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

Vol. IV. 1933 Nos. 1 to 4

THE JOURNAL COMMITTEE

Editor Mr. T. V. SUBBA Row, B.A., B.L.

Editorial Committee Vxdvan Tiger K. V aradachariar. Mr. P. G. Sundaeesa Sastki, b a . P andit S. Subrahmanya Sastri. Mr. P. S. Sundaram Aiyar. T. L. Venkatakama Aiyar. S kipada Ramamurty P antulu, b.a.

Manager K. S. Vjswanatha Sastri, b.a., b.l.

Publishedby

THE MUSIC ACADEMY, MADRAS 323, Thim bu Chetty St., G. T., Madras.

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Page THE DECLINE OF TASTE—EDITORIAL 1 THOUGHTS ON SVARAMELAKALANIDHI—By S. Ramamurti Paotulu 2 THE : CAN THEY BE IMPROVED’—POSSIBILITIES FOR A NEW SET—By T, R. Ramakrisbnan, l .m.p 7 TH E SUDDHA SAPTAKA—By Hulugur Krishnachariar (Hubli) 9 LATER SANGITA —By V. Raghavao. b.a.. {Hons) 16 SANGITA SUDHA {continued from page 128) 27 ABHINAYA SARA SAMPUTA (continued) 41 LATER SANGITA LITERATURE—V. Raghavan, b.a., (Hons.) {continued Irom page 24) 30 TH E MADRAS MUSIC CONFERENCE. 1932. OFFICIAL REPORT 83 THE SCALE OF NOTES FOR GAN A-By S. Sankaranarayanan 130 INDIAN DANCE—By Sri Ragini 133 MECHANIZATION OF SOUTH INDIAN MUSIC—By G. V. Narayanaswarai Iyer 134 EXTRACTS FROM PERIODICALS : How To Sing 137 Taste 158 Doing It Badly 161 Hearing Inwardly 162 OBITUARY 163 REVIEWS 164 NOTES AND COMMENTS 169 THE TEACHERS' COLLEGE OF MUSIC 178 COMPETITION RULES : Sir Purandara Das Padam 180 Ashtapadi 180 1933 Conference 181 GENERAL BODY MEETING 1933 1«3 BOOKS A PERIODICALS RECEIVED 185 1932 CONFERENCE CONCERTS 185 THE ACADEMY'S CONCERTS 186 1933 CONFERENCE CONCERTS 187 LIST OF PORTRAITS Some Famons Musicians of S. India Frontispiece The Madras Music Conference, 1932 The Honbie Dr. Sir Annamalai Chettiar, Kt „ l .l.d. Facing page. 85 ,, and Vidvan Tiger K. Varadachariar etc, on the Opening Day 92 The President of the Academy, the President of the Conference and other Vidoane assembled therein 97 ERRATA Page Column Line from Line from For Read Omit the top the bottom Contents’ Do Right 6th ‘27’ ‘25 ’ 1 Right 14th ‘ of. 2 Left 17th ‘ author’ ‘ editor ’ Do Right 3rd ' datails ’ ‘ details ' 43 (head­ ‘ Sangita ‘ Abhinaya Sara line) Sudha ’ Samputa ’ Do Right 12th ‘ rfersr ’ ‘ HTfo 5 44 Do 9th ‘ f?rrfijJTr ’ ‘ jcRaffaf ’ 45 (head­ ‘ Sangita ‘ Abhinaya Sara line) Sudha’ Samputa ’ 47 (head­ ‘ Sangita ‘ Abhinaya Sara line) Sudha’ Samputa ’ 162 Right 2 ‘ Form ' ‘ From ’ 168 Left 18th ‘to attain, to pos­ ‘ to seek, to sess and to seek ’ attain and to possess ’ Do Do 11th ‘i t ’ ‘a civic com­ munity ’ 171 Left (Footnote) ‘180’ ‘ 179’ 172 Left 5th . .. ‘ has’ ‘ had’ 172 Do 4th ‘28’ ‘29’ 177 Left ‘ 185’ ‘ 184’ (Footnote) SOME FAMOUS MUSICIANS OF

Ghatam Ramnad Patnam Pandi M aba Narayanaswami Sreenivasa Subram ania D oraisw am i Vaidyanatha Narayanaswanii Radbakrisbna A iyar A iyangar A iyar T ev ar A iyar A ppah A iyar (Umayalpuram) (Vulady) tTbe jo u rn a l

Of Ube dbustc Hcabems flftabras

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

VOL. IV. 1933 No. 1 to 4

THE DECLINE OF TASTE

rJ',HE history of South Indian load of monotonous sangatis, over­ Music during the last quarter burdens the graceful and delicate of a century is the lamentable musical forms of the master com­ change over, from the reign of soul­ posers. A certain measure of lati­ ful melody, to the tyranny of the tude for indulging in phrase exten­ mechanical drum. has been sion may not be improper, where it dethroned and Tala has usurped the is governed by good taste and a supremacy. The practice of mathe­ regard for and understanding of the matical svara permutations has fro­ bhava of the compositions. It is not zen up the fountains of creative joy true freedom which ill accords with of the emotional spirit. To-day it is discipline- Another weakness which the scale that is attacked; the raga is characteristic of the age we live in, is seldom rendered. This mechani­ is the craze for speed thrills- No cal attitude of the musician has had more is heard of the soft and restful its reaction upon public taste- A rendering of the great passion singer has come to be esteemed less modes, with graceful glides and long for those exquisite touches of melody drawn notes, the favoured haunts that move even non-sentient beings, where the spirit of the raga for­ than for the number of svara avruttas ever dwells I The age of Mdody is with which he can overwhelm the gone i that of the Drum-, the Mor- drummer. Equally reprehensible is sing and the has succeed­ the vice which, with an interminable ed 1 THOUGHTS ON SVARAMELAKALANIDHl

By

| Mr. S. Ramamurti P antulu With the rapidly growing interest in music century, when music was observed to have in this province, of which we see much evid­ drifted so far away from the older theories ence to-day, and the diffusion of musical know­ of and Sarngadeva that it became ledge, the need is being felt for reliable publi­ impossible to detect even a faint shade of cations containing authentic versions of our resemblance thereto, or to put it more cor­ old treatises on music, so as to help us in a rectly, to reconcile the ancient theories with correct understanding of the basic principles, the subsequent practice. We have other the foundations and the structure out of treatises of this type written with the same which the music of the present day has evol­ object (codification of the then existing music ved. It is therefore gratifying to note that so as to prevent it from still further straying Mr. M. S. Ramaswami Ayyar has brought out away from its main boundaries) such as Raga a new edition of Svaramelakalattidhi with Vibodha, Shadraga Chandrodaya, Sangita text in Devattagiri, accompanied by a free etc. As pointed out by Mr. ­ ||) English translation thereof and preceded by swami Ayyar, Svaramelakalattidhi being an explanatory and exhaustive introduction, apparently the first attem pt of the kind dur­ neatly printed and got up by the Diocesan ing that period, its value as reflecting the Press, Madras. The author is a well known music of the time, is really great and the figure in musical circles, whose enthusiasm for thanks of the public are {tafcto Mr. Ayyar for research has resulted in welcome additions to his timely publication oftV important tre­ the existing literature on South Indian music. atise, not only for the trouble he took in It may also be expected that his indomitable obtaining as reliable a version of the original perseverance will be productive of many more as possible and translating the same into volumes in this line and will entitle him to English but also for the elaborate explanations be called the historian of , which he has given in his introduction which whose service in the field of musical litera­ will be of very great help in the solution of ture is of a useful and abiding character. the difficult and vexed questions of Melos and Though it may be partly true to say that in Svarapratnanas which are always engaging £ music, which is both a science and an art, the the attention of experts. In this view, this usefulness of theoretical book-lore is neces­ publication is both useful and welcome and sarily of a limited character, it cannot be while appreciating the spirit of the many gainsaid, that publications of this kind are valuable observations which the learned really helpful in tracing the outlines of music author has made in his characteristic lively as it existed in the distant or recent past. style, I venture to invite attention to a few Svaramelakalattidhi represents probably aspects of music dealt with by him which may the first of a series of attempts at codification not be clearly understood by laymen like my­ of our music, the need of which appears to self, who want to get at the datails of musical have been felt in many places during the science, as much as it is possible to do from period roughly corresponding to the 17th printed matter. THOUGHTS ON SVARAMELAKALANIDHI 3

Firstly, though this is a very minor point, guished authorities on music. It would have the author lays some stress on the signifi­ been very helpful if more light was thrown on cance of the term ‘ Amatya' affixed to the the exact tonal values (in terms of the 22 name ‘ Rama ’ (thus making it Ramamatya), srutis or otherwise) of the suddha and warns the reader against blindly accept­ advocated by these three authors. ing unhistorical and therefore untruthful Thirdly, we find that the changing and statements. He seems to think that the use progressive character of music comes in for a of this term 'would necessarily imply that good, deal of treatment at the hands of Mr. Ramamatya was a responsible minister or Ayyar and we have nothing but praise for state officer which in fact he was not. But such unexceptionable sentiments as those we* see from the history of Andhra poetry, contained in the statement: ‘We cannot during the reign of Krishnadevaroya and of afford to live on our heritage however great his successors that the term ‘ Amatya ’ is it may be except at the peril.of stagnation but found appended to the name of almost eVery must ever progress and conquer ‘fresh fields poet that flourished at the time; even the and pastures new’. If really we are progres­ illustrious author of Andhra Bhagavatdm sing in the matter of quality and quantity of who had nothing to do with these monarchs our music, we may perhaps be justified in was also known by the name of Potanamatya. neglecting our heritage or paying secondary So that, this appendage seems to connote attention to it. But a dispassionate survey rather an honorific suffix than any minister- cf present-day music by any music-lover, not ship, as many non-ministers were known to to speak of experts, reveals a dismal and carry it with their names. Therefore the dispiriting state of things. What is our name ‘ Ramamatya ’ does not appear to imply achievement in the field of original composi- any unhistorical or untrue statement. tionssince the glorious epoch of musical renai. Secondly, as regards sudda svaras, we ssance inaugurated by Sri ,Dikshi- come across the statement: ‘ Three different tar and Syama Sastri, or Arunachala Kavi- authors, Ramamatya, Ahobala and Bhat- rayar and Gopalakrishna Bharati ? Can we kande chose the same suddha svaras for boast of any new variety of songs, (except their Suddha scales (italics are mine) and yet imitations or adaptations of the old - arrived at three different ragas, namely, inettus masquerading in the guise of new , .and which are raid to compositions) embodying a new orientation be respectively, , of our music, either in melody or time-mea­ and Sankarabharana- of the Carnatic sure, which can lay claim to any wide popu­ music’. It may be a fact that these larity ? Even the very facts mentioned by illustrious Lakshanakaras gave different Mr. Ramaswami Ayyar in his introduction names for their Suddha scales, but we do not would seem to indicate retrogression rather know if it would be quite correct to state that than progress. Now everybody recognises all the three meant the same svaras when that music changes with the passage of time they used the terms ‘Suddha svaras', or that (the change may be for the better or for the srutis or tonal values of the suddha worse), but we are led to think from the tenor svaras of Ramamatya were the same as of his remarks that such changes are too those of the suddha svara saptakas advocat­ quick, comparatively, to fit in with establish­ ed by Ahobala and Bhatkande. If they are ed theories at any given period of musical to be accepted to be identical, we would be history. He says that ‘ between Svarame- landed in the patent absurdity that the same lakalanidhi and Chaturdandiprakasika svaras had produced three entirely different there elapsed a full century and a little melodies or ragas according to three distin­ more and the musical systems worked t h e j o u r n a l o f t h e m u s ic academ y

out in both the books must, on account century' Sarngadeva detected or sensed of the progressive nature of the art, be 12 distinct vikrti notes and four centuries after necessarily different from each other’ that time the musical ears of the artistes Hhd and that Ramamatya’s Sankarabharana is pandits became so dull as not to be able to not the modern Sankarabharana, nor were perceive more than 7 of them. Now in the his and Sriraga the same as their year of grace 1933 we find another musical modern namesakes. If during every century- author seriously advocating, on the music undergoes such complete transforma­ ground of the so-called merger, what tions as to bring about violent changes in the he calls Laghumelakarta of 32 melas musical system itself, then I am afraid not formed out of the surviving 12 notes. Now, only can we at any time have no reliable does the change from 12 vikrtis to 5 repre­ working basis for our music but any musical sent progress or retrogression ? I an? afraid system for the matter of that would be quite that this suicidal doctrine of merger pursued worthless to serve as a practical guide for to its logical sequence can even be utilised to musicians. Because, as he himself says, laks- justify a gradual restriction of our musical hya, should be followed whenever it conflicts scale still further; if we piously follow this with the existing and the former rule for any considerable period of time, we according to him seems to be a musical cham­ will be heading for the rocks of musical anni­ eleon which changes its colour so often that hilation altogether. Really stagnation would a ny record of it (its theory) in the form of a be far more preferable to such a destructive treatise cannot be correct for any appreciable course. We are told in apparent justification length of time. For, this elusive substance of the scheme of 32 melas that ‘ Raga ’ re­ would change even before the ink of the presents 32, according to the Katapayadi author is dry on his manuscript. If this formula. This is simply an accidental coin­ statement is to be accepted as true, it is quite cidence and I do not think it is seriously likely that the music we are now hearing has suggested as a valid argument. As a music so completely drifted from its original lover, I may be allowed to say, that it is moorings as probably to be unlocalisable or always to our advantagq^fc we want to be unidentifiable in many cases, as it is about a really progressive in this nPest of fine arts century' since the Carnatic musical trinity to have our .musical scale as wide as possible gave out to the world their beautiful com­ so as to afford the largest scope for artistic positions which is the only original music genius to express itself; any attempt to restrict heard and appreciated by an overwhelming it would have the effect of limiting the field of majority at the present day. Again, as for musical expression. It may be a-fact that many the progressive character of our music, it is of the 72 have practically remain­ said that Sarngadeva recognised 1 2 vikrtis, ed dead letters so long, but that is no reason that Ramamatya eliminated 5 of them on why we should strangle or wipe out the un­ the plea of merger, and that Somanatha and exploited musical scales. It will be observed V enkatam akhi regarded such elimination that even Venkatamakhi, more than a century as a good precedent and piously followed the after Ramamatya could not completely shake example set by R am am atya; Mr. Ayyar, off the older traditions for he laid before the three centuries after Venkatamakhi, follow­ world a comprehensive scheme of 72 Mela­ ed this hallowed doctrine with all respect and kartas in preference to Ramamatya’s limited still further eliminated two vikrtis, with the number 20. result that only five of these dwindling entities Lastly, I cannot resist the temptation of are permitted to live at present. This shows referring to the peculiar, though perhaps ori­ clearly that even in the 12th or the 13th ginal, explanation given by Mr. Ayyar of THOUGHTS ON SVARAMELAKALANIDHI

