga, kriyahga and upanga. From them many other deii ragas evolved with some new names and forms, and they came to be known as the mixed or samkirna-ragas, The mediaeval musicologists like Umapati and others classified the ragas into pure, subordinate and mixed {Buddha, chayalaga or salaga, and samkirna). The origin of the ragas were again mystified by the authors headed by Umapati with spiritual garb and, in the Aumapatam of Umapati, we find that the iuddha-ragas are described as S'iva; the chayalaga or salaga-ragas as £akti, and the sarhklrrta ones as £iva and S'akti principles combined. The ragas make themselves fully manifest with the help of varnas, murchanas, alamkaras, sthayas, gamakas, etc. Their tonal forms or sthayas are not constant, as they change from time to time to suit the taste and temperament of the changing society. Nevertheless, their basic structures together with the ideal for which they stand, remain the same for all time. The seven pure jatiragas were practised during the time of the Ramayana (400 B. C.),1 but they underwent gradual transformation, and we fiikd 1 And from this it is evident that the jatiraga system was in practice even in the prs-Ramayana period. PTS. MV] THB CHANGING PHASB OF INDIAN MUSIC 141 7 4-11 = j at i ragas in the beginning of the Christian era. Bharata Muni dealt with 18 jatis in the Natya&astra, in the 2nd century A. D. The same process also happened in the case of the grdmardgas and other later ragas. In the Mahdbharata and the Harivamda, we find the mention of the six basic gramaragas (“ ?ad-gramaraga ”), whereas, in the NdradUik$a (1st century A. D.), there is the mention of about seven gramaragas, and it has been supported by the Kudumiyamalai Rock inscription of the 7th century A. D.

The ragas are determined by some specific characteristics like sonant, assonant, consonant and dissonant (yddi, samvadl, anuvadl, and vivadi). There are also other factors involved in the healthy manifestation of the raga-forms, and they are varna, jati (heptatonic, etc.)# murcchann, meru, khandameru and rasa (aesthetic sentiment). Some of the main ragas were taken as the basic ones, which determined the formation, manifestation, and some intrinsic nature of the ragas. They were known as melas or thatas, or melakartas. The term * mela * signifies * bringing in a synthesis' among the variant forms of the ragas. The word * thata * is of Persian origin and means * structure * or form, and the word (melakarta ’ is synonym of mela, and is specially used in the South Indian system of music. In fact, mela or thata has been conceived as * a ground ’ or * base *, where a raga takes its stand and makes itself manifest. Some are of the opinion that the word * mela * is a product of the 16th-17th century A. D., and is coined after the genus-species (janaka-janya) principle. Some of the modern scholars are inclined to ignore the utility of mela or thata, as the ragas are determined by their specific groupings. In fact, the system of mela or thata is subordinate to murcchand which possesses also seven notes like a mela. But there are others who disagree with this view. But in spite of the controversy over the origin of the mela or thata, most of the musicologists say that the ragas of different ages evolved from the murcchanas, having their bases on three ancient gramas, ;adja, madhyama, and gandhara.

Now, leaving aside the discussion about the ancient system of music, if we look into the division of the ragas of the present system, we find that all the ragas of different natures are 142 THB JOURNAL OF THE MADRAS MUSIC ACADBMY [VOL. XLIII determined by ten melas or thatas. This new method was adopted by Pandit V* N. Bhatkande. Before him, we come across different number of melas that were included in the genus- species principle, tn the middle of the 17th century A. D. Locana Kavi’s twelve samsthanas or melas were current and those samsthanas have elaborately been described in the Ragatarangini. The present system of Carnatic music adopts 72 basic scales or melakartas which were devised by Venkatamakhin, in the 17th century A.D. Let us discuss about some of the changing phases of the ragas of the 14th*15th century A.D., though many changes also took.place in the forms of the ragas prevalent in ancient time. There were many musicologists and authors who composed or compiled books on music. Among them, the name of S'arnga- deva, who flourished in the early 13th century A-D., is worth mentioning. He composed the encylopaedic Sahgitaratna- kara or the * Ocean of Music \ Simhabhupala (1330 A.D.) and Kallinatha (1446*1465 A.D ) are the principle commentators of that work. Rana Kumbha or Kumbhakarna of Mewar also wrote a commentary on it. Simhabhupala and Kallinatha sometimes differed from each other, and sometimes Kallinatha differed from even Sarngadeva, in respect of the forms of the ragas and also in many other things. To cite an example, Sarngadeva described the r3gat Bangali, as evolved out of the gramardga Bhinna?adja having its sonant (amsa or vadi) and final note (nyasa) as dhaivata. It is pentatonic (audava), the third and the fifth notes being left out (varjita), whereas the commentator, Kallinatha described the Bangali, as evolved from the raga Malavakauiika, as heptatonic (sampurria) in form, and having the sonant and the initial note (graha) as the madhyama and the final note (nyasa) ns sadja. It should be remembered that S'arngadeva described the raga Bangui (and not Bangali) as evolved out of different basic scales- one from the $adja-gramat and the other from the madhyama- grama. Here we come across differences of opinion as regards the fixation or determination of the intrinsic nature of the ragas. In this way, it can be shown that the ragas like Gurjari, Mart gall (or Mangala), Kamboji (Khamaich or Khamaj)t etc. have been defined and determined in different ways by different musicologists of different times. The divergence of opinions, in relation to different manifestations of the ragas, connote the idea of change* $*TS. I-IV] THE CHANGING PHASE OF INDIAN MUSIC 145 Again we find that the tonal forms of the ragas which were prevalent during the time of Matanga (5th-7th century A. D.)» Parlvadeva (7th-9th or 9th-llth century A. D.), Nanyadeva (1097-1157 A. D.), Somegvara (1131 A.D.), Sarngadeva (early 13th century A.D.)> Simhabhupala, Kallinatha, Ramamstya (1550 A.D.,), Pundarika Vitthala (1498-1667 A. D.), Somanatha (1609 A.D.), Damodara (1625 A.D.), Ahobala (17th century A.D.), Locana Kavi (middle of the 17th century A,D.) and others, changed again in the early 19th century A.D. The ancient standard scale, which was current at least between the 12th to 16th-17th century A.D., was similar to the Mukhari mela or Kaphi mela to some extent, changed into the Vilavala mela, which is current in the present Hindustani system of music.

So, if we examine the forms of the ragas that have been depicted in the works like Sahgitaratnakara, Sahgitadamodara, Sangitadarpana, Svaramelakalanidhi, Sangttaparijata, Raga- vibodha and Ragatarangiyi, we find that most of them were difife- rent'from those of the present Hindustani system, though their contemplative compositions or dhyanas and dhyana-mantras, together with spirit and ideal remained the same. As for example, the raga Bhairava is depicited in Damodara’s Sangita- darpana as audavay having the notes dha, ni, sa, ga, ma or sa, gat ma, dha, ni as its tonal form, whereas it has been described as heptatonic (sampurna), constructed out of the seven notes; sa, H, ga, mat pa, dha, ni, having the second and the sixth notes as flat or chromatic (komala). We also notice a change in their sonant and final notes. Regarding the raga MalavakauSika or Malava-kaUiki Damodara is of the opinion that it is heptatonic, having its sonant, initial and final notes ;s sadja, whereas it has been described as pentatonic {audava), devoid of the notes r$abha and pancama, in the present system of Hindustani music. Again Damodara described the raga Gunakri (Gunakiri or Gunakati) as pentatonic, devoid of the second and sixth notes, but it was described as either pentatonic or heptatonic in the present Hindustani music. The pentatonic form of Gunakri has its basic ground on its parent mela-raga, Bhairava, and its heptatonic form on the mela-raga, Vilavala. In this way it can be shown that most of the ragas of the ancient time have been metamorphosed into new forms in the present Hindustani system and also in 144 THE JOURNAL OP THB MADRAS MUSIC ACADEMY [VOL. XLIlI the Carnatic system. But still there exists a traditional link between the two systems of ancient and modern lines.

Again we find that though Mata&ga followed the system of music as contained in the Natyaidstra to some extent, yet he was different from it in many respects and introduced some new patterns of ragas, in the Brhadde&i. Narada of the SaAgita- makaranda and Sarngadeva followed many of the rules and methods advocated by Bharata and Matanga, yet differed from them in many respects, in the determination of the natures and structures of the ragas. Puijdanka, Ahobala, Locana, Venkata- makhin, Srinivasa and others also followed the system of music advocated by S'srngadeva, and yet differed from him in many respects and formulated some new and novel things in their treatises. Thus we find that the authors and the composers introduced some sort of novelty in music, in almost every age, and consequently many changes came in modes, forms, scales, and constituent elements of the ragas.

Some are of opinion that in the time of Bharata (2nd century A.D.), the jatis or jatiragas were generally recognised by their gramas and murcchanas. Afterwards, from the time of Matanga (5th-7th century A.D.), the ragas (grama-ragas and other deSi-ragas) were formed out of the murcchanas, just like the present system of European music were formed out of different ancient modes. A murcchana is recognised by the gradual ascent and descent (aroharta and avarohaya) of the seven notes, and it may be called the womb (yoni) or fountain-head of the system of scales. Even at the time of D&modara (17th century A.D.), as is held by some musicologists, the ragas were determined by, or rather evolved out of the murcchanas. Damodara also said that the ruga Bhairava evolved from the dhaivata-murcchana, dha, ni, sa ri, ga, ma, pa - -pa, ma, ga, ri, sa, ni, dha, and called it a penta­ tonic (audava) raga, having the tonal form dha, ni, sa, ga, ma - - ma, ga, sa, ni, dha, corresponding to sa, ga,ma,pa, dha - • dha,pa, ma, ga, sa. Many of the ragas of South Indian system also took new forms after the advent of Govinda Diksita and his worthy son Venkatamakhin (early 17th century A.D.).