what the terms ‘ Marga ’ and ‘ Desi ’ stand the transferred to itself. It is to be for in our music. It is said, to begin with, regretted that the learned author is paying a that Nada being divided into Ahata and very poor compliment to our respected , the former must be taken to be ancestors when he draws all these uncompli­ man-made music and the latter the music of mentary conclusions from the statements nature. I do not see how this comfortable made by their successors in their slokas. The conclusion can be justified when we brar in quotations he makes from the old treatises the plain meaning of these expressions. are unimpeachable but the interpretations It is clear from the terms themselves that the thereof and the inferences therefrom do not former connotes kinetic and the latter poten­ seem to be completely borne out by them. I tial Nada (sound for all practical purposes) _ shall try to explain why it is difficult to see Even animals other than man can make eye to eye with him in this important matter. potential sound kinetic. That being the In the first place, the author seems to base case, it is difficult to understand how Ahata his conclusions on the theory of evolution Nada can be said to be man-made music because he has proceeded on the assumption alone instead of creation-made music or ani­ that ‘ man when he wallowed, so far at least mal-made music. In explanation of Anahata as music is concerned, in the animal condition music, his amusing though uncomplimentary of life, revelled only in the earlier stages of reference to the braying of an ass and music and could not get beyond singing on four the cawing of the crow is, to say the least notes, and ancient , like ancient Greeks unhappy. I am inclined to think...we can only had their music confined only up to four notes. throw out at best an intelligent guess in these It may be readily granted that the world matters...that Anahata Nada.means unex­ began with one svara and gradually worked pressed Nada which holds or permeates the up to seven svaras,then to'the numerous srutis whole universe and on which our sages were and so on. But history teaches us that said to be contemplating and meditating and since the beginning of creation a number whose mystery they attempted to solve; and of civilisations had flourished and decay­ all expressed sound is Ahata Nada. The ed ; and so would it not be more plain meaning of these words supports this reasonable to suppose that Marga music view, and Sri Tyagaraja indicates this in a represented a system which had its glorious way in a few of his popular . days but, which after its decay, the suc­ Then, as regards the terms * Marga' and ceeding generations had not the brains or ‘ Desi ’ we are seriously told that the former ability to grasp ? And, instead of scoffing at which is said to be synonymous with it, they at least treated it with respect by- Gandharva music represents the rudimentary saying that it was sought after by , attempts at musical expression as exemplified and practised by Bharata- For example, is by the Vedic , that it is not pleasant to it not a fact that the art of stenography was the ear and it was therefore rightly consigned widely practised in the Roman Empire and to the limbo of oblivion, that this vital defect that it attained its climax when the Roman of Marga music was attributable to its being civilisation was at its zenith, and it decayed bound by the rigid principles of lakshana, with that Empire so much so that even the whereas its Desi compeer, flourished in all its possilility of such an art was not conceived of un-restricted glory in the free atmosphere of by the people born thereafter until, probably, uncontrolled independence; and finally that the 18th-century of the Christian era} Is it not even the name of Marga music would have a fact that God Ganesa was stated to have been probably forgotten had it not been for written a system of shorthand and was so the fact that it got some sacred attributes of proficient in it that had to insist on the 6 THE JOURNAL OF THE MUSIC ACADEMY

writer’s understanding the matter before he understand or appreciate Carnatic music; wrote it down and had to improvise very some even say that it is revolting to the difficult passages so as to place impediments whereas Hindustani music falls like nectar on in the way of his too capable amanuensis ? their ears. Would it on that account be Can we say now that Ganesa’s shorthand correct to say that Carnatic music is no consisted only of a crude alphabet of three or music at all but some crude sound ? Mr. four characters, simply because it is not now in Ramaswami Ayyar further says that Marga existence and we are not able to conceive of music is the same as Gandharva music, it ? I admit that it may not be possible for us consisting of all the three gramas, at this distance of time, with no landmarks but Sarngadeva himself seems to have of to guide us, to conceive of said that Gandharva music is a sub­ the state of things existing in pre-historic division of Geeta music (which represents a times. But that is no reason why we should separate classification altogether from Marga explain it away or belittle it or deny its music) and consists of pleasing svaras. greatness. Borrowing another example from Again, when once it is admitted that the spiritual line, a three dimensional being Gandharva music used all the three gramas, is said to be unable even to conceive of the I fail to understand how it can be seriously fourth dimension; can we on that account contended that it is limited to four notes say that the fourth dimension does not exist only. Because all the authorities I have at all or that it is something rudimentary or been able to consult point to the inference crude ? Again, the author says that Marga that grama is a group of full number of music must be taken to be unpleasant because Sarngadeva said so, but I do not know if it svaras (seven) with their murchanas. But, can be contended seriously that Sarngadeva’s of course, this is only a theoretical view as no one has been able to demonstrate what is reference to ‘Raktihina' related to Marga exactly meant by grama. music; it seems to refer to Anahata Nada, which cannot obviously have any charms for These stray thcfl^ts strike me on a the common people but only to sages. This perusal of the introduction to Svaramelakala- may mean the inability of the common nidhi and Mr. Ramaswami Ayyar would people to appreciate the grandeur of Anahata be helping the cause of musical research if Nada rather than any definite quality or un­ he kindly clears the doubts I have given ex­ pleasantness. For instance, there are many pression to. cultured people of the north who cannot

“ One o f the bad results of the mechanisation of music is that we grow too familiar with the master-pieces. To possess a gramophone record of a symphony is to have a first-rate means o f not only studying it but of getting tired of it.” THE MELAKARTA RAGAS. CAN THEY BE IMPROVED?—POSSIBILITIES FOR A NEW SET. *

BY

Mr. T R. Ramakrishnan, l.m.p. I beg to lay before the music-loving public Melakarta Ragas to 108. In order that the a proposal to increase the number of Mela- proposed change may be appreciated let me karta Ragas to 108 from the existing 72. describe very briefly the existing system This may seem vgry preposterous at the out­ of Melakarta Ragas. set. But I am sure to convince all that this It is already known that the Malakarta is not a wild suggestion. Ragas are of two groups a Suddha Madhya- ma group and a Prati Madhyama group. It is a sad feature that no serious attempts By an ordinary process of calculation the have been made to fathom the true depths of three Rishabhas, the three Gandharas, the science of Camatic Music. Nor has it the three Dhaivatas and the three Nis- been made the subject of investigation or hadas give us 36 combinations, each cf improvement in recent times. On the other which contains a Rishabha, a Gandhara, hand there are several attempts to retard the a Dhaivata and a Nishada. These com­ progress of our music and limit its scope. binations when combined with Suddha An instance of this kind is the recent Madhyama, give us the Suddha Madhyama attempt to reduce the number of Mela- Ragas and when combined with Prati karta Ragas to 32 by getting rid of the 40 Madhyama, would constitute the 36 Prati Melakarta Ragas with dosha combi­ Madhyama Ragas, making in all the 72 nations. If this suggestion finds favour with Melakarta Ragas. This is the number the learned public I am afraid we will be fixed by Venkatamakhi and no one after him losing a great many precious ragas in which has tried to see whether the number can be great composers like Tyagayya and Dikshi- increased. Many eminent musicians are of tar have furnished us with songs resplendent opinion that these Venkatamakhi's Mela­ with beauty and grandeur. It is true that while karta Ragas can neither be increased nor singing these ragas the musician has to be very improved upon. With due deference to those careful and must try to render vivadi dosha learned musicians I would point out that the combinations pleasant to hear, by enveloping Melakarta Ragas can still further be increas­ them in suitable Gamakas without which ed in number. even combinations free from vivadi dosha do We can achieve this by assuming the not shine so well. Thus by the use of Prati Madhyama as a Vikrti of Panchama. Gamakas, a unique feature of Carnatic music, In that case, we will have a Suddha wa can avoid vivadi dosha so that there is Panchama and a Vikrti Panchama. In this actually no necessity to reject these 40 Mela­ connection I would say that this is not a new karta Ragas. suggestion or innovation. Ancient text On the other hand we must try to improve writers on have had this before. the scope of the Melakarta Ragas and there­ A consideration of these texts will convince by the extent of Carnatic music itself. This you that the ancient musicians had a can be done by increasing the number of Vikrti Panchama though they called it by * From a paper read at tbe Music Conference *32. 8 THE JOURNAL OF THE MUSIC ACADEMY

several names. Sarngadeva, in his Sangeeta Karta Ragas, namely, Suddha Madhyama Ratnakara, mentions two Panchamas a Melakartas and Prati Madhyama Melakartag, Sttddha Panchama as well as a Kaisiki or respectively. What about the third com­ Trisruti Panchama. Somanatha, the author bination ? This third combination will give > of Raga Vibodha, describes a Suddha us a new and thirdiset of 36 Melakarta Ragas. Panchama and a Mrdu Panchama. Rama- This new combiation of Suddha Madhyama matya, in his Svaramelakalanidhi, has a and Vikrti Panchama is completely devoid Suddha Panchama and Chyuta Panchama of Vivadi Dosha and therefore it can be Madhyama. Even Venkatamakhi has two freely used without the slightest discord un­ Panchamas. In his Chaturdandi Prakasika like the combinations of Suddha Rishabha he calls or Prati Madhyama as with Suddha Gandhara and ot hefc such in­ Vikrti Panchama. It will therefore be seen stances. We can prove that Melakarta Ragas that the ancient writers on Hindu Music with this new combination are possible and have considered Pratimadhyama as not only pleasing to the ear by playing them on any a Vikrti of Madhyama but also as a Vikriti musical instrument. of Panchama. What is the effect of the introduction of Playing only on the mote keys of a C to C Harmonium and having successively the first this Vikrti Panchama ? First of all, it helps 6 white keys as Shadjamas we obtain in to complete the symmetry in arrangement of order Sankarabharana Mela, Kharahara- the various svaras in the octave. As already priya Mela, Todi Mela, Mela, - known the two middle notes Rishabha and Mela and Bhairavi Mela—in Gandhara in the Poorvanga have each two all 5 Suddha Madhyama Melas and one Prati Vikrtis exactly similar to the two middle Madhyama Mela. But with the remaining notes, Dhaivata and Nishada in the Utta- 7th white key as Shadjama we get a new scale ranga. The last note Madhyama of the of seven notes corresponding to the Todi Poorvanga has a Vikrti Pratimadhyama, Mela of thaqterfdAiz Madhyama group but but its neighbour Panchama, the first note in having the4 nSv combination of Suddha the Uttaranga, has no Vikrti at all. This Madhyama with Vikrti Panchama. This defect in symmetry' can be easily remedied by case when developed will be found to be very taking Prati Madhyama as a Vikrti of not pleasing. Thus the possibility of forming only Madhyama but also of Panchama in this new set of Melakarta Ragas is indicated which case we will have two Panchamas, a by a close study of the svaras in the octave. Suddha Panchama and a Vikrti Panchama, the latter identical with Prati Madhyama. This combination occurs in some of the We can have three combinations of Madhy­ Ragas in Hindustani Music. A particular ama and Panchma from these two Madhya- instance of this kind is the Hindustani mas and two Panchamas. They are : Bhairab Raga. Even in Carnatic Music this (1) Suddha Madhyama and Suddha combination occurs though rarely. Brahma- Panchama. sri Subbarama Dikshitar in his “ Sang&eta Pradarsini ”, allows occasional (2) Prati Madhyama and Suddha Pan­ use of the Panchama along with Madhyama chama and in the Vasanta Raga, which is usually con­ (3) Suddha Madhyama and Vikrti Pan­ sidered to be a Shadava Raga with Pancha­ chama. ma as Varja. But Subbarama Dikshitar des­ Of these the first two combinations are cribes it as a SamPoorna Raga by retaining already known to give us the two sets of Mela the Panchama. He calls this Panchama an THE SUDDHA SVARA SAPTAKA 9

Alpa Panchama or a Panchama somewhat classify 40 Melakarta Ragas out of 72 as lower in pitch than the usual Panchama and Bhashanga Ragas as under the actually demonstrates its .usage in songs and remaining 32. As for instance, the 2nd Mela­ Sanchara of this Raga. This AlPa Panchama karta Raga, will have to be taken may be considered to be Vikrti Panchama. as a Bhashanga Janya Raga with Gandhara The tree usage of this Vikrti Panchama in as Varjya and the Suddha Gandhara as an this Raga will render it more pleasant thus accidental Pancha Sruti Rtshabha and giving us a Sampoorna Raga corresponding accordingly classify it under the 8th Mela, to the 17th Melakarta, Suryakanta, of the Todi. Suddha Madhyama kroup. It may be suggested that instead of increas­ It is therefore seen that the introduction of ing the Melakartas these new Ragas may be Vikrti Panchama in the octave, will give us a considered tcTbe Bhashanga Janya Ragas and fresh set of 36 Melakarta Ragas making it thus classified under the already existing Mela­ in all 108 or Ashtottarasata, a number which karta Ragas. But this is not the correct is considered very holy by all of us. It is left thing to do. Because in no Bhashanga Janya to the learned musicians to make still further Raga do combinations with two varieties of investigation into this subject and give names the samasvara occur side by side. Also if to these new Ragas and try to render them this were to be permitted we will have to practically before the public.

THE SUDDHA SVARA SAPTAKA. BY

Mr. H ulugur Krishnachariar. Htibli. In an earlier article I gave a brief ac­ Ramamatya was completely new but was count of the evolution of the natural scale of easy for practical musicians and it soon be­ Indian Music tilh Bharata constructed the came popular, as the rigid way of studying Suddha Scale out of the material that al­ the Ratnakara was tco hard for ordinary ready existed. I pointed out that the Suddha music students. The new system was com­ Scale of our music was modern Kharahara- pletely unconnected with tradition and was a priya since the Samic age up to the 17th cen­ total departure from it. To this fact may be tury. This conclusion is supported by traced all the later confusion in musioP evidence from the following sources: the com­ terminology. mentary of Kallinatha on Sangeeta Ratna- We should not forget that Ramamatya kara, Parijata of Ahobala, Raga Taran- tried to introduce a new system of classifica­ gini of Lochana, Ragatatvabodha of tion called the Mela Paddhati in place of Srinivasa Pandit, Hridayakowtuka and the ancient Gramamurchana-jati-Paddhati. Hridayaprakasa of Hridaya Narayana and If we look at the later works we must admit Sangita Sudha of Raghunatha Nayaka. that he succeeded in his attempts, as many Confusion arose from the time of the of his succeeding authors adopted his new Svaramelakalanidhi of Ramamatya written method while explaining the melodies of their in 1550 A. D. The terminology used by times. Venkatarrakhi, one of the brilliant 10 THE JOURNAL OF THE MUSIC ACADEMY

authors of his line, has introduced a prastara Suddha Gandhara and Suddha Nishada on or progression of 72 Melas, a part of Bharata’s the other. The following explanation of the murchanas. He has written a lengthy criti­ controversy may be helpful. Mukhar*,. is cism on Ramamatya in his Chaturdandipra- counted as the first Mela by Ramamatya kasika showing that his (Ramamatya’s) con­ The same thing is adopted by Venkatamakhi clusions in certain points of Ragalakshana in his work. But although the name Mukhari are contradictory to those of his own times. has been used by both the authors to denote In this Venkatamakhi was right the first Mela, the melody meant by them is as he wanted to bring about a reform of the quite different from that of the modern music of his time so as to fit it into his Vidvans who strictly adhere to the second Melaprastarapaddhati. In doing so he was and fourth Srutis of Rishabha and to the evidently sincere, for he pretends to show second and fourth srtiits of Dhaivata. that he has made researches in the previous The Mukhari of Ramamatya was a most literature available both in theory and popular melody because he did not mention practice. an}7 melodies which were not current during his time. In another paper I pointed jout the defects of the work and showed that he had only In the same way, though Venkatamakhi introduced the Melaprastdra without attempt­ hasytaken 72-Melas, he has mentioned only ing correctly to explain th§ views of his pre­ 13 of them as current in his time and at his decessors. Though he has classified the own choice only one ‘ Simharava ’ was newly ragas of his time, he cannot claim the merit introduced into practice. This fact is clear­ of understanding the system of Ramamatya, ly mentioned by him in his work. From the as there is a gap of more than a century above statement it is clear that Mukhari between them both, during which time ttaMgh not mentioned in Sangeeta Ratna- practical music must have departed consider­ Jhrn^is current since 1550 A. D. to this day. ably from the nomenclature of Rama­ So it becomes interesting to inquire whether matya’s time. Venkatamakhi mentions the Mukhari was, as it is supposed to be by name of Bharata, Sarngadeva and Gopala some, lijce the modern Kanakangi, or Nayaka but he does not seem to have made whether it had any special [features of its a thorough study of their works; he must own, or whether it was like the current have become acquainted with their theory by Mukhari Raga. with the exception]of the chapter on Ragaprakaranam in Ramamatya's An examination of the present Mukhari work which he took as the basis of his Raga reveals the following points : -It is not criticism. a . It takes the fourth Sruti Dhaivata in and second Sruti The present Mukhari Raga comes under Dhaivaia in . It cannot therefore the Mela of Bhairavi but Venkatamakhi be placed either in Harapriya Mela or Nata places it in the first Mela which corresponds Bhairavi Mela (as it contains both Dhai- to Kanakangi, the modern name for the first vatas). The present erroneous practice in Mela. Another mistake which he has made this matter may be questioned. Mukhari is to compare the Shadjadi Murchana or has been mentioned as a most popular melody Shadji Jati of Bharata to Mukhari his first since the time of Ramamatya, while the pre­ Mela. Yet another mistake which was com­ sent Kanakangi is not a melody as it is sup­ mitted by Venkatamakhi is about the termi­ posed to contain 2nd Sruti for Suddha nology as regards Suddha Rishabha and Rishabha and 4th Sruti for Suddha Gan­ Suddha Dhaivata on the one hand and dhara and also 2nd Sruti Suddha Dhaivata t h e s u d d h a sv a r a sa pt a k a 11

and 4th Sruii for Suddha Nishada instead but purely arbitrary. The coming in succes­ of Ri (2nd Sruti), Ga (5th), Dha (2nd from sion of both the varieties of one Svara is Panchatna), Ni (5th from Pa), the latter prohibited and omitted by Bharata and pairs were employed to produce a beautiful others with the help of their ingenious melody like the modern Todi. methods, as they knew such Svaras arc So the composition of the Mukhari Mela Vivadis, which destroy the melody. is a disputed question as it is different from The fact will be clear by examining the Kanakangi and Todi. Murchanas of the ancient and modern Suddha Scales. For example, take the Each fret on a Veena, except the two Sa ancient Kharaharapriya and modern Kana­ and Pa which are supposed to be avikrta in kangi scales, and form Murchanas starting modern times (according to ancient theory from each of the seven notes taken as Sa, in only Sa was regarded as immutable), repre­ succession. The result is all the seven sents two srutis. The first fret for Ekasruti Murchanas of the former give beautiful and Dvisruti Rishabhas, the second for melodies while the latter gives only one cur­ Trisruti and Chatussruti Rishabhas, the rent melody of (in addition third for the 5th and the 6th srutis, i.e., to Kanakangi itself) and one other unknown Suddha and Sadharana Go’s, and so on, with to the South Indian Music system, but most successive frets. When we want to play popular in the Hindustani system, known by Suddha Ga in Kanakangi, we actually pro­ the name of Panchatna (one of the Grama duce the 4th sruti Rishabha of the 2nd fret Ragas). Except these two or rather one and call it Ga, though Suddha Ga is to be well-known melody (Kamavardhani), the six produced on the 3rd fret. It is the same other melodies produced by our modern case with Suddha Ni and Dha too. In the Suddha Saptaka (Kanakangi) are not fit to same way if we want to produce 5th sruti be called melodies. These considerations Rishabha we actually play on the 2nd fret make it plain that we have been misguided and produce 4th sruti Rishabha in place of by the author’s wrong interpretation of the 5th sruti, which is Suddha Ga produced ancient terminology. on the 3rd fret. The classic Hindustani music, not having From this fact it is clear that the authors undergone changes due to the influence of have changed the names Chatussruti Rishabha any new theory other than that of Bharata. to Suddha Gandhara. also the fifth sruti has many virtues preserved in it, whicli^are (Suddha Ga) to Panchasruti Ri, (i,e., to re­ the products of the original classical th s l^ of present Chatussruti Ri). This is either absurd Bharata, while the Karnataka system has or unintentional. If it were otherwise (i.e., undergone changes from time to time owing if each of the 5 pairs represented mere sub­ to the labours of classical authors like stitute names), there would have been no real Ramamatya, Somanatha, Pundarika. Mukhari Raga as there is no natural Raga Venkatamakhi and Tulajendra. This Kanakangi. The Mukhari of the authors is fact no body can disprove as the works of not like that of the modern unnatural Kana- the authors are available as evidence. Like gangi. This error of the above authors Karnataka Music, Hindustani Music, has also requires to be exposed and understood. changed its Suddhasvara Saptaka a oentury Some of the present melodies which take ago, but it should be remembered here, that both the varieties of one Svara have no place it is in touch w'ith Bharata’s Suddha Scale, in the Melas of Venkatamakhi; and the which was current up to the first quarter of • practice of putting them forcibly in either of the 19th century. Hindustani music had two Melas is neither logical nor intelligent, retained its traditional natural scale 36 its 2 12 THE JOURNAL OF THE MUSIC ACADEMY

Suddha Saptaka which was the modern I have mentioned in the above passages Kharaharapriya or ancient Sri Raga of the that our Suddha scale could not be any Karnataka system. The present Hindustani other than the modern Kharaharapriya, ana Suddha Saptaka is Bilaval (corrupt form of to support this fact I hhve given references to Velavali of ), the modern my papers read before the meetings of the Sankarabharana of the Karnataka system. Music Academy. I am now supporting This change is not unnatural like that of the same view by quoting another important ours to Kanakangi, which by no means, can piece of evidence from the commentary of come either under the Gramamurchana sys­ Kallinatha on the Sangita Ratnakara of tem of Bharata or any popular melody of our Sarnga . modern times. The only change in the The Ragas^in the Ratnakara have been Hindustani Saptaka is from the Shadji Jati classified as ancient and current. In the or Shadjadi Murchana (Kharaharapriya), to ancient system the original name for mel<> the Naishadi Jati or the Nishadadi Mur­ dies introduced by Bharata was Jati. Prior chana (Sankarabharana). This Nishadi to Bharata the 7 melodies were named as Jati or our Sankarabharana is the most 7 Gramas, as they had only one Saptaka for popular raga of our country and at the same their system. They were transferred into time is the Suddha scale of the whole of 7 Jatis obtained from the 14 Murchanas of Europe. The change in the Hindustani both the Sa and Ma Gramas newly intro­ Saptaka might have been influenced through duced by Bharata. After Bharata the same the musical instruments of Europe, like the melodies were named as Grama Ragas, and harmonium, the piano and, the violin, which the Janya Ragas as Uparagas, Ragas, made their way to India in the beginning of Bhashas, Vibhashas and Antara Bkashas. the last century. But this change is immaterial At the time of Sarngadeva, the current as the Murchanas of the new scale are not melodies that came down to him by tradi­ different from the Murchanas of Blufftta’s tion were qamed as Raganga Chatushtaya, Gramas. Taking all these facts int^Jon- as all the later melodies had their successive sideration, it is our first duty to amend our origins in the former ones. So Sarnga- Suddha Saptaka so as to make it fit for melody and to be just in principle. If this were Deva made researches in the previous litera­ done, it would stimulate new thought for the ture and tried to link the ancient theory and advancement of the art on sound lines. practice with those of his time as far as possible. There are a few defects even in the Before proceeding to the evidence of work of Sarngadeva and these will be Ratnakara I shall emphasise upon a doubt pointed out in their proper place. But in regarding the .Samic scale, that it could many facts which have been again carefully have been like the modern Kanakangi. I commented on by his learned commentator wish to draw ‘the attention of scholars and Chatura Kallinatha have thus been con­ Vidvans to my articles published in the firmed. Academy’s Journal, where it is proved that Of these topics the Suddha svara Saptaka the Samic scale was not different from that is an important one and Kallinatha has of Bharata, who simply lowered two notes given his clear views on the point. The (Ri) and (Dha) by a Sruti with re­ passage begins:— ference to the new method of 22 srutis and Grama murchanas. He substituted the ^ ...... —** | interval of for that of g between ^ and ^ o n pp. 217 under the heading and if and THE SUDDHA SVARA SAPTAKA 13

Here the commentator explains the slight It means the swinging movement of a note variation that has taken place between the produced on the wire or in the vocal chord. time of Sarngadeva and his own in the It cannot therefore be produced without the practice of Sri Raga. The passage quoted movement of the note to and fro. When above means : “ Sri Raga ” is derived from Gamakas are played each sthana or fret the Shadja (Grama) and the Shadji (jati). must produce some slightly changed note, In his commentary he distinctly says that but the variation is limited to a pramana according to the scientific works of Bharata sruti and thus the change in the and Sarngadeva, the Sri Raga scale must sruti does not amount to a change in the correspond to the exact scale of the Shadji melody. If, however, the swing is extended Murchana of the Shadja Grama. Kallinatha beyond the limit of a pramana srtdi, it dis­ further adds that in his times some musi- turbs the harmony of the phrase forming the 3 4 2 3 4 4 2 , in case it does not reach the next cians used ^ ^ i( q q q f t instead of note existing in the melody; or it may- 4 3 2 4 4 3 2 change the melody altogether, if the note 9 f t »T JT <1 tf f t forming the extreme limit of the swing, is (The number on each note is the number absent from the scale. The meanings of of srutis preceding it.) This Kallinatha Gamaka and Alankara are not often proper­ says, is not objectionable, as it does not ly understood by modern Vidvans. They harm the melody. The meaning is that the are not therefore properly sung or performed. svaras fr, IT, sj, f t of the scientific scale It may be, we have lost or we do not were raised to the next higher srutis, possess the method of representing the respectively, from their prescribed places. nicities of graces, by means of an efficient The actual change in the nature of these notation, which should have a provision of notes was merely a difference of a Pramana symbols to represent all sorts of complicated srtdi, which in the modern method of repre­ Gamakas. A treatise on music dealing with senting it, is a comma of 22 cents .or an present-day practical problems in a thorough­ interval of 81/80. The effect in both the going manner is a pressing necessity. With variations is the same because there is no a good system of notation a teacher is ex­ change in the frets on the Veena as the 2nd pected to be proficient in reproducing an 3rd, 9th and 10th svarasthanas on it, which intended effect and in showing a student are adjusted to Trissruti Ri ft and Dha ej how the various signs have to be rendered. Suddha (5th sruti) Ga and Ni f t (18th sruti) The want of an analytical Examination of will produce the other set of notes too. This graces has debarred us from appreciating the kind of change is not practically objection­ importance of Gamakas and Srutis. A able because it can not be detected by an proper understanding of Bharata’s theory of ordinary musical ear which has no special training. Showing the higher srutis of these Gramas and Murchanas is also necessary. sthanas also, depends upon the skill and the But modern pandits seem to be impatient ractice of the player and if instead of the of basic principles, and want to get hurried­ igher srutis the lower ones or vice versa ly through such practical questions, as for are played, no one can feel the melody has example, the assigning of appropriate srutis changed. 10 of the 12 frets on a Veena, in a Saptaka are, as a matter of fact, intended to to various ragas either on the authority produce 2 srutis for each of them. of a majority of votes or on individual Gamaka (TOTO?) explained. opinion formed by habit in practice or The use of Gamaka illustrates the same based on their own imagination. We little principle. Gamaka is defined thus : realise how well and simple the ancient Grama Murchana system serves the purpose THE JOURNAL OP THE MUSIC ACADEMY

of a good notation for srutis. As soon as The first variety is unsatisfactory for the the grama and murchana are mentioned for following reason. If we take the Naishadi a scale, the exact srutis alloted to the parti- Murchana of the scale, w'e get a scale IiTcte cular scale are indicated. For example, take our Sankarabharana but with a false 5th, i,e.> Saiikarabharana; its srutis will be repre­ Panchama. sented in different ways as under:— Sa Ri Ga Ma Pa Dha Ni Sa ST f t *T *r

the scale, as it is the only ideal system, ence between them and the just harmonic besides being useful in practice and posses­ notes of Western theory. The scientist sing the support of tradition. clearly lays down that a vibration of a musi­ cal note within 5 cents is not recognisable The Academy reports, “ The All-India by the unaided human ear. Bharata who Music Conference had only established and invented the system of 22 srutis 2000 years approved, of the method of obtaining the 22 ago, without the help of any scientific srutis, 11 by fl Bhava and 11 by q1 apparatus of the modern type has ignored Bhava of Samvada,but it left the question variations to within 2 cents (by the modern of the frequency and ratio of each sruti for calculation). That we can tune up the 22 future discussion and, that, the Academy had srutis by the simple method of Samvada, completed in two years ”—which could well which is accessible alike to laymen and ex­ have been done earlier. The reason for perts, is quite sufficient for our theory and the postponement was that there was art without the unnecessary squaring up of some hesitation in accepting the vibration the ratios to look decent. ratios obtained by pure Satnvada in the case of some svaras. These values in the case of Wasting time and energy over such uh- the 11 notes differ in a very minute degiee necessary details is not desirable if we are from the values of harmonic notes of simple bent, as we say, on the practical promotion ratios by what would amount to J to | a of the art to greater and greater perfection. vibration (when Sa is taken as 240 vibra­ The immediate problems before us, which tions) or to, 1 to 2 Ellis's cents. Consequent­ must be solved once for all satisfactorily are ly the values of the srutis numbered below the system of Grama, the Suddha Svara were the values obtained by theoretical Saptaka, the terminology of the Vikrta considerations corrected so as to be more svaras. etc. in consonance with the harmonic series of overtones and the theory of simple ratios. Bharata has not passed over any error un­ The Academy which keeps practical music noticed. The slight variation in some srutis as its ideal, was thus led into purely theoreti­ might have been thought by him to be un­ cal side issues. The srutis were : avoidable or even ignored because of its im­ practicability as he has mentioned the four 2nd, 3rd, 6th, 7th, 10th, 11th, 12th, 15tn, kinds of Sadharanikarana for the progres­ 16th, 19th, and 20th. sion of scales by means of Antara and Now I am emphatically of opinion that the Kakali svaras which he describes as eminent vibration values of these srutis, however anuvadi svaras in the following passage :— clumsy and complicated they may look from etc. an arithmetical point of view, need not be corrected so as to turn them into simple ratios ; for, by so doing, we shall be playing Let us now consider the importance given into the hands of those who are opposed to by him to the srutis in the scales. Out of the consideration of the sruti question at all the 22 srutis the fundamental note Shadja and who will point out, with glee, to the is named as the most eminent Vadi, the mixture of Western theory in what purports King. Secondly, came the notes Ma, Pa the to be the true tradition of Bharata and Samvadis, the ministers. Then came 2 pairs Sarngadvea. Practically the notes obtained of notes Ri Ga and Dha Ni with acute by Samvada are perfectly harmonious and intervals as Vivadi enemies which are either defy even a trained ear to notice any differ- too near or too farther, taking either way. re- THE JOURNAL OF THE MUSIC ACADEMY