Venkatamakhin worked upon fifteen janaka or mela ragas Which were devised by the philosopher-musicologist Madhava pTS, I-IV] THE CHANGING PHASB OF INDIAN MUSIC 145 Vidyaranya of the 15th century A.D. and developed them into 72 melakartas. Some new creations happened with additions and alterations of notes in the field of investigation and research. Sometimes it is believed that the ragas of the South Indian system preserve their ancient tradition upto this day, without any change or alteration. But that is not wholly correct. Since men of all countries more or less possess different creative faculties and new visions, it is not possible to maintain the old patterns or forms rigidly for all times. AfteT the advent of K§etrajna, TySgaraja, Muttusvami Dikgitar, $yfima Sastri, Svati Tirunal and others, there happened many new changes in the domain of South Indian music. Even in hiodern time, some changes, additions and alterations, were made in the forms or systems of the ragas. Thus we see that not only music of India, but also music of all nations and of all countries underwent some changes in their systems, and it is also a fact that music as a fine art is not a static frame of steel which will remain changeless all the time. It involves, therefore, the process of some adjustments and re­ adjustments from time to time, to suit the taste and temperament of the changing society. The human taste is ever free to reject and rectify the old ones and to infuse new blood and vigour. So the followers of one style, system or school (ghamnn) should neither condemn nor deify the other for introducing some new techniques and textures in the ragast because changes in the form of additions and alterations are bound to happen in the art of music.

id CONTINUITY IN INDIAN RAGA TRADITION Dr. (Mrs.) E. te Nijenhuis Institute for Oriental Languages, Utrecht, The Netherlands

When I studied the Ragavibodha of the seventeenth century South Indian author Somanatha, I was surprised to find that only a relatively small number of the 51 ragas described in the fourth and fifth chapters of this work, that is to say, only twenty-one, are still used in modern Karnatak music, six of these twenty-one being current ragas in modern Hindustani practice as well, while eleven of the total number of ragas are exclusively used in modern Hindustani music. This strange phenomenon, however, can be explained as follows: Somanatha is mostly considered to be an exponent of the South Indian music tradition, which was for the first time laid down by Ramamatya in his Svaramelakala• nidhi written in the middle of the sixteenth century. A closer examination of the ragas in the Ragavibodha, however, shows us that Somanatha not only follows the Ramamatya-tradition, but also borrows material from Pundarika Vitthala. This author, whose most important treatise on ragas is the Ragamanjarit written in ca. 1560-1580, was born in the South, but migrated to the North, where he propagated his raga.system, which became the theoretical foundation of North Indian music. Pundarika Vitthala, although he sometimes followed the South Indian Rama­ matya-tradition, very often held dissentient views, which were accepted by some later North Indian musicologists and also by the South Indian expert Somanatha. This explains why some of Somanatha’s ragas which deviate from the Southern Ramamatya- tradition, but correspond to Pundarika Vitthala's views are only found in modern North Indian music, while other ragas of Somanatha which follow the Ramamfitya-tradition are only found in modern South Indian practice. Moreover, this also proves that Somanatha*s ruga-system was never accepted as a whole. The same thing happened to his notation of musical ornaments, which was never adopted by any later musicologist, and to his pictorial descriptions or dhyanas which, as far as I know, are never quoted on ragamala-miniatures. After Soma- PTS. M V ] CONTINUITY IN INDIAN RAGA TRADITION 147 ngtha, musicologists exclusively dealt with the system current in their own area. Ramimatya’s Karnatak system was handed down to modern times by Venkatamakhin, who in 1620 wrote the Caturdantflpraka* dika, by Tulaja who in 1735 wrote the Sawgitasaramrta,tind by Govinda, the author of the eighteenth century treatise, the Samgrahacudamayi. Pundarika Vitthala’s Hindustani system was more or less adopted by £rlkantha, the author of the Rasakau- mudl (written ca. 1575), but it was greatly changed by later North Indian authors, that is to say, by Hrdayanarayanadeva, the author of the Hrdayakautuka and the Hrdayapraknda (written towards the end of the seventeenth century), by Ahobala, who wrote in 1665 the Samgitapnrijata, closely followed by S'rinivasa, who in his Ragatattvavibodha almost copies Ahobala*s raga- descriptions and by Locana, who at about the same time or a little later (ca. 1670-1705), wrote the Ragatarangi^i. Many modern Hindustani ragas reflect the views of Ahobala. It was* however, the modern North Indian musicologist Bhatkhande, who organised all this controversial material in a system which became the basic system of modern Hindustani music.

Although the South Indian system did not change so much since the sixteenth century, Ramamstya's melas were modified by Venkatamakhin. It is the rage-classification of this author which became the basic system of modern Karnatak music. So we may assume that the South Indian system got its definite form at an earlier age than the North Indian system, that is to say, at the beginning of the seventeenth^century. Thus far some statements which have already been generally acknowledged.

To study the continuity in Indian raga tradition one has to go farther back£in the history of Indian music, that is to say, to the time before the sixteenth century, the ancient period and the middle ages. The theory expounded in the musical treatises of this period is very often disregarded and neglected by modern scholars, and especially by Western musicologists, as being too much abstract and completely irrelevant to modern Indian musical practice. When, however, 1 prepared my Doctoral dis­ sertation on Daitila and studied the available edited Sanskrit treatises on the music of this period, I considered them 148 THB JOURNAL OF THE MADRAS MUSIC ACADEMY [VoL. XLIIl highly interesting as providing material to study the continuity of Indian music, especially the continuity of the Indian raga- tradition. In my dissertation I limited myself to one example, that is to say, to a survey of the historical development of only one raga, Bhairava, to illustrate this continuity. When I studied the historical development of the musical characteristics or lakfayas of the fifty-one ragas mentioned in Somanatha’s Ragavi- bodha, 1 found some very old ragas which had obviously preserved their ancient lak$apas and basic scales upto modern times.

This is a remarkable fact, especially if one considers the changes in raga-classification and tone system which have taken place in the course of time. In ancient times and in the middle ages, the rttgas were not classified according to their basic scales, but according to their modal characteristics or laksanas of which mostly ten are generally accepted, that is to say, the predominant note or antta, which in its relation to other notes is called vaditi; the initial note or graha; the final note or nyasa; the secondary final note or fioal note of a sub-section, the apanyasa; the number of notes used in a raga, indicated by the purna, $adava and audava* which respectively refer to a heptatonic, a hexatonic and a pentatonic scale ; the highest or tara and the lowest or rnandra note to be used In a raga, and finally the rare or alpa note and the note which is frequently used or bahu in a particular raga. The most important of these laksanas is the aijiia-vadin, which is still in modern practice a well-known raga-characteristic. In ancient times a raga had mostly the amSa in common with its parent raga and parent jati. However, ancient ragas originating from the same parent raga or jati could have different scales.

Nevertheless we can reconstruct the basic scales of a number of ancient ragas. We may suppose that the scale of the raga in question is a pure $adja-or madhyamagrama scale, if no particular alterations of notes, such as antara ga and kakali ni, are mentioned, or, if the name of the raga, its parent raga or even its parent jati do not contain the terms kaiiika or sadharana. which may refer to the small alterations of one Sruti of the notes ni, sa, ga and ma. The notes of the pure sadjagrama could be indicated by the modern Karnatak tone syllables: sa ri~ gi“ Sts. I-lv] CONTINUITY IN INDIAN RAQA TRAPITIQN ^ ma pa dhi“ ni, ” or by the Western notes :d e’ f g a b” c ' (I.prefer a d - scale to avoid flats and sharps!). Most probably the madhyamagrsma had the same notes as the sadjagrama with that exception of its tritruti pa, which can be indicated as pa or as a ' in the Western d-scale. The names of the notes of the ancient 9adjagrama have been preserved in modern South Indian music as: sa, Suddha-ri, Suddha-ga, ma, pa, iuddha-dha, iuddha-ni, although the second, third, sixth and seventh notes are interpreted a little lower than in the ancient time. The ancient antara ga and kdkali ni more or less retained their positions in both Karnatak and Hindustani music, while the names of these notes have only been preserved in Karnatak musical theory. Similarly the ancient names sadharapa ga and kaiiika ni are still found in the modern Karnatak system, although the notes themselves became a little lower in the course of time.

In Hindustani music the names of the notes changed twice. The South Indian names of the notes which Pundarlka Vitthala introduced in the North were changed by the later North Indian authors Ahobala and Srinivasa, who considered the notes of the modern Hindustani kafi that the basic or tiuddha notes. They called the lower varieties of ri and dha “ komal”, the higher varieties of ga, ma and ni, however, “ tivra **. In modern Hindu­ stani music, on the other hand, the higher varieties of ga and ni are considered tuddha.

One will certainly understand that the notes and the names of the notes have not been arbitrarily modified by the musical ex­ perts. These modifications are due to the change of tonal system, which became necessary when new instruments were invented which required a new method of tuning, a new temperament. The ancient iruti system with its unequal whole tones of four and three audible units or Srutis is fit for harp-like instruments such as the arched harps of Bharata’s NatyaSastra, the 7-stringed Citra vina and the 9-stringed Vipancl vipa. When in the tenth or eleventh century this instrument was definitely replaced by the stick-zither type of vina with one or two, or at least a relatively small number of strings and thirteen frets1, the unequal whole

1. G. H. Tarlekar, ‘Fretted vTna in Indian sculpture', Journal of the Music Academy, Madras, 36 (1965), pp. I72ff. 150 THE JOURNAL OF THE MADRAS MUSIC ACADBMY [Vol. XLIII tones of the ancient system caused difficulties, especially if they had to be executed on the same fret. For this fretted instrument a new system of tuning had to be invented. Before the modern system of twelve semitones in the octave or saptaka, each fret representing one semitone, was introduced by Ramamatya in the middle of the sixteenth century, several transitional systems may have been developed. In my opinion £§rngadeva's methods of placing the frets on the Brhatl, Madhyama and Laghvi Kinnari vjpar, described in the sixth chapter of the Samgitaratmkara*, represent such transitional temperaments.