Ri is Vivadi to Ga or vice versa (Ga in to Ma of ®/* ratio and this Ga is a full tone the same register). from the Suddha Ri just as Ma and Pa are. Dha is Vivadi to Ni or Vice versa. In the same way the- Kakali svara is 5/4 Ga is Ri (in the upper regis- from Pa and 9/8 from Suddha Dha. As ter.) Ni is Dha (in the upper Bharata must have observed this natural register). phenomenon he has mentioned these only as Vikrta svaras and not the 15 others which In the same way Ekasruti Ri or Chyuta are not mentioned by special names. Un­ Shadja are both separated from Sa by an fortunately he has not left us any description interval of one sruti or an inte rval of 20 of the phenomenon beyond mentioning these srutis in inverse position. Therefore they are two svaras as Sadharanas. Sarngadeva Vivadis, to Shadja. In this way leaving sa also refers to this phenomenon of Anuranana and these 2 Vivadis, the remaining 19 notes are and he has declared that the 22 svaras are to be regarded as Anuvadis. Ma and Pa are obtained on nodal points on the vibrating of course of a higher rank and are Satnvadis. wire. It is also supported by his commen­ Strictly, the remaining 17 are Anuvadis with tator Chatura Kallinatha and by Rama- respect to Shadja. But in the relative im­ matya in Svuramelakalanidhi and by portance of notes the Antara or Kakali come Somanatha in the Raga-Vibodha where the next to Pa and Ma, the former being desig­ unmistakable observation of the ancients is nated the Sadharana svaras. Bharata confirmed by his Svayatnbhu-svara-pankti- clearly seems to hold that though all the 17 pramanya. It is true that the science of are Anuvadis, yet these two Sadharana physics was not so developed as in our times. Svaras have a closer relationship with Yet the ancients had used a most intelligent Shadja and Panchama—in other words the process and a terminology to express it and harmonic relationship of simple ratios. In thus the underlying natural basis of our fact, if we consider the series of partial tones music is kept in tact. This process is none we find that Antaragandhara or the 7th other than that of the Srutis and Gramas. sruti of ratio 5/4 is the next in importance

LATER SANGITA LITERATURE1

BY M r . V. R a g h a v a n , b .a. (h o n s .) Research Student in , The University of Madras. In a paper read before the Madras Music Firstly, the Mss Catalogues of India and of Conference, 1931, I surveyed the Sanskrit foreign countries were gone through and Sangita literatare from Bharata up to names of music works and of their authors, Sarngadeva. In this paper, I propose to with brief descriptions were collected. Since follow up the subject and speak of the litera­ I could have access to the libraries at Tanjore( ture from the time of Sarngadeva up to Madras and Adyar, I went through comple­ recent or modern times. The so ur f tely all the Music Ms- works in the Madras information for this compilation of mine of Govt. Oriental Mss. Library, the Adyar later Sangita literature, are mainly three. Library and the Tanjore Library; l/ A paper read before the Madras Music Conference, December., 1933. LATER SANGITA LITERATURE 17

When I visited Poona,I read the music Mss and there but I have not made a classifica - in the Bhandarkar Oriental Institute Mss tion on that principle. Library. As regards the works described in other Catalogues, I could naturally have no I have first treated of regular works, then access to them and their descriptions are ^iven those works of which the dates are therefore very meagre and derived only from not known and, finally, I have appended a list the descriptive catalogues but are supplement­ of fragments and tracts. In this collection are ed or corrected in some cases by a reference to some works, the names of whose authors are the descriptions of the-same works in other not known and some authors, the names of catalogues. The second source of infor­ whose works are lost. The works noticed mation is the unpublished music Mss are of varied nature. There are some which works to which I had access. While I was completely deal with Sangita, (i. e.,) of Gita, going through the Music Mss in the Madras, Vadya and Nrtya. There are some which Adyar, Tanjore and Poona Mss Libraries omit the last and certain others which omit I came across a number of writers and Vadya also. Among works dealing with works quoted in each of those works; this gave Gita only, there are works treating of Ragas me a long list of authors and music only. I have also noticed works on one single works. Thirdly, the commentaries on the branch like Tala and on one Vadya, as for Sanskrit dramas and Alankara works have instance Mrdanga only. A few modern Sans­ furnished me with a small list of music krit music works are also noticed to give works. The commentary of Raghavabhatta a completeness to this account of later on the Sakuntalam, of Ranganatha Dikshita Sangita literature. The regular works here on the Vikramorvasiyam, of Kumara- noticed number about 120. swamin on the Alankara text called Prata- parudriya have quoted some music works Sarngadeva. 1210—1247 A. D. which have also been gathered here. The Sangita Ratnakara of Sarngadeva I have tried, as far as possible, to find out is the most well-known Sanskrit Sangita the exact date of the works and authors. In treatise and its place in Sangita literature certain case s, however, I could give only the resembles that of the Kavya Prakasa of century in which the work was written and Mammafa in Alankara literature. The work in some other cases, only the upper and lower is not original but is the only standard work limits of the dates of some works. I have known for long and largely drawn upon and arranged the works in the order of their borrowed by all later writers for whom it dates. A more interesting classified arrange­ set the model. Hence also its similarity to ment can be made. Works have been pro­ the Kavyaprakasa. The work is edited in duced in a group or in succession, in parts the Anandasrama Skr. series in two volumes of North India, in Orissa, in Andhra proper with the commentary of Chatura Kalli iatha. and at Tanjore. While these facts are men­ tioned then and there, I have not arranged Sarngadeva belongs to a Kashmirian the works in such a geographical manner. stock and to the family of Varshagana . Closely related to the geographical classifica­ His geneology is thus given by himself. His tion is another, which may be held very grand-father was one Bhaskara who migrated necessary. It is the division of all these to the South from Kashmir and his father works into older ones dealing with the com­ was Sodhala who attached himself to the mon and later ones, again court of King Singhana Deva of modern sub-divided into works of the Hindustani and Doulatabad, who ruled from 1210—1247 Carnatic schools. This is surely shewn then A. D. Thus Sarngadeva flourished in the m u u r HE 1WUML AUULMY

first half of the 13th century. Sarngadeva Oppert notices a commentary on this work himself was employed under the King in the in Vol. I. of his Catalogue of Sanskrit Mss office of Royal accountants, for he refers to in South India—No. 6258. The commaq- himself often by the title 1 tary is called The He was thus the Accountant General in author of this Chandrika on the Ratnakara is Singhana’s court. not known. A number of earlier authorities are referred There seems to be another commentary by to by Sarngadeva. At the beginning of his a named Kesava. We know', of its work a list of them is given and in the body existence from Govinda DikshFa’s Sangita of the text also many are quoted. Sarnga­ Sudha. The S. Sudha says :— deva is learned in all branches of learning. From the S. Ratnakara itself, we learn that srUrift^w ?>ari ^ hht- Sarngadeva wrote a Vedantic work called «n«ff rrar i Adhyatma . In music and Natya Sastra, Sarngadeva is very learned. He bases himself especially in the last chapter on Nartana on ’s commen­ tary on the Natya Sastra of Bharata. Many verses here simply put Abhinava’s words in verse-form. Sarngadeva refers to himself often by the title Nissanka—‘ the doubtless’. He means that his scholarship in music is so thorough that he has no doubt on any point. p. 442. Adayar Ms. He has invented^ Veena also with this name ‘Nissanka.’ The Sangita Sudha vehemently remarks about the usefulness of the Ratnakara which Commentaries it says, contradicts, makes no sense and is The importance of the work is also known insufficient. Similar caustic remarks are from the many commentaries upon it. Next also passed by Govinda Dikshita on the perhaps to Bharata’s Natya Sastra, it is the commentaries of Kallinatha and a new only music work on which othq«music commentator called Kesava. More of this scholars have written commentariesT^The Kesava and his commentary is not known. best commentary seems to be that of The Catalogue of Skr. Mss .from Guja­ Chatura Kallinatha, called the Kalanidhi, rat, Karachi, Sind and Khandes, describes which, by virtue of its prevalence and popu­ on p. 274, a commentary on the Ratnakara larity, was very early published along with by one Hamsabhupala, which is evidently the text in the Anandasrama series. a mistake for Simhabhupala, who has already Another commentary is by King Simha- been mentioned by me. This mistake is bhupala, a well-known Alankarika. Of this repeated in the introduction to the Anandas- valuable work, only the portion on the srama edition of the Ratnakara, where we Svaradhyaya is avilable. It has been pub­ find Hamsabhupala counted as a separate and lished from Calcutta. Even copies of this additional commentator. printed portion are rare. The Bikaner Catalogue has entered, A third commentary is by King Kumbha- wrongly, as another new commentary, only of Mewar, who has written other an unidentified fragment of Kallinatha’s works in music also. Kalanidhi. LATER SANGITA LITERATURE 15

According to the information I have from that name, is only the chapter on Rag as in Mr. Ramakrishnakavi, there are two more Nandikeswara's big work, Bharatarnava, commentaries on the Sangita Ratnakara, one dealing with dance and music completely. named Kaustubha and the other, a mere para­ All the chapters of the Bharatarnava are phrase of the text. called by the name of ‘ Arnava ’ and the Besides the Sanskrit commentaries above Ms. of the Bharatarnava of Nandikeswara noticed, there is a commentary on the in the Tanjore library calls the Natya chapter Ratnakara in Hindi called Seta by - by the name Natyarnava. ram, a good M;. of which is available in the Sangitarnava. Tanjore Library. (6598 a). Besides the above said Ragarnava, there is In Tamil, we have a metrical version of a separate and independent work, dealing the Sangita Ratnakara and a part of it is with music and dance called Sangitarnava. available in the Tanjore Library. (Tamil cat. This work is quoted on a topic in dance, by of the Tanjore Library, No. 634 b). This Appalacharya in his Sangita Sangraha Tamil version of the Ratnakara is also Chintamani. (Adayar Library Ms.) Narayana quoted in another half-Sanskrit and half- Sivayogin’s Natya Sarvasva Dipika also Tamil Natya work of a very late date called quotes this work. (p. 34, Ms. of the Bhan- the Suddhananda Prakasam. darkar Institute, Poona). Ragarnava- The Sangita Sringara Hara of King Hammira—1283 A. D. Earlier than 1300 A. D. Among the numerous works quoted by the There is a work of this name quoted by well-known music writer Bhava Bhata, we Somanatha in his Ragavibodha and by have one called Sringara Hara or Sangita Damodara in his Darpana. Its author is Sringara Hara. A Ms. of this work is des­ not known. I have not come across this cribed in S. R. Bhandarkar’sReport of Raja- name in any Catalogue. putana and central India Mss. (pp. 54 and As will be seen in the course of this article, 92-93). the Ragamava is used for the compilation of a small section on music by Sarngadhara in his anthology called the Sarngadhara Paddhati. This anthology is a productian of ts.-ufl'UfftluVsr • the first half of the 14th century. Its We hear of three Hammiras, one of whom compiler Sarngadhara is taken as the grand­ is a Mahomedan king. Leaving him, we have son of one of the preceptors of King Hammira, a Chowhan king of Mewar, men­ Hammira, whom we will presently speak of tioned by his son Allaraja alias Mallarc ja. as the Chowhan king of Mewar and author of in his Alankara treatise called Rasaratnadi. a music work called Sangita Sringara Hara. pika. This Hammira is a man of letters and The date of Hammira is 1283 A. D. (Vide is celebrated in the Hammiramahakavya of Introduction to the Gaekwad edition of Rama- Nayacandrasuri. Nayacandrasuri gives car ita, p. 8, by Mr. K. S. Ramaswamy Samvat 1339 or A. D. 1283 as the date of the Sastriar). Therefore the Ragamava is earlier beginning of reign his hero Hammira. than 1330 A. D. In the list of kings of Mewar itself, we There is also some evidence to make us come across a Hammira, who is mentioned guess that the Ragamava, though often by king Kumbhakarna of Mewar, as the quoted independently as a separate work of grand father of his grand-father, in the 3 THE JOURNAL OF THE MUSIC ACADEMY

bsjjjftining of his commentary on a work, chiefly on Natya called the Nritta the Gitagovinda. Kumbha reigned from Ratnavali. This Nritta Ratnavali is avail­ 1433-1468. In the Rajputana Gazatteers, able in the Tanjore library. In the beginning Vol. II A., Mewar Residency, Hammira is of chapter V, Jayasena gives the date of his assigned to A. D. 1364 and this fact, as also patron, Ganapati. the fact that his son and successor, according to this Gazateer, as well as the geneology given by Kumbha, is not Allaraja but is ^ Khet Singh or Kshetra Simha makes it im­ (4355) || possible for us to identify the two Hammiras. Perhaps it this ancestor of Kumbha that * * wrote the Sangita Sringara Hara. ¥: X* X- -X* The following writers are referred to by usmsnf^nrsfwi; i H am m ira:— (i) Jaitrasim hanarapati. Of this royal srqn* n writer on music we know nothing more. In Pp. 169-170, Tanj'ore Library Ms- the lists of this same dynasty of the Guhilots Transcribed volume. of Mewad, to which Hammira and Kumbha This 4355 gives us the date of Gana­ belong, there is a king named Jaitrasimha pati as C. 1253 A.D. Therefore the date of whose time is 1213 A. D. (Vide p. 153. H am m ira’s S. Sringara Hara may be Vaidya’s Medieval Hindu India, Vol. Ill, between 1253 and 1364 A. D. p. 153). (v) Jayasim ha. He is also a king, one of (ii) One V ikram a is mentioned and he the more than one Jayasimhas found among may be identical with the Vikrama found the Chalukyan kings. in the list of music authorities given by the It is perhaps after this king Hammira, Sangita Mdkaranda. author of S. Sringara Hara that the Raga (iii) Simhana. This King may be Hamm ir o f North India is named. Simhana I, of the latter part of the 11th, Gopala Nayaka—1295-1315 A. D. and the commencement of the 12th centuries Stories are told of Gopala Nayaka, of his or Simhana II, A. D. 1209—1247. Both of great musical talents and of how he was them are Yadava Kings of Devagiri and the called upon by the Sultan, his patron, instigat­ latter, i.e., Simhana II, is. the patron of ed by a rival, to sing the Raga Dipakt Sarngadeva, author of the S. Ratnakara. It while singing which, in neck-deep water in is likely that Hammira refers to this patron the Jumna, fires shot up and consumed him. of Sarngadeva. Vidvans say that he was a South Indian (iv) King Ganapati. This King is most and the name also confirms it. He was taken likely the well-known Kakatiya Ganapati, along by Alaudin Khilj'i. (1295-1315 A. D.) King of Warangal. He is well known for Mr. Isvariprasad, author of Medieval India, his patronage of arts and letters. We do not assigns Gopala Nayaka to the 14th century. know if he himself has written any work on He is said to have had frequent discussions Natya or Sangita. Perhaps it is only as a on music with Amir Kusuru, poet and musi­ patron that he is mentioned by Hammira. cian. (Med. Ind., p. 542). Under Ganapati flourished Jayasena em­ The Chaturdandi prakasika mentions him ployed in the elephant department of his twice from where we have to suppose that he army— Gajasadhanika. This Jayasena wrote was most renowned in the singing of Chatur- LATER SANGITA LITERATURE 21 dezndi, i.e., Gita, Prabandha, Thaya and w s compiled mainly from Ragarnava, as we Alapa, which word also he must have popu­ have already said. larised. The Music-section extends from Sloka 1942 to 2328, giving thus a brief account of music in 386 Anushtubh slokas. (pp. 290-30. . amanjfrf ?T *ra w ftsr JT g ^fw^nr: II Peterson’s Edn.) SI. 51, Chap. II Cha. D. Pra. Contents:—It first gives a brief description *fcnra?«raft9 strait i of Nada, from which it passes to Svara and $?rf^

There is a Chalukyan king named Haripala, TT*TT?3 in the family of the Chalukyas of Anhilwad. If we identify the author of the S. Sudhakara with him, we have to take this music work back to C. 1150 which is his time. Mr. rTStsrfflSnRTW5 II M. Kavi opines that the author From the above references in the S. Sudha of the S. Sudhakara, Haripala, is a Chalukyan of Govinda Dikshita we can clearly see that King. the classification of the Ragas into Melas is The Sangita Sudhakara is in six chapters. very much older than Ramamatya, author of It deals with Natya in Chap. I, with Tala in the Svaramelakalanidhi. Mr. M. S. Rama- Chap. II and with Vadya in chap. III. Chap- swamy Ayyar, on p. lxi of his Introduction IV is devoted to drama and Rasa. Chap. V to his edition of the Svaramelakalanidhi, tries begins to deal with music proper from Sruti to make Ramamatya the discoverer of the to Suddha ragas. This chapter is called Rag a Mela scheme. I think the references on the lakshana. The VI, the last chapter, is Praban- subject to in the S. Sudha, given dhadhyaya with a small section on Gayaka above, will make Mr. M. S. Ramaswamy lakshanam. Ayyar revise his opinion. Sri Vidyaranya’a Sangita Sara, (1320- Again, in the 3rd. Chapter— —(p. 1330 A. D.) 722, Vol. II, Adayar Ms,) of the S. Sudha, Vidyaranya is a well-known figure Vidyaranyasricharana and his S. Sara are in Sanskrit literature of South India and mentioned. The work is referred to here a in the early history of the kingdom of containing clear descriptions of various kinds Vijayanagar. That he has also written a of Gayakas. On p. 821, (srgrtCTVqTO, IV) work on Music is known from the following Vidyaranya is quoted by the S. Sudha on the references in the Sangita Sudha of Govinda Prabandha called Biruda. Dikshita : A Ms. called Sangita Sara is described in the catalogue of the Bikaner State, (p. 526, i Ms. No. 112). The Ms. is dated Sam vat P. 442. Adyar Ms. Vol. I. 1563 or 1506 A. D. and is described as a com­ pendious treatise. It is not known whe­ Having given some Ragas, the S. Sudha says that it gives some more from the work of ther that Ms. represents Vidyaranya’s Sri Vidyaranya. S. Sara or is only the unimportant, anony­ mous S. Sara which the Sangita Nara- yana and other Orissa books quote and I which is a treatise on the North Indian Music. The Sangita Upanishad and S. U. Sara W ilK II of Sudhakalasa (1323 and 1349 A. D.). P. 444, Adyar Ms. Vol. I. We come to know of a work of this high From his work are given 15 Melas and 50 sounding name of Sangita Upanishad Ragas, which Govinda Diksita says, came to from its quotation by Bhava Bhatta. From be in greater vogue since the time of p. 274 of the Catalogue of Ms., from Vidyaranya, the “ fortune of the Karnatak a Gujarat, Karachi, etc., we learn of the exist­ Kingdom. ’ ’ ence of such a work. We see there that the 24 THE JOURNAL OF THE MUSIC ACADEMY

Sangita Upanishad is the basic text and ruled the country between the Vindhyas and S. U. Sara is the author’s own commmentary Srisaila, with the capital at Rajachalam. - His thereon and that both of them are available date is C. r330 A. D. at Ahmedabad. Two Mss. of the work under This Simhabhupala, just a century after the single combined name, ‘ Sangitopanishat- Sarngadsva, wrote a commentary on the sara', are described also on pp. 528-9 latter’s S'. Ratnakara. Like his work on of the Bikaner Catalogue. (Mss. Nos. 1126, Natya-Alankara, this work was also known 1127). The first Ms. contains only two chap­ as Sudhakara. The Svaradhyaya, i.e., the first ters on Ragas and Talas. chapter of his commentary alone has been published. Of Dakshaprajapati and other (

II II (Continued from page 128).

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LATER SANGITA LITERATURE

BY Mr . V. R a g h a v a n , b .a . (h o n s .) Research Student in Sanskrit, The University of Madras. (Continued from page 24)

minister. The time of this King of Kumara- Sri Vidyachakravartin’s Bharata giri is not definitely ascertainable. The work Sangraha must be earlier than the 14th century. (Beginning of the 14th Century). Sangita Vinoda In the beginning of the 14th century flourished a writer of immense scholarship in (Earlier than the 14th Century). various branches, under the patronage of The above mentioned Katayavema, in his King Vira Vallala III. His name is Sri commentary on the Malavikagnimitra Vidya Chakravartin and he was a great (P. 7, Nirnayasagar Edn) quotes a work on Saivacharya and an Alankarika. In his com­ music by name Sangita Vidya Vinoda. The mentaries on the two Alankara treatises, viz., verse quoted praises Siva as embodying in the Kavyaprakasa of Mammata (Triv. Skr. himself Lasya and Tandava and is perhaps Series, p. 378)and the Alankara Sarvasva of the Mangala Sloka of the chapter on Nartana Ruyyaka (Madras Oriental Mss. Library Ms. in this work. I have not met any notice of p. 146) he quotes a work of his on Bharata > this work or any Ms. of it. We can say that dance and music, called Bharata Sangraha. the work is earlier than the 14th century. His patron Ballala III, ruled between 1291 and 1342 A. D. The work is quoted also in a work called Natya Saroasva Dipika, also known as Rajakandarpa Adi Bharata of Vamanandayogin—a Ms. of (Earlier than the end of the 14th Century.) which is available in the Mss. library of the Bhandarkar Oriental Institute, Poona We do not know why a work on music is (37 th sheet) called Rajakandarpa. Perhaps it is so named LATER SANGITA LITERATURE 51

after the name of its author, whose identity I same name mentioned by T. Aufrecht in his have not been able to make out. As a writer cat as described in K. 96. (Keilhornn’s on music, he is quoted by Mallinatha, in his Cat.). The author of this S. Chintamani is commentary on SI. 40, Canto VI., Kumara- one Kamalalochana and from Aufrecht’s sambhava, on the definition of Karana, a Catalogue we come to know that this Kamala­ kind of beating in the playing on Mridanga. lochana wrote another music work called Sangitamrta- TTSTUv^'T’JT— The Tanjore Sarasvati Mahal Library s w i r efi^r tta: u^urrfSr 11 11 contains a fragment of a Ms. named Sangita Later than Mallinatha, Arunagirinatha, Chintamani. (Burnell Cat. 11569a: New Cat. another commentator on Kumarasambhava 10715). The work is in bad Sanskrit. It is quotes Rajakandarpa in this same place. not identical with Verna’s work but may be Mallinatha is assigned to the end of the 14th Kamalalochana’s S. Chintamani. century and Rajakandarpa must be earlier. How much earlier, it is not now possible According to a note in the beginning of the Ms. this Ms. contains the to decide. the first chapter only. Many writers request V emabhupala’s Sangita Chintamani (End of the 14th God Siva to give out the Gita Sastra and he century and the beginning begins: jqnjv^r JifaVTOFT MURT- of the 15th). | The colophon runs thus.— Vemabhupala alias Vira Narayana was a Komati King who is well-known to students of Sanskrit literature as the patron of the poet, m

The Madras and Tanjore Mss. Libraries on the S. Ratnakara of Sarngadeva, the contain copies of a work of this Gopendra only commentary now available to us com - Tippa on the Tala branch of Music, called pletely in print. In the introductory verses the Tala Dipika. (Mad. Library: Trien. Cat., in his commentary, Kallinatha describes the 1910—11 to 1912—13, R. 770; Tanjore Karnata Desa lying between the Kaveri and Burnell Cat., p. 60 b.) The Tala Dipika is a rivers, Vidyanagara or Vijaya" small work in three chapters. nagar on the banks of the Tungabhadra and the Kings who ruled there. The following (\) r n f a r a 0 ) Kings are mentioned.—

The colophon of the work runs thus:— Vijaya, I. (1442-1423 A. D.) sfcf VRrmrT- I TTTT^TTTnrNR*! 3TR5- Devaraya II, (1423-1446. A. D.) I Immidideva- TOTH I (ialias Mallikarjuna Raya) The author quotes in this work Bharata, Sailadin, i.e., Nandikesvara, (1446-1465. A.D.) and Sarngadeva. A work called Chudamani {vide Sis. 5-9). is quoted and criticised and most likely, it is Then Kallinatha describes himself, giving King Pratapa’s S. Chudamani, already des­ his geneology thus: cribed by me in my paper on “ Early Sangita Literature.” The copy of the Taladipika in Sandilya the Tanjore library contains a Telugu gloss I upon it called Sangitadipika. Tuttalesvara In one of the introductory verses to his Lakshmidhara alias Lakshmanacharya commentary on Vamana’s Alankara | (married Sri Narayani) , Gopendra Tippa says that he had Kallinatha (SI. 10). already written a work on Tala, which does not seem to be the Taladipika under notice Kallinatha flourished under King Im- a n d in addition to it, a work on Natya, which midideva who ruled in the middle of the we have not yet been able to secure. 15th century. He was thus a contempo­ rary of the author of the Tiruppuhazh ST^ET niwmf Sri Aruinagirinatha. He refers to srcsrcrctJTHmfa firsfr: i himself as The colo‘ SI. 8. phons mention his titles as Abhinava The Tala work is said to be a composition Bharatacharya, Rayabayakara, i.e., Raja of songs on Siva illustrative of all the Talas. Vaggeyakara and Todara Malla- Perhaps these songs are found in the Taladi­ Kallinatha is relied upon and quoted by pika itself. many later writers like Somanatha, Tula- Chatura Kallinatha jendra and others. He shows his learning in many branches of learning, besides music (Commentator on Ratnakara. 1446-1465 and Natya. He quotes the Bhagavat Gita, A.D.) Vagbhatacharya (medicine), Ayurveda, Bha- Chatura Kallinatha is well-known as mati, the commentary of Vachaspatimisra the author of the commentary, Kalanidhu on the Sutra Bhashya of Sri Sankara- LATER SANGITA LITERATURE 53 charya, Haradatta the grammarian, Chan- greatest. They were called Guhilas. doviciti and Vritta Ratnakara (two works Hammira was the next greatest ruler. (See on metre) Kirana (sivagama) and two also Rajaputana Gazetteers, Vol. II-A, Alankara works, Kavyaprakasa and Bhava Mewar Residency). prakasa. Among writers and works in the field of Hammira—greatest of Mewar Rulers, music he quotes on Ragas a large portion of j died in 1364*'A. D. the music work Aumapatam which was Khetsingh—(Kshetra Simha) noticed by me in my paper on “ Early Sangita Literature". {Vide the previous issue Lakka—1382-97, A. D. of this Journal). In the commentary on the I Nartanadhyoya, he similarly gives a large Mokal—a son by another wife, 1397- extract from Kohalo's Sangita Meru which 1433 A. D. work was also noticed by me in the above I said paper. Matanga and Bharat a are Kumbha—1433-1468 A. D. often quoted. Other writers and works quot­ ed by him and of whom I have spoken in my (See also : Maharana Kumbha, by Harbil- paper on “ Early Sangita Literature", as Sarda.M.L.A ). King Kumbha was as great are YogaYajnavalkya, YajnavalkyaSmrti, a scholar as he was a ruler. He defeated the Visvavasu, Tumburu, Kohala (these 5 Gurjara king, the Yavanas and the Mlecchas quotations on the number of Srutis are repro­ and crowned himself as king of Chitrakuta- duced by Tulaja) Nandikesvara, Vena, He refers to one Rohini as his sweetheart. He Dantila, Kambalasvatara, Kasyapa, Yash- is the husband of the famous saint, Mira Bai. tika, Aumapatam and - Abhinava- In the very big colophon at the end of his gupta and his great commentary on the commentary on the , he has Natya Sastra of Bharata are quoted. As titles which praise him extravagantly as the noticed above, the famous Gopala Nayaka very embodiment of Nada— He is is once quoted. referred to as King Kumbhakarna STraftrerarfo etc. From many other refer­ (1433—1468 A. D.) ences in the introductory verses to each canto, we see that he could sing well. Reference was made to this writer under Sarngadeva and Hammira. He commented From the eviden in his Rastkapriya on on the former’s S. Ratnakara and was born Gita Govinda, we learn that he wrote a stup­ in the family of the latter. Kumbhakarna or endous work on Natya, music, drama and Kumbha Rana was a ruler of Mewar— dance called Sangita Raja. This work is He is a master of music and quoted twenty-one times. Two of the quota­ tions give the author as Kumbha. Bharata and has made solid contributions to the literature of both. K. “