The ancient Sruti system which is often considered a purely theoretical system and disapproved because of its very high fifth which exceeds the just or Pythagorean fifth of ratio 3/2 seven cents * and its very low fourth which is seven cents lower than the just or Pythagorean fourth of ratio 4/3, is nevertheless a very interesting system based on micro-interval of 54, 54 cents, which Is comparable to the ancient Greek enharmonic quartertone of 55 cents, ratio 32/31. According to me this ancient system was not so unfit for musical practice, as it has often been considered by modern scholars, since its minor third sadharafia ga, its major third antara ga and its major seventh kdkali ni are much better than their equivalents of equal temperament, because they are nearer to the just intervals of ratio 6/5, 5/4 and 15/8 than the last-mentioned ones. The iuddha ga, iuddha dha and kaiiikani are very near to the 75th, 53rd and 29th harmonics, while the famous tri&ruti pa is almost identical with the septimal fifth or sub-fifth of ratio 35/24., The three-^rwrMnterval of 164 cents is very much like the ancient Greek trumpet-interval of Ptolemy's equal diatonic scale of ratio 11/10 or 165 cents. As far as I know, the f our-rfrati-interval, however, does not correspond to any harmonic of a simple ratio. With its 218 cents it is bigger than the major tone of ratio 9/8 or 204 cents. If this ancient system is realized on an unfretted harp-like instrument, there is no trouble. On a fretted instrument like the stick-zither vina developed in the tenth or eleventh century such a system with unequal whole tones 23

2. SarnSR. 6, 294f. 312f.,; 321f. 3. For the ratios and calculation in cents compare H. Helmholtz, On the Sensations of Tone, N. Y. 1954, second revised English edition, App. p. 453, Table of Intervals. P tS , I-IV] CONTINUITY IN INDIAN RAGA TRADITION 151 is impossible. Therefore Sarngadeva obviously tried to equalise the ancient different whole tones. Using the measurements of the fret intervals of the Brhatt kinnari virta, mentioned by &arngadeva {Samgitaratnakara 6, 294-299), one can easily find the ratios of the musical intervals of this transitional scale and also calculate the number of cents of these intervals. The first interval sa-ri is no longer a three druti tone of 164 cents. With its 195,4 cents it is very near to the Western mean tone of 193 cents and also not much lower than the whole tone of equal temperament of 200 cents. This may mean that this scale does not start from the duddha sa but from the ancient cyuta sa. The interval ma-pa originally containing 4 drutis or 218 cents has decreased to an interval of 203 cents, which is almost like the just major tone of ratio 9/8 or 204 cents. The intervals sddharana ga-ma and pa*dha, originally 3 druti-intervals of 164 cents have become almost identical with the just minor tone of ratio 10/9 or 182 cents. The 3 iru/i-interval ri•sadharana ga, however, has only increased 5 cents, while the 3 jru/i-interval ni-cyuta sa has changed into a much smaller interval of 146.8 cents, which resembles an old Arabic lute-interval of 146 cents. The ancient 2 druti-Interval dha-ni of 109 cents has increased and changed into a 120 cents, interval, which is very near to the great semitone of European mean tone temperament of 117 cents.

This transitional scale of &arngadeva is obviously based on the harmonic seventh cyuta §adja. With this starting note the dha makes an interval of ratio 12/7, the so-called septimal or supermajor sixth. Ma and dha, however, constitute the just major third of ratio 5/4. Temperaments like this Brhatl Kinnari vTpa-tuning based on the harmonic seventh, are very rare, at least in the history of Western music. It would carry us too far also to analyse iSarngadeva’s tunings of the Madhyama Kinnari and Laghn Kinnari Vina. With one example 1 hope to have sufficiently demonstrated £ariigadeva’s attempt to equalize the ancient major and minor whole tone. A real equal temperament came into use during the second half of the sixteenth century. At a time, when the Dutch mathematician Simon Stevin and the Chinese Prince Tasi-yu had not yet made its exact calculation, equal temperament must already have been practised on the Indian 4-stringed fretted vinos 1$2 THE JOURNAL OF TttB MADRAS MUSIC ACADEMY [VOL. XLIII described by Riimamatya4 5 in 1550 and about twenty years later by Pupdarlka Vitthala*. According to these experts the strings of the VlpO are tuned anumandra sa, anumandra pa, mandra sa and mandra ma. The placing of the frets proves that only equal half tones are possible. When an interval pa-dha, originally of 3 & rut is, has to be produced on the same frets as the intervals iuddha ga-sndharana ga and Suddha m-kaiSika ni, which in the ancient period were one-i/uri-intervals, this means that these 3-and 1-intervals must have become equal, that is to say, have become half notes of equal temperament. So the dha of the above- mentioned pa-dha interval must have become dha komal of Hindustani music which corresponds to the iuddha dha of Rarnatak music. Since this dha has to make a true octave consonant with the anumandra dha, produced by the anumandra pa-string on the first fret, this fret must have been placed at an equal half tone-interval from the bridge or meru. In this way all frets have become equal half tone frets. A similar development took place at about the same time in Europe under the influence of the fretted lutes and key-board instruments. This proves that it is the construction of the fretted instrument itself which^ requires equal temperament. When in the sixteenth century, Ramamatya, using this new temperament of twelve equal half tones in the octave, rearranged all ancient and contemporary ragas according to their scales, the ancient modal relationship based on the lak$a$as or modal characteristics, that is to say, the interrelationship between a particular raga, its parent raga and parent jati and also between ragas originating from the same parent raga, was destroyed. Ragas having a completely different origin were classified under the same scale or me la. For example, all ragas which in the ancient time were based on the notes of the gadjagrdnta and which had the two alterations antara ga and kakali ni, a consi­ derable number of such ragas existed in that period-from now on belonged to the Malavagauda mela, in spite of the fact that they had different arp&as, a different number of notes, or other

4. RamSM. 3, 26f. 5. V. N. Bhatkhande, A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th centuries, Bombay, 1941, p.47. PTS. I-IV] CONTINUITY IN INDIAN RAGA TRADITION 153 different lakfanas and that they originated from a different parent raga.

In many cases RamSm&tya even changed the basic notes and the lak$anas of the ragas, but, on the other hand, he also preserved the fundamentals of some ancient ragas, although he arranged them according to a new system. It is quite under­ standable that melodic lines change in course of time, as musical practice naturally tends to renew itself from time to time. When musical treatises such as the Abhinavabharatasara- sarpgraha do not reflect these changes they are nothing but anachronistic compilations of ancient theory. After R|ma- matya the seventeenth century author VeAkatamakhin and the eighteenth century author Govinda had to reorganize the South Indian mela system to some extent. In the seventeenth century the North Indian system of basic scales, called samsthana or thnta, which being introduced by Puijdarika Vitthala developed from the South Indian mela system, was greatly changed by Ahobala. Some ancient ragas, however, resisted all these innovations and strongly kept the ancient tradition without changing their fundamentals, including scale, modal characte­ ristics and time of performance.

The third fundamental, which refers to the period of the day during which a raga should be performed, is an ancient raga- feature, which I did not explain before. Several authors, both ancient and modern, mention this typical raga-characteristic, but there are some who completely deny it. Performance-time is something, which most probably under the influence of Indian rasa’-theory is often over-estimated by Indian and Western scholars, but especially by those Westerners who are ready to consider Indian music only as the result of a magic view on life. When 1 was searching for an explanation of this performance­ time phenomenon, I first thought of finding some relationship between the awSa and the performance-time of a particular raga, because the accient treatises associate the predominant note or aqisa of a particular jati or raga with a particular aesthetic sentiment or rasa and state that the seven notes had their own deity, social class, animal, colour, rasa, etc., which indeed reflects a magic, or rather, tantric view on life. However, the 20 154 THB JOURNAL OP THB MADRAS MUSIC ACADEMY [VOL. XLIII treatises do not speak about a relationship between particular notes and the performance-time of a raga. In my opini on this performance-time precept of ragas has a completely different background. When I made a list of all ragas, the performance-time of which is mentioned by S'arnga- deva in his Samgltaratnakara, I found that this author calls all his cokga or Suddha and all his bhinna-r&gas, morning-rdgo?, that all his gautfa-ragas should be performed at noon, all his vesara-ragas should be executed in the evening, while his sadharana-raga rupasadharita could be performed at any time. The above-mentioned ragas are the five classical groups of grama-ragas mentioned by all ancient authors. I summarize: Cok$a or iuddha-grama-ragas are: $uddhasadharita, Sadja- grama, £uddhakai$ika, Madhyamagrama, Sadava, £uddha- kai&kamadhyama and guddhapancama. Bhlnna-grama-ragas are : Bhinnakai&kamadhyama, Bhinna- tana, Bhinnakaigika, Bhinna sadja and Bhinnapancama.