From these quotations of Sangita Raja, we see that, in the Prabandhadhyaya of that work, Kumbha has examined and des­ P. 63, Nir. Sagar Edn. cribed the songs in the Gita Govinda, which, These may be the four works in Sangita when he laterly wrote a commentary on the which the above referred to Gazetteer of Gita Govinda, he quoted. We are also able to Mewar mentions as having been written by gather that Sangita Raja is a big work, Kumbha. schemed out on the model of Bharata’s The Ananda Sanjivana of Raja Natya Sastra, and treating of all the sub­ Madana Pala jects dealt with by Bharata- Sangita Raja is (Earlier than 1528 A. D.). quoted on Alankara, on Metres, on Rasas, The Bikaner Catalogue is our source of etc. The chapters are called Ratnakosas- knowledge, regarding the existence of a Rasaratndkosa, etc. The chapters on Rasa work on music called by a rare kind and Nataka became important and were of name, Ananda Sanjivana written by current as separate works. (Vide my article some king named Madanapala (p. 509, on this work in the Annals of the Bhandar- Ms. 1090, Bik. Cat.) This work treats of kar Oriental Research Institute, Vol. XIV. Ragas and other music-subjects, like instru­ Parts III and IV., 1932-33). The first ments and of dance also. chapter of this Sangita Raja called the Path- The Ms. above noticed is dated Samvat ya Ratnakosa is available in the Ms. library of 1585 (i.e.), A. D. 1528. Therefore the work the Bhandarkar Ori. Institute. (No. 365 of itself is earlier than the first quarter of the 1874—80). The Ms. contains 23 sheets and 16th century. treats of Language, Sanskrit and Prakrit, Pada, Vakya and some topics of music. he Sangita Suryodaya of Lakshminarayana The Ilnd Chap, can be made out as dealing with metres. (Its quarter of the 16th century). This is a work on music produced in the The S. Raja is otherwise known as Sangita court of King Krishnadeva Raya of Vijaya- Mimamsa and it is in accordance with it that nagar. The author, Lashminarayana was Kumbha is called a protigee of the famous royal patron of Arts A complete Ms. of this great work is described and Letters. The work is available in Mad. by Keilhorn in the Central Provinces Cata­ Govt. Ori. Mss. Library (Trien. Cat., 1922-23 logue (K. 96) and the work is thus available to 1924-25 R. 4516). The. introductory in the Central Provinces. verses describe the city, Vidyapuri, (i.e.), Vijayanagar, King Nrsimha, his son Besides these two music works, viz., the Krishnadeva Raya and his conquests. The Sangita Raja and the commentary on the author gives his own geneology as follows: Gita Govinda, Kumbha is known to have written a commentary on the Sangita Rat- Gotra nakara also. Part of the Ms. of this work is Kesavamatya= Gouramamba. said to'have been seen by Mr. M. Rama- krishna Kavi who says that Kumbha quotes Bhandaru Vitthala=Rukmini Kallinatha. i Laksminarayana alias Lakshmana. In the Rasikapriya, a fourth music work His guru in music was one by Kumbha is also mentioned, viz., Bhattaraka. Like Kallinatha and Rama- pnatya, he was also a Rayabayakara and LATER SANGITA LITERATURE 55

Todara Malla. Rayabayakara is a corrupj gjft «hrf^rO?:<^otfw siwj: tion of the Skr. name Roya firn ^ r »im musician, expert in singing and composing. ^^fteragiTi^drfei^dcs W W f ^ an Apabhramsa for *-e- ^ia,«rint4

From this it is clear that this work also Sastry, in his history of Orissa, gives 1497 was produced under the patronage of a A.D., as the date of his accession and that Gajapati King of Orissa Ganga Dynasty, a he ruled up to 1541 A.D. Prataparudradeva predecessor of King Narayana. Krishna- was a pupil of Sri Chaitanya who lived long in daaa is a composer whose songs are given in Orissa. Raya (Kavi) whose the Prabandhadhyaya of the Gita Prakasa. composition we noticed above, was an officer Krishnadasa was a contemporary of under Prataparudradeva. He was Governor Sri Chaitanya. of Rajamahendra and was himself also a The Sangita Sarani of Kavi Narayana follower of Lord Chaitanya. Besides his quotes a jjgjp fta trerer in called musical compositions, Ramananda wrote a Skr. drama called Sri Jagannatha composed by one Ramananda Nataka and several other minor works. Kavi Raya, as found in Gita Prakasa. (Journal of Bihar and Orissa Research, Vol. ‘^T gror tror ’cnm etc. VI, 1920, PP. 448-53). The song closes thus : Ramamatya’s Svaramelakalanidhi 1550 A. D. Ramamatya, contemporary of Rama This is Vira Rudra Gajapati, the Raja of Vijayanagar, flourished in the 16th Utkal King, contemporary of the famous. century. He wrote the work at Rama Raja’s Krishnadevaraya, whom the latter defeated request. He was the son of Timmamatya and whose daughter the latter married. and enjoyed lordship over Kondavidu. More Ramananda, author of the above song was of him and his work need not be spoken here his court poet. He was also, like Krishna­ in view of an edition of his work, Svaranlela- dasa, a contemporary of Chaitanya. There­ kalanidhi, with introduction, etc., made avail­ fore the date of Gita Prakasa is between able to us now by Mr. M. S. Ramaswamy Rudra Gajapati and Chaitanya and Narayana Ayyar in the Annamalai University publica­ Gajapati, i.e., between the first quarter of the tion series. 16th century and the end of the 18th century. The contents of the work (Mad. Ms. Trien. According to the colophon at the end of the Cat. 1919-20 (o 1921-22. R. 3l76d.): the work work, it was finished in 1550 A. D. is in 15 chapters which are as follows: (0 BWWWfivf* (\) In SI. 27, Chap. I, Ramamatya mentions (a) CO one Kallappa Desika as his Matamahat maternal grand-father and this Kallappa is (%) (\s) iftcrgm- perhaps identical with Kallinatha, though f^nr: (

The Bikaner Catalogue describes three ?>rTT f t 1 works of Pundarika Vitthala, Raga Mala, Raga Manjari and Sadraga- The Raga Mala has an easier vernacular chandrodaya. All these three works are version called Sugama Raga Mala written available in print. The Sadraga chan dr o- by one Kalyana Kavi who flourished under daya is called wrongly as Shadraga chan- the brother of Madhavasimha, viz Mana- drodaya in Bikaner Catalogue which con­ •imha. This is also printed. sequently describes the work as defining 6 The Southerner Vitthala latterly Went to the primary Ragas. The S. R. Ch. mentions in north. His third work, Ragamanjari praises the last verse that Vitthala belongs to the Akbar under whom were two brothers, village Satanurva near the hill called Siva- Madhavasimha and Manasimha, kings of ganga in the Karnataka country. the Kacchapa Vamsa. The Ragamanjari was written for Madhava Simha, a devotee of Vishnu whose geneology also Vitthala gives in the introductory verses. Own I [Kacchapa Vamsa—King Bhanu—Bhaga- etc. vanta Dasa—Madhavasimha and Manasimha.] He is a brahmin of the Jamadagnya Vamsa The Ragamanjari is a small work on and all the colophons to his work specify him Northern music in two chapters on Svara as Karnata Jatiya. The introductory verses and Raga. Among Ragas, Vitthala gives 15 of the S. R. Ch. (Sis 2—6) give information new Parasika Ragas in the end. about Vitthala’s patron. Vitthala flourished Besides these works, two more works are in the court of a Mahomedan King, Burhan- attributed to him viz and yrffcr khan, of the Pharahi family which ruled between 1370—1600 A.D. at a city called \ (^)rkMI}| j The S.R. Chandrodaya is in three chapters and This work is not printed.

called eil&ftsiUiq:- Somanatha’s Ragavibodha. The Ragamala is another small work of 1609 A. D. Vitthala on Ragas which, he says, he wrote for one Kapilamuni. The Ragavibodha of Somanatha is print­ ed and a Mahrathi gloss on it is also avail­ ftpMr s g fsr snt wwip&foifcm I able in print. It received the attention of scholars very early, there being an English translation of it and some treatment of it in The Bikaner Cat. ms. of this work has an Europe also. The text of Somanatha with additional verse, at the end of which Vitthala an English translation was printed also by gives his mother as Nagamba. Mr. K. B. Deval in “ Sanskrit Research,'' LATER SANGITA LITERATURE 59

Bangalore, Vol. I, nos. 3 & 4, under the name, mentions a Ms. called Raga Vibodha Viveka ‘ Theory of Indian Music as expounded by and describes it as a commentary on - Somanatha ’. It has now been edited with natha’s R. V. There is no separate com­ a voluminous introduction and a translation in mentary on the R. Vibodha by another writer English by Mr. M. S. Ramaswamy Ayyar of and the commentary above noted is nothing Madras but this edition’s omission of Soma- but Somanatha’s own gloss on his verses. natha’s own commentary on his text is regrettable. The Sangita Sarvasva of Jagaddhara. In Slokas 3 and 4, Chap I, Somanatha {Between the 14th. and the 17th centuries). gives some information about himself. His family, himself and his father, had the title Jagaddhara is a well-known writer who has ‘ ‘ well-versed in all arts ’. His written a commentary on the Alankara work grand-father is mentioned as Menganatha of Bhoja, Sarasvati Kanthabharana and and father, Mudgala Suri. commentaries on some dramas like Bhava- bhuti’s Malatimadhava. Scholars assign him The work is in four chapters called to the time between the 14th and the 17th cen­ turies and his definite date is not yet known. He has produced, besides, a Sivastotra. and The third chap, deals with He is the son of Ratnadhara and Damayantika Ragas and the fourth with some more Ragas and is known as a Naiyayika also. He held more elaborately and in the order of the time some office called Dharmadhikaranika when they should be sung. The work is in under some king. From a quotation by him­ Arya verses, accompanied by a commentary self in his commentary on Bhoja’s Sarasvati- of the author himself. Somanatha draws kanthabharana, we learn that he was mostly upon Sarngadeva and Kallinatha proficient in Music and Natya and produced whom he mentions often. Other music a treatise thereon called the Sangita writers quoted by him are Matanga, Kohala, Sarvasva. Hanuman, Umapati and Parsvadeva. One noteworthy work quoted by him twice in chap. 4 and which we have noticed already ^Q jni’r n ’ etc. is the Ragarnava. ’s commentary on the drama, Karpuramanjari of Rajasekhara (p. 5), Somanatha is learned in branches of know­ Rucipati’s commentary on Murari’s drama, ledge other than music also. The Kavya- Anargha Raghava (pp. 300, 302) and Ragha- lankara of Rudrata aad the Kavyaprakasa vabhatta’s commentary on the Sakuntala of of Mammata, two Alankara works, the Kalidasa quote the Sangita Sarvasva. Madhaviya Nighantu, the Rosas, Arnara and Vaijayanti and the chandas of Pin gala are Kesava. quoted by him. All that we know of this writer is that he Somanatha gives the date of the composing was a commentator on the Ratnakara and of his work at the end thus : that he flourished before 1614 A. D., the time i. e-, Saka 1531, or A. D. 1609. of the Sangita Sudha which is the sole source of our knowledge regarding this writer. See S. R. Bhandarkars catalogue of Mss. in theabove under S. R. and the commentaries Peccan College (XIX. 1. p. 430- Ms. No. 276) upon it. Harindra. awantr: arareenu A similar writer known to us from a men­ I. 157. tion in the Sangita Sudha is Harindra, The following two more references were of whom also more is not known. See above kindly given to me by BrahmaSri Subrafi. under Haripala and below under Sangita manya Sastrigal of Tanjore. Sudha. 2. In the Alapa Prakarana we find— The Sangita Chandrika of Madhava Bhatta.—Earlier than 1614 A. D.

The Sangita Sudha now and then refers to 3 In the d'|3JUtt)4.U(, we find him mention­ ^ Bhatta Madhava and his music work, Sangita Chandrika. ed as the Parama gitru, i.e. Guru’s guru of Venkatamakhi. ^ rafoiitfed! i p. 442, Ad. Ms. Vol. I. a w cMMW$'UsH: II - The Sangita Narayana quotes a Sangita ^i

II

jfcST

Ch. D. Pra. 1.146—7.

The context is the description of the We need not doubt this great scholarship Raghunatha Mela Veena and after these verses, of Raghunatha. In the historical poem on three Upajati verses are reproduced from the him named Sahitya Ratnakara (published in the Madras University Journal) by a son of quoted. The rare names in the above list are this Govinda Dikshita, named Yagnanara- Kesava, commentator on Ratnakara and yana Dikshita, the first Veena performance Harindra both of whom we have already given by Raghunatha before the state noticed. Harindra is referred to in the follow*, Vtdvans andhis father is described at length. ing verse: . (Canto VI. Sis. 1—29.)

Raghunatha invented Jayantasena and sraftmsi; i other Ragas and Ramananda and other Talas- He devised a Mela with his name, in which q- a * could be played all the Ragas. This is taken as tl etc. the basis by MivSundaram Ayyar of Tanjore Pp. 330. Vol, I. Ad. Ms. who, as an enthusiast of Govinda Dikshita and his Sangita Sudha, says that the 72 Mela- We have suggested above that this karta scheme found in the Chaturdandi of his Harindra, who is referred to as a recent writec is really the work of Govinda Dikshita. How (3TT^f*N>) ^ke Sarngadeva, as a contrast to is it then that Venkatamakhi says that he Matanga, Sadasiva etc., may be King invented the 72 Melakarta scheme ? Haripaladeva, author of Sangitu Sudha - kara. Then the work gives its extent and scope thus: It is in seven chapters: i. The Chaturdandi Prakasika of •i- iii. U^Oi'nlPf- (Here Vaggeya- — 1620 A. D. kara, Gandharva, Gayana etc., are defined; Sarira, Gamaka, Brinda etc., are also dealt Venkata Makhin alias Venkatadhvari with), iv. JTffsn: v. axOT: vi- 3T?nfsr and Venkatesvara Dikshita is one of the vii. Natya, Rasa etc., are here com­ sons of the above-mentioned Govinda Dikshi­ prehended. But in all the Mss. of the work ta, author of Sangita Sudha. He was a that are available to us, we do not have the great Mimamsa scholar and has contributed to text after the Prabandhadhyaya i.e., the that Sastra a commentary on Kumarila viz., fourth chapter. The remaining portion con­ the Vartikabharana. The famous poet and taining the chapters on Tala and Nartana minister at the Madura Nayak Court, are not found out yet. Nilakantha Dikshita, is a pupil of his. This Venkatamakhin wrote a treatise on music The work is written in beautiful Sanskrit called the Chaturdandiprakasika. Though and for the polish and grace of language, there produced in the Tanjore palace, no Ms. of it is no other music work to stand beside it. is found in the Sarasvati Mahal library at Many Sastrakaras like Kumarila, Udayana, Tanjore and for long no Ms. of it could be Sutrakara, , Vama- found. It was all hearsay and rumour. na, Bhamaha are mentioned. Among Venkatamakhin was considered as the syste- writers on music, , Dattila, Sadasiva, matiser of the Carnatic music, as the author Sardula, Tumburu, Narada, Nandin, Hanu- of the 72 Melakarta scheme and his •work was man, Kohala, Matanga, Bharata, Sarngadeva, highly thought of. Everybody wanted to Parsvadeva (many times ; see chap. III. p. 753. secure it and have a look at it. A scholar here Vol. II. Ad. Ms,) Somesvara (p. 834) Arjuna, and one there, was reported as having a frag­ Vidyaranya, Bhatta Madhava, Umapati, ment of it. Now Mr. T. L. Venkatarama Kesava, KalHnatha and Harindra are Ayyar of Mylapore, with the aid °f Mr. Dikshitar of Ettaya’puram secured a The work as available to us now does not Teltigu paper copy of the Ms. and prepared contain the end of the penultimate chapter a Devanagart copy from it, with an idea to and the whole of the last chapter. Chapter I publish it. Recently a press copy of it has gives the following as the contents of the been prepared by Brahmasri Subrahmanya work: Sastri of Tanjore and the Madras Music Academy is publishing the work. Mr. Bhat- greri i rTrTJ n kande had already published portions of it, S3 having copied those portions from the above HsJIcf^ cld ♦ I noted Telugu Ms. cTcft ^TSTTc^ II Scholars who have now gone through the jftdsiy c oT dcf? ii work hold diverse views, while there are not srpbirt JRiTor t f M w w cm: h wanting Vidvans who stand and swear by it. A severe controversy over the subject raged I. Sis. 1-4. in the Literary Supplement of the Hindu be­ tween Veena Vidvan Subramanya Sastrigal The end of the 11th chapter, Prabandhas, and and Dr. Srinivasa Raghavachariar. (Vide the 12th chapter-TWas, are lost. Some of Hindu Literary Supplements : Dec. 20th and the authors quoted in the work are Bharata, 26th, 1932.—Karnatc Music—The import­ Sarngadeva, Narada, Matanga, Somes- ance of standards). The former pointed out vara, Gopala Nayaka and Ramamatya. deviations and argued for attuning the system Of these the last, the author of the again to Venkatamakhin’s Chaturdandi which Svaramela Kalanidhi is very strongly criti­ he described as “ the foundation on which cised. The following are a few samples of the edifice of South Indian Music is built.’’ the language of the onslaught on Rama­ The latter questioned this statement and matya •' expressed his view that the author of the cTOT fi| 5TJT1 I Chaturdandi had more presumption than knowledge in music. Others there are who IV. 167. speak more vehemently of Venkatamakhin SIR I and his scheme of 72 Melakartas. In his rnrT ii 1 work, Venkatamakhin says that he devised the 72 Melakarta scheme, that it is absolutely He says that Ramamatya could not under­ above reproach and that not even God Siva stand what a shepherd will understand. could improve upon it. Scholars opine that such harsh criticism is unwarranted, especially in view of the fact that music must have changed since * tt * * Ramamatya’s time. The same sane view has, to be adopted in regard to the worth of the Chaturdandi also. It is said that this work SI. 90. is not useful for the music now obtaining among us and that the real work relevent for our purpose is a work of one Govinda, which * * * * we will presently notice. si iter fejrcrfcr: 11 Of Gopala Nayaka mentioned by Venkata- 92. makhin and of Tanappacharya, the Parama* guru of Venkatamakhin we have spoken. (See The Chaturdandi Prakasika was perhaps above.) written in the reign of Raghunatha’s succes­ sor, Vijaya Raghava Nayaka who prompted Now to the name of the work which is a the writing of it. The colophon in the Ms. of rare kind of name in Sanskrit Sangita litera­ the Chaturdandi Prakasika bears out this ture. The name means an exposition of fact. Chaturdandi and the word Chaturdandi is explained by a passage in Tulaja’s Sangita arsgq fqaqTiqq w Saramrta which borrows largely from the Chadurdandi Prakasika. The reference, licft 3?pjj which was kindly given to me by Brahmasri qttJTT qq^oT I Subrahmanya Sastrigal of Tanjore says that t Vijaya Raghava Nayaka ruled up to Chaturdandi is tour forms of singing viz., about A. D. 1672. The Sangita Saramrta 3PT and 3TT55TT- The line in the of King Tulaja, a Maharata ruler of Tanjore Saramrta is 1 utilises a large portion from the Veehapraka- and these are the main subjects treated of by rana of the Chaturdandi Prakasika. In an Venkatamakhin. The word seem; to sail in article on “ Venkatamakhin and his twelve the same boat as “Vaggeyakara.” The famous notes ” in Vol. II, part I of the Journal of Gopala Nayaka must have been very famous the Madras Music Academy, Pandit for the singing of Chaturdandi; for in the S. Subramanya Sastriar of Tanjore IXth. Chapter, SI. 5., Venkatamakhin says : says that besides this Chaturdandi Pra­ kasika, Venkatamakhin wrote also a treatise on the 72 Melas and their derivatives. Sigrfargqggtfesrert $?rr) Venkatamakhin has composed Lakshana jftqw qiqys ii gitas also which are printed in the Sangita Sampradaya pradarsini. (The emendation is by Brahmasri Subra- manya Sastrigal of Tanjore). Earlier, the word occurs here.— The Sangita Darpana of Damodara 1625 A. D. This work is printed but the edition gives Mr. Ramakrishnakavi says that the word us only two chapters. Complete Mss. of this Chaturdandi occurs in early works and that it work are available in many libraries. (Mad. means not the above said four aspects but the Library, Des. Cat. XXII. 13016) The work is in six chapters, the last being devoted to four parts of a Raga, dance. The other five deal respectively with and and the following verse on the Svara, Raga, Prakirnaka, Prabandha and same was given by him to Mr. Subramanya Vadya. From the colophon we see that Sastrigal: Damodara, its author, had the title 1 ’ nufaqr qAqfer (?) sr ^$|fqq: i like Kallinatha and that he was the son of arqrT^t qr esqTtf qnrri^wj 11 Lakshmidhara Bhatta. ^STtrKT5 qrc^rf^gjftaft: II ‘ f t * - The Chaturdandi was written about A. D. qqflay ifr ^rrranq: qgi 1 ’ 1620. It was not a production during This work is based on Somanatha’s Raga- Raghunatha’s reign which began in A.D. 1614. vibodha and quotes in the same places the same authors and works quoted by Soma- The Sangita Saroddhara of Kikaraja natha. Damodara wrote a short time after From the above noticed Sangita Saroddhara Somanatha. of Haribhatta must be distinguished a work of The Sangita Dai ^ana of Haribatta the same name attributed to a writer named Kikaraja, son of Sajjana. Aufrecht notes The Bikaner catalogue (p. 527) Ms. No.1123, this work as noticed in Peters. 4, 22 and Oppert’s catalogue and Burnell’s Tanjore Extr. 42. catalogue describe a work called Sangita I came across a Ms. of this work in the Mss Saroddhara by one Hari Bhatta. The work Library of the Bhandarkar Oriental Institute. begins thus : Poona—(No. 838 of 1886-92). The Ms. con­ tains 16 big paper sheets. Kikaraja is no *Tl

This work is available in the Madras Mss. library also. The text of this work is virtually Colophon the same as that of Damodara’s S. Darpana. Perhaps Damodara had another name Haribhatta, or perhaps ‘ Haribhatta ’ is a mistake of ‘ Hari Bhakta or perhaps an author named Haribhatta made his own version of Damodara’s work. The catalogue of Mss. of N. W. Provinces (612) describes the work as Haribhatta’s Sangita Darpana. ‘Saradanandana’ is perhaps Kikaraja's title. The catalogue describes it as a work on The following authorities are given by him : prosody because it has mistaken the Btiarata, Kasyapa, Dattila, Yashtika, Arjuna of the work, for a work on metres. The , Tumburu, Narada, Matanga, Visakhila, Sangita Darpana of Damodara does not Kambalasvatara, Kohala, Rahala, contain a separate section on Dhruvas but and others. Sarngadeva's list is repeated. Haribhatta’s version, called in some Mss. as The work deals with music and dance and the contents are as follows : Sangita Saroddhara, contains a treatment of Dhruvas. It is not also unlikely that Chap. I. °. **i TPT° SqftiSt Haribhatta wrote two separate works called *,e-> S&ngita Darpana and Sangita Saroddhara. (orchestral music) etc. iv. jffao (337*71 J The Tanjore Ms. of Haribhatta’s Sangita this is a big chapter) v : 37? ° v'- «TT55o Darpana contains 7 chapters, the last vii. 5730 dealing with dance. The Madras Ms. has a Abhilaaha’t Sangita Chandra and Telugu Tika appended to it. the Sangita Bhaakara of King The Sangita I^alanidhi of Haribhatta Jagajjyotirmalla and Van- ga mani. (1617-33. A. D.) From Aufrecht’s Cat. w4 see that this Hari Bhatta produced another work called Jagajjyotirmalla was a Nepalese King who Sangita Kalanidhi. The catalogue of Mss. ruled between 16l7and 1633 A.D. He is already of the N.W. Provinces (III. 80.) also describes known to Sanskrit scholars as the author of a this Sangita Kalanidhi. commentary on Padmasri'a Nagarasar- 9 vasva, a work on pornography. He did some valuable work in music by bringing to jjutTtttr i his court music works and writers and by himself writing on the subject. From the cat. of Mss. in the Nepal Palace Library by M. M. Haraprasad Sastry (p. 260) we learn That it is a commentary on Abhilasha’s that there was one Abhilashain South India Sangita Chandra is known from the colophon who composed a work on music called which runs thus Sangita Chandra and that, with great efforts, King Jagajjyotirmalla brought that Sangita Chandra to Nepal, even as Garuda The work is mostly in prose. It is availa­ brought Amrta. At the end of the Ms. of the ble in the Nepal palace library and is descri­ said Sangita Chandra we see :— bed on p. 262 of the Nepal catalogue. The Ms. is dated Newar Era 751. Sangita Sara Sangraha Still unsatisfied, King Jagajjyotirmalla l| himself wrote a treatise called Sangita Sara Sangraha, dealing with music, dance, and 3TT3TgR 37T*nj: | drama, in prose and verse. This work was The work, says Jagajjyotirmalla, was the written in the Nepala Era 799. The work is best among the numerous treatises on music. available, like those described above, in the That one Abhilatha wrote.it is clear from Nepal Palace library and is described on the introductory verse: p. 263 of the Nepal catalogue. King Jagajjyotirmalla has also written an grftraritar ftg«uwjifa.ii n operatic drama called Hara-Gouri-vivaha in The work seems to be very valuable and the Nepal dialect. it treats very elaborately of Natya and Ahobala’s Sangita Parijata Sangita, beginning with the construction of 17th century. the theatre etc. *TTHT5TT?JPlTi 3n-UT: The Sangita Parijata of Ahobala Pandita TSTTr Rr W etc. The work is in prose and has been published from Bengal. As pointed verse. out in the introduction to that edition of it, Sangita Bhaskara: Its Commentary. the text available does not seem to be com­ After bringing this valuable work to his plete. While enumerating the contents, court from the South, King Jagajjyotirmalla Ahobala mentions Kambala lakshana, Vag- called to his assistance a scholar named geyakara lakshana etc., but these are not Vangamani and wrote a commentary on it found in the text. Further the work which called Sangita Bhaskara. Perhaps Vanga­ now closes with Ragas must have had more mani wrote it himself and attributed it to the chapters. Each chapter, according to Aho- King. bala's statement in the beginning is called ‘ Kanda ’ to fit in with the metaphor in the 5T?sjr i name Sangita Parijata. Ahobala refers to many ancient writers on The last verseaays that Vangamani himself music and bases his text on Hanuman’s wrote it at the king’s order and that Van­ work. The name Ahobala appears to be gamani was a native of Mithila. southern. It is said that this work was translated into the Persian in 1724 A. D. and therefore can be said to belong to the 17th century. fe s tfa I The Sangita Makaraada and the Sangita Pushpanjali of Veda- srmrfir Early 17th century. As different from the Narada Sangita Makaranda available now in print, we see that the Tanjore library catalogue and the 2 sons Bikaner catalogue mention a work called Sangita Makaranda by one Veda. (3 copies Tanjore Burnell cat. p. 60 a; Bik. cat. p. 5 20. i______^ no. iii.) S'. R. Bhandarkar's catalogue of Mss. in Rajaputana and Central India (1904-5 to 1905-6. p. 54) describes a Ms. of this work.