According to Sarhgadeva all ragas of these first two groups have the same performance-time. * Gouda-ragas are: Gaudakaigikamadhyama, Gaudapancama and Gaudakai£ika. Vesara ragas are; Vesaragadava, Botta, Malavapancama, Malava-Takka, Hindola, Sauvira and Takkakaigika. Of the sadharana-ragas Sarngadeva mentions only one^ Rupasadharita. These five classes or types of gramaragas have been defined by Matanga (cf. Brhaddeii 291-303). Although these definitions are rather vague, they somehow explain why a particular performance-time is prescribed for each of these five classes of ragas. Defining these classes Matanga mentions several ancient ornaments and series of notes in every case. In the definitions of the first two classes, that is to say, in the definitions of the iuddha or pure and the bhinna or irregular gramaragas, the reference to the low or mandra and the high or tara registers or sthanas is conspicuous. In these ragas, which should be per* formed in the morning, the range of the melody is obviously very important. The ragas of the third class, the Gaudaragas, are Pts. i-iv] Continuity in Indian raoa tradition 155 defined as melodies which uninterruptedly move ascending and descending. This definition may indicate a very skilful style, such as the gauda style of poetry. Noon is indeed the best time to display the technical skill which is typical of the gaudaragas. One will certainly understand why passionate ragas such as the vesara or ragagiti-ragas of class four should be performed in the evening, since this time is generally associated with love or passion. The universal or sadharana-ragas of class five are defined as having the features of all the other classes of ragas. Hence they can be performed at any time. We will now see whether the ancient performance-times still hold good for the traditional ragas of modern Indian practice. Now 1 shall describe in short the historical development of some very old ragas which have preserved some of their ancient fundamentals such as basic scale, mela or that, modal characte­ ristics or laksanas and performance-time. The first example, raga Mukharl, shows that the notes of the ancient sadjagrama are still used in a modern Karnatak raga. In modern Karnatak music two types of Mukharl are practised : One belonging to the mela Kanakangi (sa raga ma pa dha na = d eb fb g a bb cb)* and second one belonging to the Narabhairavi mela (sa li gi ma ga pa dha ni = d e f g a bb c).7 The basic notes of the first type are modern equivalents of the notes of the ancient $adjagrama (sa ii” gi“ ma pa dhi“ ni d e~ f~ g a b“ c~ ). In the opinion of Tulaja8 Mukharl is the same raga as the ancient S'uddhasadharita, which may indeed have been based on the notes of the sadiagrama, since the ancient authors8 consider it a raga springing from the yadja- madhyama jati, which belorgs to the sadjagrama. The ancient tradition of this raga is handed down by Ramamatya10, Pundarua Vitthala”, $rlkantha18, Soiuanatba'8 and 6. B. Subbarao, Raganidhi, Madras 1965, vol. 3, p. 164f., type 1. 7. Raganidhi, vol. 3, p. 165. 8. TulSS. p. 106. 9. &roSR. 2, 2,21f.; KuSR. 2, 2,1, 178f. 10. RamSM. 5, 24f. 11. PumdRM. p. 9. 12. £i IR K . 2, 8lf, 13. SomRV. 4,8. 156 THE JOURNAL Of THE MADRAS MUSIC ACADEMY (VOL. XLlll Tulaja,1* who describe the Mukhari mela as a scale consisting of pure or Suddha notes only (sa ra ga ma pa dha na = d eb fb g a bb cb). Ahobala14 15 and Srinivasa16 refer to the same scale, but since in their time the fuddha scale is different (sa ri gi ma pa dhi ni = defgabc) the Mukhari notes ri, dha and ni are called flat or komal and ga is said to the ancient gandhara Ig f = O . The seventeenth century authors Venkatamakhin17, Hrdaya- narayanadeva18 19 and Locana12 describe Mukhari mela as a scale consisting of the notes: sa ri gi ma pa dha ni = d e f g a bbc. This scale corresponds to the notes of the modern Karnatak Narabhairavi mela, which is the basic scale of the second Mukhari mentioned before. Govinda20 21 does not follow either of the two traditions. He groups Mukhari raga under the mela Kharaharapriya (sa ri gi ma pa dhi ni). This scale is, however, very near to the second Mukhari scale. Only its dha of four Srutis is a little higher than, the dha of this raga. The tradition is almost uniform as far as the function of# dominant initial and final notes is concerned. The ancient authors91 mention sa of the high register, sa tara, as dominant and initial note, but ma as final note of £uddhasadharita, the ancient equivalent of Mukhari. According to S'rikantha22 Somanatha23, Venkatamakhin24 and Govinda25 sa is the domi­ nant, initial note acd final note of Mukhari. Ahobala26 mentions si only as final note, but pa as dominant of Mukhari.

14. TulSS. p. 105. 15. AhSP.373. 16. S>riRT. 7, 36. 17. VenkCPApp. 20, 14. 18. HrdHK. p. 4, verse 35f. and HrdHP. p. 5, no. 12. 19. LocRT. p. 8. 20. GovSC. 3, 22, 28. 21. 6arnSR. 2, 2, 2lf.; KuSR. 2, 2, 1, 178f. 22. 3rIRK. 2, 81. 23. SomRV. 4, 8. 24. VenkCP. 5, 32. 25. GovSC. 3, 22, 28. 26. AhSP. 373. PtS. I-IV] CONTINUITY IN INDIAN RAGA TRADITION 157 From the ancient time upto the seventeenth century Mukhari (or guddhas&dharita) has always been a complete (purpa) raga. Veftkatamakhin,21 however, states that ga and ni should be omitted in the ascent, but he also mentions2' a complete type of Mukhari. Hrdayaoariyanadeva2' still defines Mukhari as a complete raga, but in the two modern Mukhari rSgas ga and ni are omitted in the ascent. Govinda,10 however, does not exactly follow the tradition, since he prescribes only ga as omissable note in the ascent. About the performance-time of Mukhari the later authors agree with each other that any time suits this raga. The ancient S'uddhasadharita, however, had a different performance-time, that is to say, the first prahara of the day*1, obviously because it was a raga of £>arngadeva’s first class of gramaragas, the Suddha gramaragas. It is only the ancient performance-time which has not been preserved upto modern times. With regard to the other features there is a continuity in the history of the raga Mukhari,

Before presenting a second example, I must say that thus far I did not find a raga in which the notes of the pure or iuddha form of the ancient ntadhyama-grama have been preserved.

With the second example, however, I shall demonstrate that the two modern Kernatak varieties of the raga Varati or Varall, that is to say, the Samavarali and the JhalavarSlI ragas respectively, represent the ancient fa

27. VenkCPApp. 20, 14. 28. VehkCP. 5, 71. 29. HrdHP. p. 5, no. 12. 30. GovSC. 3, 22, 28. 31. gsrnSR. 2, 2, 22; KuSR. 2, 2, 1,180. 32. MBrh. p.129. 158 THB JOURNAL OF THB MADRAS MUSIC ACADEMY [VoL. XLlll The first type Suddhavaratika or Batukl33, also called Modaki34, is a raga derived from the raga Sauvlra35, which is connected with the sadjagrama-Jati ?adjamadhyama. We may assume that this type of Varatl, the ancient S'uddhavarati, had the same basic notes as its parent raga Sauvlra: sa ri” gi" ma pa dhi” nu = d e“ f~ g a b” c, which correspond to the notes of the modern Karnatak Samavarali mela : sa ra ga ma pa dha nu = d e*> fb g a bb c The second type of Varatl mentioned by &arhgadeva3* and Kumbha37 38 is a raga derived from the raga Bhinnapancama, which is connected with the two madhyamagrUma-jatis madhyma and pancami. This second type of Varatl may have bad the same basic scale as its parent raga Bhinnapaftcama31, that is to say, a scale with a madhyagrnma pancama of three $ rut is (pa“) and a major seventh (kakali ni): sa ri ” gi“ ma pa“ dhf* nu = d e~ f ’ g a” b" c , or in modern notes: sa ra ga ma mu dha nu — d eb fb g g bb c . In later times the ancient pancama of three drutis was called mrdupancama ma (mu T = g T ). In Ramamatya's system this note is equated with the augmented fourth (prati ma, g ). Tulaja39 says that this mrdupancama madhyama is also called Varalimadhyama. This note indeed characterizes the second type of the ancient Varatl, which has, except this note, the same structure as the first ancient Vaiatl. If we compare the modern Karnatak Jhalavarali mela with the scale of the second ancient Varatl, derived from the Bhinnapancama rsgat we find that the ancient duddha ma (g) is left out and replaced by the ancient tridruti pancama (a*^ or mrdupancama madhyama (m u ’*- = g while duddha pancama is inserted. This second type of Varatl was also used in North Indian music. Pundarika Vitthala40 describing this Varati which he erroLeously calls S'uddhavarati follows the South Indian tradi­ 33. garnSR. 2, 2 .123f. 34. ParsSS. 3, 45f. 35. &arhSR. 2, 2, 120. 36. £arnSR. 2, 2, 86; Varatl. 37. KuSR. 2, 2, 2,104: Varatika. 38. garhSR. 2. 2, 82f. 39. TulSS. p. 69,1. 14. 40. PumdRM. p. 12, no. 22. PtS. Mv] CONTINUITY IN INDIAN RAGA TRADITION 159 tion. The later North Indian authors interpreted the iuddha ga (gi" =* f” ) of the ancient second Varatl a little higher (as gi = f). Beside this traditional Varatl (sa ra gu mu pa dha nu = d eb f g a bb c ) , which he erroneously calls guddba- vaiati41 4243, Ahobala introduces a new Vararl (sa ra gu mu pa dha nu = d eb f g a bb c)4a with a major third (tlvra ga = gu = f ), which is not referred to by any other author before his time. This new type of Varatl, created by Ahobala and also described by Srinivasa4*, became the current Varatl or Baiari of modern Hindustani music44. According to Subbarao45 46, however, the North Indian Barari (= Vararl) and Varatl are different ragas, the first one belonging to the Marva that (with a Hindustani iuddha dha = Karnatak dhi = b) or to the Purvi that (with a Hindustani komal dha = Karnataka dha = bb), the second one belonging to the Marva that only, both ragas having different vddin, samvadin and omissible notes. In the ancient Suddhuvarati raga and its later development, the Karnatak Samavarall the note sa is, the dominant, initial and final note. In the second ancient Varatl, however, dha was the dominant, while sa functioned only as inital and final note. In its sixteenth century North Indian equivalent £uddhavarati and its modern Karnatak equivalent the Jhalavarall, sa is used in the three functions. Some North Indian authors of the seven­ teenth century take dha as the initial note in this second Varati48. According to Subbarao47 dha is the central note or vadin of the modern Hindustani Barari or Varaii, ga functions as vadin*-', while dha is only used here as the note which is conso­ nant or santvadin with the central note or vadin. In the history of the Varatl raga Somanatha49 is the only author who refers to ga as an important note in a Varatl raga, that is to say, as dominant and initial note in Vasantavarali, 41. AhSP. 391. 42. AhSP. 390. 43. 3rTRT. 7,16. 44. BhatKPM. 0, 74f. 45. Raganidhi, vol. 2, Madras 1964, p. 62f.: Barari or Vararl; vol. 4, Madras 1966, p. 197: Varatl. 46. AhSP. 391; SrlRT. 7,77. 47. Raganidhi 4, p. 197. 48. Raganidhi 2, p. 63 ; BhatKPM, 6, p. 74f. 49. SomRV. 4,10, 160 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL XLlll The ancient Varati rQgas and their later equivalents have always been complete or sarppurna ragas. According to Subba- rao50, however, the modern Hindustani Varali is a pentatonic rsga, which omits pa and ni, while the modern Hindustani Barari or Varari is a hexatonic raga which omits ni.51 52 Bhatkbaude,59 60 on the other hand, defines Varati or Barari as a complete raga. In the fifteenth century Kumbha53 54 already mentions the evening as the performance-time of the ancient guddhavaratl. Later Sout Indian author^55 state that Samavarall, the equivalent of the ancient S'uddhavaratl, could be performed at any time. Tulaja,55 however, who often refers to the ancient tradition, mentions in connection with Samavarall raga the ancient perfor­ mance-time, that is to say, the evening. The modern Hindustani Barari5* ( = Bhatkhande*s Varati or Barari51) is also considered an evening raga. As regards the performance-time of the sixteenth and seventeenth century &uddbavaratl, which corresponds to the later Karnatak Varali or Jhalavarall, the authors58 do not agree with each other. The third and fourth examples will show that the notes of the ancient $adjagrama with the two alterations kakali ni and antara ga, sa ri~ gu ma pa dhi" nu = d e’ f g a b" c , or in modern notes: sa ra gu ma pa dha nu = d eb f g a bb c are still used in modern Hindustani and Karnatak music. First, the famous Hindustani raga Bhairava, which is an excellent example to demonstrate the continuity in the Indian raga tradition. The ancient Bhairava springs from Bhinna§adja,59 a raga which is alrady described by Matahga,80 but also by the

50. Raganidhi 4, p. 197. 51. Raganidhi 2, p. 63f. 52. BhatKPM. 6, 74. 53. KuSR. 2, 2, 3, 40. 54. RamSM. 5, 46; SomRV. 4, 9 ; VefikCPApp. 3, 1. 55. TulSS. p. 107. 56. Raganidhi 2, p. 63f. 57. BhatKPM. 6, 74f. 58. RamSM. 5, 21; PumdRM, p, 12, no. 22; VenkCPApp. 39; TulSS. p. 89; SomRV. 4, 27; DamSD. 2, 55; AhSP. 390 f. 59. SarhSR. 2, 2, 81 ; KuSR. 2, 2, 2, 35-38. 60. MBrh, 324. PTS. MV] CONTINUITY IN INDIAN RAGA TRADITION 161 other ancient authors S'arfigadeva81 and Kumbha*3 as a raga, which being connected with the sagjagrama jnti §adjodicyavati, has a major third (antara ga = f ) and a major seventh (kakali ni = c ). If we assume that Bhairava had the same notes as its parent raga Bhinnasadja, it may have contained the notes: sa ri“ gu ma pa dhi“ nu, which correspond to the modern notes: sa ra gu ma pa dha nu. These are the notes of the modern Hindustani Bhairava that and the modern Karnatak Malavagaula mela. The modern Hindustani raga Bhairava belonging to the Bhairava th a t has preserved many of the ancient characteristics, including the ancient basic scale. The ancient tradition is handed down by Srlkantha61 6263, Hydayanarayanadeva64, Abobala65 6667 and Locana68 6970, who refer to the ancient basic scale, although they speak of Malavagauda or Gauri mela. In modern North Indian theory this basic scale is called Bhairava th a t61.

The modern South Indian system has also a Bhairava, which is, however, a completely different raga. In the course of time the South Indian experts apparently developed a different raga Bhairava. Towards the end of the sixteenth century Puudarika Vitthala" defines Bhairava as a raga belonging to the Todi mela which has the notes: sa rf’gi’^ma pa dhPni^* ■* d e”* f ”** g a b” c"*". Somanatha8* mentions a Bhairava mela consisting of the notes: sa ri“ gu ma pa d h f ni = de" f g a b*c. Venkata- makhin10 accepts this scale, but he changes the iuddha dha ( dhi“ = b“) into a dha of four irutis (dhi = b). His mela number 16 contains the notes: sa ra gu ma pa dhi ni = d eb f g a b c. The modern Karnatak basic scale of Bhairava,

61. garnSR. 2, 2, 79-81. 62. KuSR. 2, 2, 1,268-278. 63. grIRK. 2, 103. 54. HrdHK. p. 10, no. 17; HrdHp. p. 12, no. 59. 65. AhSP. 378. 66. LocRT. p. 6. 67. BhatKPM. 2,165; Raganidhi 1, Poona 1956, p. 74f. 68. PumdRM. p. 10, no. 4. 69. SomRV. 4, II. 70. VcnkCPApp, 16, 1, 21 162 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VO L. XLIII Suryakanta71 72, has also a dha of four irutis (dhi = b), but on the other hand, it has a kakali nl which is not mentioned by Vefikatamakhin.

In the ancient Bhairava dha has been an important note. Kumbha13 mentions dha as dominant and final note of this raga. Matanga73 7475, Sarngadeva71 and Kumbha76 refer to dha as the dominant and the initial note, and to ma as the final note of Bhinna§adja, the parent raga of Bhairava. Somanatha78 and Damodara77 maintain dha in its function of dominant and initial note. Somanatha mentions sa as the final note, while Damodara has still ma in this function. Ahobala78 and Srinivasa7* maintain dha and ma in their function of initial note and final note respec­ tively. In the modern Hindustani Bhairava raga80 dha is still an important note. The South Indian Bhairava81 82, which has sa in the three functions is obviously based on Pugdarika Vitthala’s conception83. The ancient Bhairava83 may have been a pentatonic raga like its parent raga Bhinna$adja which omits ri and pa. Some authors81 85 refer to this ancient pentatonic form. Others86 how­ ever consider Bhairava a complete or purpa raga. Pundarika Vitthala16 mentions a hexatonic scale devoid of ri. In the modern Hindustani Bhairava87 ri is not omitted, but it is still a note which is rarely used (alpa or durbala) in the ascent. In the

71. GovSc. 3,17, 2; Raganidhi 1, p. 76f. 72. KuSR. 2, 2, 2, 36-38. 73. MBrh.324. 74. sSarhSR. 2, 2, 79-8). 75. KuSR. 2, 2,1, 266-278. 76. SomRV.4, II. 77. DamSD. 2, 47f. 78. AhSP. 378. 79. S'rIRT. 7, 53. 80. BhatKPM. 2, 65; Raganidhi 1. p. 74f. 81. SrTRK. 2,103; VenkCPApp. 16,1; GovSC. 3,17.2. 82. PumdRM. p. 10, no. 4. 83. MBrh. 324f.; SarnSR. 2, 2, 79-81; KuSR. 2, 2, 1, 266-278. 84. SrlRK. 2, 103; DamSD. 2, 47f.; AhSP. 378; SriRV. 7, 53. 85. SomRV.4, 11; HrdHK. p. 10, no. 17; HrdHP. p. 12, no. 59; VenkCPApp. 16,1; BhatKPM. 2, 165. 86. PumdRM. p. 10, no. 4. 87. BhatKPM. 2, 165; Raganidhi 1, p. 74f, PTS. MV] CONTINUITY IN INDIAN RAGA TRADITION 163 modern Karnatak Bhairava" the note ni should be omitted in the descent. This precept is not found in any traditional or ancient musical treatise.

All North Indian authors and also a few South Indian experts" consider Bhairava a morning raga which means that these musical experts have preserved the ancient performance­ time mentioned by Kumbha*0.

My fourth example refers to Lalita raga which is a very rare raga in North Indian music. The Karnatak Lalita, however, is a very rare popular raga. In the course of time the notes of the basic scale of this raga never changed.

The ancient authors*1 mention a Lalita raga derived from the Takka ragat which consists of the notes: sa ri” gu ma pa dhi “ nu (that means: with kakali ni and antara ga); in modern notes: sa ra gu ma pa dha nu = d eb f g a bb c This is exactly the Malavagaula mela mentioned by later authors in connection with Lalita.

In the ancient time there was also a second type of Lalita springing from the Bhinna§adja raga", which had the same basic notes as the other parent raga Takka. Apparently, this second Lalita is not the one which is still current in modern Karnatak music, since it is a complete or puma raga and has dha in the function of dominant, initial and final note, whereas the first type of Lalita has, like the classical Lalita of Karnatak music, the note sa in the three functions. According to some authors*8 the first Lalita has a pentatonic scale devoid of ri and pa. 888990919293

88. GovSC. 3, 17, 2; Raganidhi 1, p. 76f. 89. SotnRV* 4, 11; VenkCPApp. 16,1. 90. KuSR. 2, 2, 2, 36-38. 91. ParsSS. 3, 41; SarnSR. 2, 2, 174; VenkCPApp. 15, 12; AhSP. 413 ; SrlRT. 7, 33; TulSS. p. 87; Raganidhi 3, p. 80f. 92. MBrh. p. 139; S’arnSR. 2, 2,176 ; KuSR. 2, 2, 1, 1018f.; 2, 2, 3, 6f."; 2, 2, 3, 12f. 93. Par&S. 3, 41; S'arnSR. 2, 2,174; KuSR. 2, 2, 1, 743f.; 2, 2, 3, 7f.; DamSD. 2, 81; Raganidhi 3, p. 80. 164 THB JOURNAL O* THB MADRAS MUSIC ACADfiMY [V oL. X Ilit According to others*1 however, this Lalita has a hexatonic scale from which either ri or pa is omitted. The ancient authors94 95 96 mention heroism as the sentiment of the first Lalita. Kumbha99 associates the second Lalita with the erotic sentiment, which Tulaja97, however, ascribes to the first type of Lalita. Kumbha98 states that the second Lalita should be performed in winter during the first prahara of the day. This performance-time, (i.e., 6-9 o’clock in the morning) is mentioned by later authors" in connection with the first or traditional Lalita.

With the next two examples I shall demonstrate how the ancient scales containing the ont-Sruti alterations sadharapa ga and kaiiika ni developed into their modern equivalents. Example number 5, raga Dhanagri, has preserved some of its ancient lak§apas. The note sadja which has always been the initial note, the dominant and final note in this raga is still use4 in this function in the modern Karnatak Dhanagri. In the Hindustani Dhanasri it is the samvadin, that is to say, the note which is consonant with the central note or vadirt pancama* Ahobala100 and Srinivasa101 102 however, prescribe ga as initial note and ma as final note without mentioning a dominant function. From ancient times upto the present day rsabha has been the note which should be omitted In this raga. Nowadays, how­ ever, Dhanagri is no longer a hexatonic raga. It has a penta­ tonic structure. At the time of Ramamatya108 it assumed its pentatonic form devoid of ri and dha. According to some authois, but especially according to modern Hindustani experts, these notes should only be omitted in the ascent.

94. MBrh. p. 112; KuSR. 2 , 2, 1, 745; SomRV. 4, 22; VehkCP. 5 54; AhSP. 413 ; SrlRT. 7, 33 ; TulSS. p. 87. 95. ParsSS. 3, 41 ; S'SrnSR. 2, 2, 174 ; KuSR. 2, 2, 3, 7f. 96. KuSR. 2, 2, 3, 12f. 97. TulSS. p. 87. 98. KuSR. 2, 2, 3, 12f. 99. RSmSM. 5,36; SomRV. 4, 22; VenkCPApp. 15, 12. 100. AhSP. 368. 101. S'rIRT. 7, 3-5. 102. RamSM. 5, 39. P ts. I-Iv] CONtlNUiTY' IN INDIAN RAG A TRADITION All authors from Kumbha103 to Ahobala104 and Tulaja105 state that the morning Is the suitable performance-time. So Bhat- khande10* deviates from the tradition when he says that this raga should be executed in the early afternoon.

However, the most interesting feature of the raga Dhanagrl is its scale which proves to be very traditional. Among the different types of Dhanagrl performed in modern Hindustani and Karnatak music the most common type is the one which is based on the notes of the Kaphi that which corresponds to the Khara- harapriya mela: sa ri gi ma pa dhi ni = d e f g a b c, This variety of Dhanagrl has exactly the same scale as the Dhanagrl which Ramama’ya107 lists under his $iiraga mela.

The ancient Dhanagrl mentioned by Sarftgadeva108, Pargva- deva10* and Kumbha110 111 may have had the same basic note as its parent raga &uddhakaigikamadhyama, which is connected with two ja th , that is to stay, with the ?adjagrama*jati §adjamadhyama and the madhyamagrama-jati kaiiiki. The term kai&ika meaning “ fine as a hair’*, is already used in Bharata’s Natyaiastrani to indicate the first microtonal alteration of ga and ni, the gi ( = f) and ni ( = c). If we assume that the term kaiiika when occurring in the name of a raga also refers to these alterations, the raga &uddhakai£ikamadhyama may have contained the notes: sa ri” gi ma pa (or: pa~ ) dhi" ni. But if we consider that according to the ancient authors ri~ should be omitted and that kakali ni could be used, the scale of £>uddha- kaigikamadhyama appears to be: sa gi ma pa ( or : pa” ) dhi” ni ( o r: nu ) = d f g a ( or a* ) b“ c ( or c ).

103. KuSR. 2, 2, 2, 64f. 104. AhSP. 358. 105. TulSS. p. 105. 106. BhatKPM. 6, 144f. 107. RamSM. 5, 39. 108. SSrhSR. 2, 2, 99f. 109. ParsSS. 3, 26f. 110. KuSR. 2, 2, 2, 64f. 111. NatyaSastra, Baroda edition, vol. 4, p. 32, ch. 28, 34-35. 166 THB JOURNAL OP THE MADRAS MUSIC ACADEMY [Vol. XLlII If we compare this scale with Ramamatya's Dhan&iri there is a considerable similarity, but there is also some difference. RamamBtya omits not only the ri~ but also the d h f and disregards the madhyamagrama triiruti pa and the kakali ni. Most of the later authors, including Somanatha11’, accepted Ramamatya's conception of Dhanasri. In imitation of RBma- matya they listed this raga under the 3rlraga mela. Only Punda- rika Vitthala112 113114115 116 calls this mela Mslavakaiiika, which, as will be explained in the next example, was also an ancient parent raga containing kaiiika alterations. When Ahobalam and S'rinivasa118 119 say that Dhanasri consists of pure or iuddha notes, they refer to the same scale, since in that period the iuddha notes were: sa ri gi ma pa dhi ni = d e f g a b c. According to the modern Hindustani system this is the kaphi that11*, The later Karnatak system has also an equivalent of this type of Dhanairi, which is mentioned by Govinda117 as a raga of the Kharaharapriya mela. The sixth example refers to the raga Saindhavi, which in the ancient time must have been a very important raga, since the eighth century author Matanga118 already mentions four types of Saindhavi. The third of the four Saindhavi ragas mentioned * by S'&rngadeva11* is obviously the pre-runner of the classical Hindustani Saindhavi, since it has the same important notes, omissible notes and performance-time as its later equivalent. One of Kumbha's Saindhavi-varieties120 corresponds to $arftga- deva's third type. According to £arngadeva121 this third Saindhavi springs from the Malavakaigika, raga, which he defines122 as a raga connected with the kaiSiki jati and has a major seventh {kakali

112. S'rTRK. 2, 118; SomRV. 4, 31; VenkCP, 5, 58. 113. PumdRM. p. 18. no. 63, 114. AhSP, 358. 115. S'rIRT. 7, 3-5. 116. BhatKPM. 6, 144f.; Ragatiidhi 2, p. 30. 117. OovSC. 3, 22, 9. 118. MBrh. p. 110,115,122 and 127. 119. S'arnSR. 2, 2, 177; 179; 180 and 182. 120. KuSR. 2, 2, 1, 986f. 121. S'arnSR. 2, 2, 180. 122. S'arnSR. 2, 2, 71f. P tS. I-IV] CONTINUITY IN INDIAN RAGA TRADITION 167 ni = c ). Kumbha12* however, although admitting that this Saindhavi-variety originates from the Malavakaigika raga, states that it is based on the $adjagrama, which is rather strange, since kaiSiki, the parent jati of this raga, is a madhyamagrama-jdti. Without preferring either of the two opinions we may assume that the ancient MalavakaiSika raga was based on the notes : sa ri" gi" ( or : g i) ma pa ( or : pa" ) dhi" ni” ( or : ni, or: nu)= d e" f" (or: f) g a ( cr: a” ) b“ c“ ( or : c, o r: c ). At the end of the sixteenth century Pundarika Vitthala13* refers to Malavakaisika as the basic scale (mela) of the, raga Saindhavl. According to this author Malavakaisika contains the notes: sa ri gi ma pa dhi ni. If we compare this scale with the ancient MalavakaiSika we recognize not only the ancient sadharapa ga (gi) and kaidika ni (ni), but also the ancient iuddha ga ( gi" later: ga ) and duddha ni (ni" , later na), considering that the these ancient notes are represented by Pundarika Vitthala’s ekagatika ri and dha. However, the ancient iuddha ri and dha, garngadeva's triSruti pa and kakali ni have disappeared from this scale. All later authors, both north and South Indian, accepted Pundarika Vitthala's MalavakaiSika mela as the basic scale of Saindhavl, although they called it differently. Somanatha133, Venkatamakhin136 and Tulaja137 speak of S'riraga mela. Hfdaya- narayauadeva123 127128124125126 129, Ahobala123 and S'rlnivasa130 refer to the duddhasvara mela, which is the late seventeenth century North Indian Suddha scale. The modern Hindustani experts131 speak of Kaphi that, while the modern Karnatak experts132 133 in Imitation of Govinda133 speak of Kharaharapriya mela as the basic scale of Saindhavl. 123. KuSR. 2, 2, 1, 986. 124. PumdRM. p. 18, no. 64. 125. SomRV. 4, 33. 126. VehkCPApp. 22, 12; VenkCP. 4 ,132f. 127. TulSS.p. 75. 128. HrdHP. p. 3f., no. 1. 129. AhSp. 367. 130. EfrlRT. 7, 7. 131. BhatKPM. 6, 119f.; Raganidhi 4, p. 46. 132. Raganidhi 4, p. 47. 133. 134. GovSC.3, 22, 8. 168 THB JOURNAL OF THB MADRAS MUSIC ACADEMY [VOL. XL III From the ancient time upto the present, sa has always been used as dominant, initial and final note in Saindhavi. In the modern Karnatak Saindhavi131 sa is still used in these three functions. In the modern Hindustani Saindhavi sa is the central note or vadin.

There is also a continuity in the musical tradition as far as the omissible notes are concerned. Sarngadeva1’5, Kumbha1’* and Somanatha mdefine Saindhavi as a pentatonic raga which omits ga and ni. According to the later North Indian authors Hjdayanarayanadeva188, Ahobala13*, S'rinivasa110 and Bhat- khande111, ga and ni should only be omitted in the ascent of this raga; while in the descent Saindhavi should be a complete scale. According to the later Karnatak authors11’ Saindhavi is a complete raga altogether. The complete form may already have existed in the ancient time, since Kumbha11’ referring to Ya§tlka, an ancient authority on music, mentions a complete form of Saindhavi.

All authors from S'arngadeva to Bhatkhapde agree with each other about the performance-time of Saindhavi. They consider it a raga which can be performed at any time.

Having given this limited number of examples I do not pretend to have proved the continuity of the whole Indian raga tradition. I merely wanted to demonstrate to you my method of historical research of the Indian ragas. I hope to have shown you that it is not impossible to find a link between the ancient and the modern systems, if one really understands how the ancient 22 iruti system changed into the 12 tone system of modern times.

135. S’arnSR. 2, 2, 181. 136. KuSR. 2, 2, 1,986. 137. SomRV.4, 33. 138. HrdhP. p. 3f., no. 1. 139. AhSP. 357. 140. S’rIRT. 7, 7. 141. BbatKPM.6,119f. 142. VenkCPApp. 22, 2; TulSS. p. 75; OovSC. 3, 22, 8. 143. KuSR. 2,2, 1.987. PTS. MV] CONTINUITY IN INDIAN RAGA TRADITION 169 Abbreviations : MBfh. Brhaddeii of Matanga 8th c. A.D. &rflSR. Samgitaratnakara of £arigadeva ca. 1210-1247 PariSS. Sawgltasamayavara of Parivadeva ca. 1300 KuSR Saijigltaraja of Kumbha ca. 1433-1468 RamSM. Svaramelakalnnidhi of RSm&matya 1550 PuradRM Rngamanjari of Pu?darlkavitthala ca. 1560-1570 S'riRK Rasakaumudl of S'rlkantha ca. 1573 SomRV Ragavibodha of So manat ha 1609 VcnkCP CaturdandiprakaSika of Venkatamakhin 1620 DamSD Samgitadarpana of Damodara ca. 1625 HrdHK Hrdayukautuka of Hfdayan£rayanadeva end 17th c. HfdHP Hrdayaprakdia of Hrdayanarayanadeva end 17th c. AhSP Sarjigltaparijota of Ahobala 1665 SriRT Ragatattvavibodha of Srinivasa ca. 1665-1680 LocTR Rdgatarangitfi of Locana ca. 1670-1705 TulSS SarngitasarQmrta of Tulaaj 1765 OovSC SaijigrahacudWnapi of Govlnda end 18th c.

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In the article ‘ A Rare and Unpublished Svarajati of Svati Tirunal* by . Sangitabhushanam Sri S. Ramanathan published in Vol. XXXVII of this Journal is given the Svarajati Pahi mam Brihannltyike in notation. The song is in praise of the goddess Brihadamba worshipped by the royal house of Pudukottai. Sri Ramanathan takes this piece to be a composition of Svati Tirunal Maharaja of Trivandrum. He observes that the song contains the mudra of Svati Tirunal and that in those days there used to be constant exchange of musical compositions between Pudukottai and Travancore.

But a close examination of this composition shows that it is not likely to be by Svati Tirunal. The following facts may be noted in this connection.

1. The main factor considered as supporting the atrrjbution of the piece to Svati Tirunal is the occurrence in it of the expression ‘ Kamalanabha ’ which is the mudra of that composer. But in the absence of other corroborative evidence, this alone cannot be taken as conclusively indicating the authorship. We get the word ‘ Padmanabha ’ or its equivalent in certain compo­ sitions of others also, as for instance, in Dikshitar's Naga- gandharl kritl ‘ Sarasijanabhasodari ’ and Purandaradasa's Mala- harl gita * Padumanabha ’.

2. The mudra in Svati Tirunal*s compositions occurs in the Pallavl or Anupallavl or at the beginning or close of the charana- portion* In the present case it occurs in the second section of the charana. This position is anomalous.

3. According to Sri Ramanathan “ the signatures (mudras) of both Svati Tirunal and Raghu aatha Tondaman, the Pudukottai ruler, occur in the composition". The name 3 4Vijayaraghunatha* does* of course, occur in the Anupallavi and this statement would lead us to infer that this is either a joint composition of THE SVARAJATI PAHI MAM BR1HANNAY1KE 193 Vijagraraghunatha and Svati Tirunal or one by the latter with the name of Pndukottai ruler incorporated into it. The first alter­ native Is not possible because we have no clear idea as to the identity of this Raghunatha and no record whatsoever to show that the two had met each other at any time; also we do not know whether Raghunatha was a composer at all. Sri Rama- nathan himself does not seem to favour this view since he takes it as a composition of Svati Tirunal. The second alternative also is difficult to accept because we do not find in the vast output of that royal composer any genuine piece which can with certainty be said to be in praise of the deity of a place outside his own State. The few such songs fathered on him are of doubt­ ful authenticity (vide my article The Authenticity of some of the Svati Tirunal Kritis in the above volume of this Journal).

4. The passage in which the expression ‘Kamalansbha* occurs has the meaning that the goddess Brihannayika is worshipped by Brahma and Vishnu (Kamalanabha). To Svati Tirunal Padmanabha (Vishnu) is the supreme deity to whom other gods and goddesses pay obeisance and He to none. In his songs on the goddess Parvati, he speaks of her only as the sister of Vishnu—Padmanabhasahodari, Vanajanabhanuja etc. and bles­ sing the worshippers of Vishnu. This is so even in the Navaratri klrtanas where Sarasvati and Durga are extolled and exalted. See for instance, ‘ Krtapadmanabhasevakamode’ in Janani msmava in Bhairavi and ‘ Padmanabhapadasevakanirate ’ in Saroruhasana- jaye in Pantuvarali. So this expression which makes Lord Padmanabha a worshipper of Durga is quite unlike Svati Tirunal’s.

5. The text of the song does not display the style of Svati Tirunal. His characteristic turns of expression and poetic imagery are conspicuous by their absence in this song.

6. The dhatu of the piece is admittedly the same as that of the well-known Huseni Svarajati. It is difficult to believe that Svati Tirunal, with his fertile mind to devise beautiful dhatus himself, was tempted to supply a sahitya, and that too of an inferior type compared to his well-known compositions, to a varyamettu of another. 25 " 194 THB JOURNAL OF THB MADRAS MUSIC ACADBMT [VOL. XL1II 7. Truly there was contact between Travancore and Pudu- kottai at the time of Svati Tirunal. It was as the result of a prolonged correspondence between Dewan Subba Rao and the Pudukottai durbar that the famous Yeena Yidvan Subbukutti Ayya was got for the Travancore court from Pudukottai where he was the Asthana Vidvan (vide my article * Svati Tirunal and his times as seen from the letters of Dewan Subba Rao ’ in Vol. XXII of this Journal). But this fact is not strong enough to be adduced as a reason to establish Svati Tirunal to be the author of a Sihitya in praise of the deity of that place when other factors do not substantiate such a claim.

As stated above, we are not sure of the identity of the Yijayaraghunatha mentioned in the Sahitya. May be he is the same as the Raja of that name who ruled Pudukottai during 1730-1769 and became a disciple of the great saint Sadaiiva Brahmendra and made permanent arrangements for the annual celebrations at his samadhi. If so, the author of this sahitya is likely to be a composer who received his patronage and felt appropriate to celebrate his patron in a sahitya supplied to the famous Huseni Svarajati which must have become very popular even at that time. It may be noted that the Huseni Svarajati in its original form must have come into being in the middle of the 18th century whether its author is Adiyappayya as taken by Subbarama Dikshitar or Subbaraya Oduvar as taken by Ponniah Pillai or in its original form, Yeerabhadrayya as taken by Dr. Y. Raghavan. Dr. Raghavan has also pointed out that the Huseni Svarajati has for its sahitya several later imitations and its Sanskrit refill (^yhich is the one published by Sri Ramanathan) originated at Pudukottai (vide his article * Useni Svarajati ’ in Vol. XVII of this Journal)* MUSIC INSTRUMENTS IN A NEPALESE BUDDHIST TANTRA MANUSCRIPT Dr. V. Raghavan Some time back, Prof. C. Hooykaas, the well-known Dutch specialist on Indonesia, sent me photographs of sheets from a Buddhist Tantra ms, containing drawings of Mudras. He has been working on Mudras used by Indonesian and Balinese priests and has been searching for Indian parallel and corroborative materials. The ms. from which he sent me photographs was from Nepal and is preserved in the Cambridge University collection of Sanskrit mss., described by Bendall in his Catalogue of the Buddhist mss. of that Library. According to the colophon, the text in the ms. is called Srimat-Sakyaraja - sarvadurgatiparidodhanamukhakhyana and the portion where the drawings of the Mudras are given is the first chapter called Adiyoga. The subject-matter of the concerned part of the text is puja or worship, with all its upacaras as they are called in Hindu worship, like use of bell, flowers, light, fragrant smoke, GhantB, Pu§pas, Dipa, Dhupa etc. Jn these offerings come, of course, the customary musical items- It is in this connection that some music instruments and their playing (yadya and vadana) are seen depicted in this illustrated ms.

These pictures are reproduced here for the special interest they have for the historian of music and music instruments. In addition to names well known, there are a few that are rare and excite our curiosity. The value of the ms. is that it gives in the drawings, besides the picture of the instruments, the mode of playing them and the pose of the hands in the playing, together with the additional implements used in the playing and in each case, mentions also the name of the instrument. These drawings of the instruments appear in enclosures numbered 33, 34, 35 and 36. They represent the following well-known names-Vina, Vam£a, Muraja, Kamsya, Mfdanga and Pataha. These names are of course well known but the ms. shows some interesting peculiari­ ties in the shape and form of these instruments. The Vina is more like a harp or Yazh, with a slender boat-like body with a makara- 196 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XLIII head at both ends. ^ Muraja is given as a pair of cylindrical drums, one placed horizontally and the other vertically, the former played mostly by the left hand and the latter by the right. Pataha is not the large circular leather-covered disc-like thing, but a regular cylindrical drum, played with a stick on the right and by hand on the left. There is nothing special to note about the VamSa (flute). Timila, as a drum, is known in the South where it is of the damaru-type, of hour-glass shape; but here it is of the same shape as a Mridangam but played on the right with an extraneous piece, a small rod with a curved end, as we have in Kirikatti vddya in the Tamil country. Kamsya is Cymbals and the drawing here has no out-of-the-way feature or difference to be noted. There are three instruments in the series which deserve special attention : No. 4 bearing the caption MUKUNDA, and depicted as a large bowl-shaped drum placed on the ground and played with both hands. Standard music texts do not mention this name but the Jain text Rajaprniniya mentions a drum Mukmda, not with a cerebral ending, but a dental one. No 3. is intriguing. It is a standing rectangular body and on its* board are either five wires or six slender long pieces, these being attached not at the same level, but the alternate ones being a little higher or lower. While from the fingering which is shown, these seem to be wires, from the indications of rings at the end, they look also like hollow tubular pieces. Not less intriguing is the name it bears, GUNJA. The piece No. 6, a' drum, in the usual horizontal position and played by both hands, bears however, an intriguing name, BHENA, not verifiable from other sources. It cannot be the Bhana described in the SangitaratnUkara among percussion instruments (VI. 1139-40), for the Bhaita is akin to the Jhallarly held by the left hand and played by the light. V'tN(N)A VAM$A (A)

i/.W

MURAJA MUKUNDA KAMSYA (A) BHENA (?) MRIDANGA PA(T)AHA

GUNJA TIMILA BOOK-REVIEWS INDIAN MUSICAL TRADITIONS by Vamanrao H. Desh- pande. Published by Popular Prakashan, Bombay. 1973. Pp. vii-xvii+1-116. Rs. 25. Indian Musical Traditions by Sri Vamanrao H. Deshpande is a rendering of his Marathi book Gharandaj Gayaki, which has won good reputation among music scholars. The English trans­ lation is done by Sri S. H. Deshpande. Sri Vamanrao Deshpande has learnt Hindustani music under eminent musicians of three major musical traditions. He possesses keen critical insight in the appreciation of Hindustani music. Thus he is best suited to write a book of this type. The Gharanas form a special feature of Classical Hindustani music and hence the study of the distinctive characteristics of the various Gharanas would lead to the correct understanding of different styles of Indian music. That is why this effort of Sri Deshpande is praiseworthy. In the first chapter the author has given the characteristics which make a gharana what it is. He observes that when one has to speak about gharanas, continuity is one of the factors which deserves consideration, though musically it may not be very significant. Each gharana has its own artistic discipline in addition to a discipline common to all gharanas. Each gharana takes its origin from the quality of the voice of its founder. The gharanas, while keeping true to its basic tradition, goes on assimila­ ting new ideas with each new artist. It grows and flourishes by combining tradition with innovation. In the second chapter he gives the ways of voice-production of the gharanas, He is per* fecily right when he says that the distinctiveness of the style of each gharana depends upon its formal musical conception. The form depends on the combination of svara and laya. In the third chapter he states that a feature common to all the gharanas is the practice o f‘restraint’ of a certain kind. To understand the character of this restraint he has reviewed various prevailing forms of music. The power of music is due to its medium which is svara. The word is subservient to the music in a musical 198 THB JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XLIII composition. The impact of music is immediate. This is the * purity * of music. As khayaUtingmg has no external restrictions, it alone has become identified with classical music and given rise to a number of gharanas. In the fourth chapter he has described the form of classical music. By adopting this form, the bandeesh, the singer stimulates expectation and then fulfils it by rosolution. Afterwads in five chapters the author has pointed out the main features of Kirana, Agra, Jaipur, Gwalior, Patiala and Indore gharanas. The form of music has the basis of svara and laya and so he has distinguised one gharana from the other by con­ sidering the relative importance given by that gharana to svara and laya. He opines that Jaipur gharana strikes the golden mean as it gives equal importance to both. In the tenth chapter he gives the limitations of the gharana systems and in the eleventh, he suggests the possibilities of new gharanas; the last chapter is given to the future of the gharanas.

The author has tried his best to study the gharanas objective­ ly. But musical appreciation being a subjective experience, it is possible to have difference of views in regard to the foremost gharana. In the Foreword, Prof. B. R. Deodhar has drawn atten­ tion to the criticisms levelled against Alladiya Khan’s style (Jaipur gharana) which point out the weakness of this gharana in certain respects.

The author has correctly stated that an aspiring musician should study under one guru of a gharana perfectly and then learn the main features of other gharanas also that will increase the scope of his musical expression. The state and the institutions like A. I. R. should arrange for the education of the budding musicians. The classical music cannot be taught in classes; it has to be imparted by the able guru to bis pupil alone. While discussing the gharanas the author has given apt illustrations of various master musicians of different gharanas. Thus, one can say that he has given a new approach to the study of Indian classical music. At the end, the Glossary of Indian words and Index are given. The photographs of eminent musicians of the gharanas are given in the beginning. This is a useful feature of the book. P ts. mv] BOOK-REVIEWS 199 While discussing the different forms of mus c the special features of Tappa are not considered and those of Dhrupad, given briefly in the Glossary. In the teacher-pupil tradition of the Indian classical music, the guru has the greatest impact on the pupil. He sees to it that each svara is perfectly mastered by the pupil by constant practice. This voice-culture gives a particular power to the svara. Such a trained pupil only can employ svaras with the kans, i.e., grace notes that are necessary for a particular melodic expression. It would be rather difficult for a pupil of a gharana, who is trained in this traditional manner, to mould his voice so as to fit the style of another gharana. Hence the combination of gharanas as suggested by the author would be a difficult achievement.

Sri Vamanrao Deshpande deserves compliments for writing this book which gives an insight in the understanding of the Gharanas in particular and Indian music in general. G. H. Tarlekar

MUSICAL INSTRUMENTS IN INDIAN SCULPTURE by Prof. G. H. Tarlekar and Mrs. Nalini Tarlekar. Pune Vidyarthi Griha Prakashan, Sadashiv Peth, Poona-30. 1972. pp. 104. Rs. 10.

A historical and systematic study of the Indian musical instruments covering all aspects has been undertaken recently by more than one musician or musicologist. Dr. Tarlekar*s interest in this field was already seen in the pages of this Journal (Vol. XXVI. pp. 170-75, ‘ Fretted Vipain Indian Sculpture’). In the present book, the Tarlekars have presented the valuable information about the musical instruments as found in Indian sculpture along with the related information available in the hitherto published music treatises.

The sculptures studied by the authors in situ range from 200 B. C. to 1800 A.D. In some instances the representations of Instruments in paintings too have been considered (pp. 51-52, $aAkha; pp. 80, 82, Cymbals, both at Ajanta; p. 48, Vina, with three strings, at Jodhpur). The material collected has been divided into four chapters with reference to the four well-known classes of Instruments, Tata, stringed (pp. 7-49), Su$ira, wind­ 200 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [VOL. XLI1I blown (pp. 50-8), Avanaddha, percussion (pp. 59-79) and Ghana, solid (pp. 80-84). In each section the instruments are traced chronologically through three tentative periods, pre-NatyaSnstra, the early, and the medieval and post-medieval. In the first instance, the description of the instruments in the musical works of the particular period is given, with the discussion in regard to them, wherever necessary. This is followed by the sculptural representations in sketches, which follow or are as approxi­ mate as possible to the textual description. The subject of Indian Musical Instruments is indeed vast, complex and technical. The authors are to be congratulated for their critical and painstaking work in collecting the data and presenting them in a clear and straightforward manner. Im­ portant books on the subject by Indians and non-Indians have been consulted and full references are given, wherever necessary. The results of the study are summed up in the fifth and last chapter (pp. 85-94.). The select Glossary and Index add to the usefulness of the book. S. S. Japaki

THE JOURNAL OF THE MUSIC ACADEMY Dr. Sudhi Bhushan Bhattacharya, Linguist and Ethn^-musicolo- gist, Calcutta, writes in a letter to the Editor (7-3-73): “ I am feeling immensely delighted to find my article on the ‘ Folk-base of the Rhythmic Structures of Raga Music \ published in the much esteemed Journal of the Music Academy, Madras, Vol. XLII, 1971, a copy of 4which, together with some offprints of the article, have been so kindly sent to me by you. I have read with much pleasure and profit the entire portion of the Journal, and I consider that your Journal is the best of all the journals on Musicology published in India, and truly represents Indian music in its totality. The catholicity of view and the eagerness to cover as much field in Indian music as possible, that have been expressed by you in the journal speak highly of your genuine scholarship and progressive outlook. I consider myself proud to be associated with your journal. ”