I went through the work at the Tanjore m i«w i *»#*• i library. The 3 Mss. available contain only <>q{& the dance chapter: ST WTr*: II WTH: I The Bik. Cat. Ms. also contains only the Nrtyadhyaya and has this same colophon. We have either only this much available or Veda’s work is We can compare with the above Vamsavah only on Natya. We may however hope that another supplied by Tulajendra’s SanyUa the work has more chapters, on music. Saramrta. Maloji (Mallari of Veda) Similar is his other work Sangita Pushpanjali which we see in the Tanjore Sahaji and Bikaner catalogues. I read the Tanjore 2 wives- Ms. and found it also treating {of dance, Jijibai and Tukkahrb only of Purvaranga which precedes . 1 1 (Tanjore New Cat. Vol. 16 no. 10674, Burnell 1 1 Ekoji 6616; Bik. cat. pp, 521-522 Ms. 1113.) Sambhu or Sivaji, the great (1st Tanjore Sambaji Mahratta King) Pupil of Sangita Makaranda treats of Rasadrishtis, Veda in Music Sahaji Serfoji Tulaja Gatis, Char is, Hastas,' various dances and lastly Rasas. The other work, as said above, (author of speaks of the propitiatory Purvaranga. The Sangita Saramrtu. Makaranda quotes Bharata, Sangita Ratna- 1729-35. A.I). kara, Kohala and Darpana and gives some songs composed on Shahu, the author’s Thus Sahaji, patron of Veda, the author patron. The work gives his patron’s Vamsa- of Sangita Makaranda is the father of yali in the end. the great Sivaji to whose brother Sambhu Veda was teaching music. The work thus deva, written under the patronage of a king belongs to the early part of the 17th century. named Khadgabahu, son of Vira Simha. The Makaranda mentions in the end two A Ms. of this commentary ‘ Vidvans of music, one Gopala and his son. f o f t ’ is described on p. 512, under no. 109.4, Ambapuri seems to be the place of'Veda. in the Bikaner catalogue. The Ms. of the other work is full of Lochana Kavi’s Raga Tarangini and blunders and is crumbling. From it we see that Raga Sangita Sangraha 1700. A. D. Veda wrote it after seeing Chatura Damo- Lochana Kavi’s Raga Tarangini is a work dara’s Sangita Darpana. This Damodara, on North Indian Music and it is printed. The had a son named who seems to have author is a native of Mithila which-he calls taught music to Veda. his Svadesa. The work deals with Ragas and + + + is very small. In the work is quoted Tumburu on the limes appropriate for singing each Raga. *T*TRT He is the But according to the information in only source of information for us to know S. R. Bhandarkar’s catalogue of Ms. in Raja- that Tumburu’s work was called Tumburu putana and Central India, Veda is the son of Nataka. Ananta, the son of Damodara. If it is correct, Veda is the grandson of the author The printed edition is not complete. The of the Sangita Darpana. author says that he will give the Gitas in the Maithili Vernacular’written by Vidyapati but Sangita Kalpataru. these songs are omitted in the edition. From Earlier to 1655. A.D. his quotation of Vidyapati’s songs, we see that Lochanakavi is later than Vidyapati who Subodliini—Commentary flourished in the fourteenth century. A verse on it by Raya Ganesa. at the end of the work however gives the The author of Sangita Kalpataru, which date as STRT (i.e.,) Saka 1082 seems to have been very popular, is not or A. D. 1160 but I am told that this Saka is known. Ranganatha Dikshita, in his com­ not the well-known Salivahana Saka but mentary on the Vikramorvasiya, quotes it some local era according to the calculation of once and Ruchipati quotes it five times in his which there is no contradiction, the date of commentary on the Anargha Raghava. From Lochana coming to somewhere near the 17th the quotations we can gather that the work century. Hrdayanarayana seems to have resembled the Natya Sastra of Bharata and utilised the Ragatarangini of Lochanakavi in dealt with music, dance and drama. writing his work. Hrdayanarayana is assign­ ed to A. D. 1667. The work is said to be available in Bengali ’there being a notice of it in the Mss. of Ranga Sangita Sangraha is another Rajendralal Mitra catalogued by M. M. Hara- work written by Lochanakavi and this we prasad Sastry. Since Rangantha Dikshita know from a reference to this work by himself wrote his commentary on the Vikramorvasiya in his Ragatarangini. in Samvat 1712 or A. D. 1655, Sangita Kalpataru must have been earlier than that date. l” Sangita Kalpataru has a commentary This work therefore must be bigger than on it called Subodhini by one Raya Ganesa the Ragatarangini. I did not come upon any notice of this work" in any of the Sangita Ankusa by one Bhava Bhatta. The catalogues I went through. works bear the mark of the name of King The Raga Vibodha of Srinivasa Anupasimha, the patron of Bhava Bhatta. Pandita. King Anupasimha was a ruler of the Bikaner Later half of the 17th century. state who ruled from 1674-1709 A. D, He had in his court Bhava Bhatta who was very This work is also available in print. A Ms. proficient and had the titles “ Anushtup of it is described in the Bikaner catalogue. chakravarti (master of the Anushtubh metre) This small work contains in the and Sangita Raya. ” This Bhava Bhatta was beginning an interesting discussion the son of an equally distinguished father on the ethics of music. The work is indebted named Sangita Raya Janardana Bhatta to Ahobala's Parijata which belongs to the who was the court-musician of the 17th century and is often quoted by Bhava Mughul Emperor Shahjehan. The colophon Bhatta in his works. Bhavabhatta flourished to the Anupa Sangita Vilnsa provides us the in the end of the 17th century and in the above information. beginning of the eighteenth. Therefore the King Anupa Simha ordered a commentary time of Srinivasa’s Raga Tattva Vibodha is on Gita Govinda to be written (cat. of the latter half of the 17th century. Ms. Jammu and Kashmir, by Stein p. 67 Ms. King Hridayanarayana’s works. no. 386). He similarly ordered Bhava Bhatta 1667 A. D. to write many music works, three of which The two works of this writer, Hrdaya- are the three above mentioned books, made prakasa and Hrdayakautuka are printed. available to us in print. Sangita Anupa In fhe introductory verses is to be had some Ankusa says in the beginning : information about Hrdayanarayana. He was a ruler at Garrh or Gatadurga i. e. Jubbal- pore. He ruled about 1667. A. D. He is indebted to the Raga Tarangini of Locana- [^1 <41 frf I ^ * 1 ^ ^ Tr*1| • 'K* I kavi and is quoted by Bhava Bhatta who flourished at the end of the 17th century. Both the works are very small and deal Bhava Bhatta says that it took him three mainly with Ragas only. and a half years to write these three works. A Ms. the S. Anupankusa preserved in Raga Manjari, Ragakutuhalam the library of the Maharaja of Jammu and and Raga Kautukam. Kasmir is dated 1892, A. D. according to the These three works are known to us from notice of Stein. This work is in two chapters, quotations of the three in the works of on Svara and Raga. The Raga chapter being Bhava Bhatta, whom we shall notice pre­ called as Alapana Manjari. sently. Nothing more of these three works is known. King Anupa, Bhava Bhatta and his works. End of the 17th and the beginning of the 18th centuries. There are available to us in print three music Similarly, the Raga chapter of the other works called the Anupa Sangita Vilasa, work, Anupa Sangita Ratnakara, is also Anupa Sangita Ratnakara and Anupa called Alapa manjari in the opening verse. Anupa Sangita Ratnakara is also in that Shahjehan, his father’s patron gave him two chapters dealing with Svara and Raga. the title of ‘Sangita Raya.’ Bhava Bhatta It reproduces largely from Sarngadeva and migrated from Shajehan’s court to that of quotes often the following works: Sangita Anupasimha where he produced his works*. Parijata, Ragamanjari, Ragamala, San­ Other unprinted works of gita Darpana, Sadragachandrodaya, Nritya- nirnaya, Hridayaprakasa, Ragatattvavi- Bhava Bhatta. bodha, Raga Kutuhala and Samkirna Raga- Besides the three works above dealt with, dhyaya. From a verse in the beginning we see Bhava Bhatta wrote three more works, which that, after writing this work, Bhava Bhatfa we know of from the Bikaner catalogue. One attributed the work to his patron, Anupa of them is Sangita Vinoda. (p, 527 Bik. cat. Simha. no. 1125) The work deals with music and Nartana also. The last colophon however hht JTcmrftfsr i attributes the work to his patron Anupa­ simha. The name itself shows that it is only a re­ cast of Sarngadeva's Ratnakara. Bhava Bhatta wrote another work devoted Anupa Sangita Vilasa also bases it­ solely to the flute, called Muraliprakasa. self and is more or less a compilation from The Ms. is described on p. 513, under no. 1095 the works mentioned above as quoted in the in the Bik. cat. and the colophon says: Anupa Sangita Ratnakara. There is a rare % fir grsfanrsrcsrcT: HTHHfsrar: w ith : i instance relating to the raga Adana, where he says that the statements regarding^ this Raga The sixth work of Bhava Bhatta has a are his own—gq I Other authorities lengthy name, a quoted are: Matanga on Raganga, Sringara treatise on singing. (Bik. cat. Hara or Sangita Sringara Hara on Tana etc; p. 514. no. 1097.) This work quotes Soma- Sakalakala i.e„ Somanatha, Sangita - natha’s Ragavibodha. The colophon runs druma, Kallinatha’s Kalanidhi, Raga thus: Kautuka and Sangitopanishad. Anupa Sangita Vilasa is in 3 chap­ WTIHT I ters, Sruti, Svara and Raga. The work has a Bhava Bhatta must have written after description of the King, Anupa Simha, the 1667, A. D. the time of Hrdayanarayana author and his court musician viz., Bhava whom he quotes. Bhatta and a panegyric on the king in the beginning. Four verses describe Bhava The Section on Music in ’s Siva Bhatta as a scholar not only in music and Tattva Ratnakara. Bharata but also in Alankara and Tarka 1698-1715 A. D. Sastras, as a poet and as a scholar in Maha- Basava Raja or Basappa was a king bharata. In verses 39-44, Bhava Bhatta says of the Kannada Keladi dynasty of Vira that he belongs to the city called Dhavala in Saiva faith, which ruled the Kannada Abhiradesa, that his grand-father and father country for 250 years. Basappa ruled from were Tana Bhatta and Janardana Bhatta 1698 to 1715 A. D. Following Somesvara’s respectively, that they belonged to a family Abhilashitarthachintamani, he wrote an called that one Ghanasyama was encyclopedia of knowledge called the Stva the scholar who conferred upon Bhava Bhatta Tattva Ratnakara. Like the Abhilashita- the title of ‘ Anushtup chakravartin ’ and rtha chintamani this Siva Tattva Ratnakara contains a sub-section on music in the Arts- Library- The work opens with an account section. In Kallola VI, three chapters, VII to of the Maharatta rulers of Tanjore. IX (6—13) deal with music. These chapters Ekoji deal with Svara, Raga and Tala. Chap. VII (First Tanjore Maharatta King) deals with Nada, Svara, Grama, Murchana, Alankara and Gamaka; Chap. VIII, with I . I . I ‘. Jot is and Ragas and closes with Gayaka Sahai Serfoji Tulaja raja. lakshanam; Chap. IX. covers Tala and (1684-1710 A.D.) (1711-28 A.D.) (1729-35 A.D.) Vadya. (See also Mr. K. R. Subramanyam’s book on the Mahrattas of Tanjore). The work says In the end of the section, Basava refers to in the beginning, like all other works begin­ some authorities on music viz., Dattila, ning, with the Svaramelakalanidhi that it is Nandin Bhrugi, Kohala, Bharata, Adi Bha- begun by the author to bridge the gulf rata, Sarngadeva and Utpala. The last per­ between Lakshya and Lakshana, practice and haps is Utpaladeva, the grand-preceptor of theory. Abhinavagupta. (Vide previous issues for my article on Early Sangita The following works and writers are Literature. mentioned. Sarngadeva (often), Bharata- Saubhagya Lakshmikalyana Suta Chatura Sabha Vilasa and the commentary on it by Vidyaranya, Similar compendiums were compiled by Matanga, Visvasu. Tumburu (these quota­ many. There is said to be a work dealing tions are reproduced from Kallinatha) Venya with all the 64 arts called Chatusshashti and other sages, Kohala, Bayakara (Rama- Kala attributed to Bhoja but that has not matya), Chaturdandiprakasika of Venkata - yet come to light. A similar work dealing makhin, Vitthaliya and Somes vara. Large with all the arts flourishing in a king’s court, portions are borrowed from Venkatamakhin’s called the Chatura Sabha Vilasa, seems to Cha. D. Pra. The work is in five chapters exist. I And it quoted by one Ramananda dealing only with music. Natya, Tulaja dealt Narayana Sivayogi Raja in his music work with in a separate work of 9 chapters called called Natya Sarvasva Dipika. (p. 37 Ms, Natyavedagama which work also is avail­ of the Bhandarkar Institute). This thesaurus able in the Tanjore library. An epitome of also treats of music. the Saramrta has been published from Similarly, we hear of a thesaurus by a Bombay. Venkatagiri king of the last century. Friends The Sangita Sastra Sankshepa of mine, who have seen as Ms. of it say that of Govinda- it contains a large section on music. Most likely of the 18th century. King Tulaja’s Sangita Saramrta. In the Adayar library was a Ms. work of The art traditions of the Tanjore Telugu the above name lying unheeded. It was my Kings were kept up for a time by the succee­ friend Mr-K.V. Ramachnandran a resear­ ding Maharatta rulers. The rule of the three cher in music, who found out its value and sons of Ekoji (the first Maharatta ruler), viz. made a copy of it. Subsequently the work Shahaji, Serfoji and Tukkoji alias Tulaja found circulation among the scholars assembl­ showered the greatest benefactions on ing under auspices of the Music Academy scholars. Tulaja or Tukkoji who reigned be- and the .work has now attained great tween 1729-35 A.D. wrote a music work called prominence. the Sangita Saramrta, a Ms. of which work The original Ms. is in Telugu script and is is available in the Tanjore Sarasvati Mahal named ‘ Sangita Sastra Sankshepa of Govinda, which is in accordance with the Mr. Sringarachariar who supplied the pames following verse in the text in the opening of the Ragas for Mr. Chinnaswamy Mudaliar- chapter. Quite a strange view is held by I Mr. C. R. Srinivasa Ayyangar who opines that Govinda’s work is earlier to Venkata­ mf^r^nyT wfcrorer makhin, whose work corrected Govinda’s ZrZj) ^ || mistakes. Soon we come across two colophons men­ The corrupt Ms. has been now corrected tioning two chapters of the work and inform­ and a press copy of it has been prepared by ing us that the work is a part of the Skanda- Brahmasri Subramanya Sastriar of' Tanjore pur ana, that God, Shanmukha wrote it and for publication. that it is called Sangraha Chudamani. Mr. M. Ramakrishnakavi says that Govinda (oft) was an Andhra, that he wrote a work called SPOTTr«TFi: I that he followed Rama- matya and his 20 melas and that the Adayar After a second colophon of a similar nature, Ms. above described by us contains a few no division into chapters is seen. The sheets in the beginning of this work which first chapter gives a number of Mangala had got mixed up with an anonymous work slokas, mentions ancient writers like Bharata called Sangraha Chudamani, described as a and briefly speaks without coherence or part of the Skandapurana. correctness about odd subjects of Natya. The whole work is written in absurd Sanskrit. The Sangita Sangraha Chintamani of Appalachari. There is very little evidence to decide the The Adayar library gives us one more date of the \vork. However I have been able work called the Sangita Sangraha ­ to land on this bit which mentions the mani of Appalacharya. (Ad. Ms. library. Achyutarayamela Veena which, if it is a refer­ Ms. XXXX). The Ms. contains only the ence to Achyuta Nayaka, gives us the upper Tala chapter and part of the Nartana limit of the work’s date as 1577-1614 A. D., the chapter of the work. The author is known date of King Achyuta Nayaka of Tanjore. from this verse at the beginning of the r ftotacflO Eirf^ (ufo) I Nartanadhyaya. El A~t7oT / afaT (cr) 11 Govinda’s work is said to represent the qggia&tawef fo?trnrfir: ll

music now obtaining, and has superceded the “ sreirpjp ^ (Lpei^eur ld jyuuerr isi&Qpir Chaturdandi. It is said to agree with Sri Tya- (&ju>/ririr jyuue ir gayya’s music and hence certain adherents of Venkatamakhin are violent against umsrmuuiLi—gi." Govinda. They say that he perhaps lived The work is in the same manner all through, during Tyagayya’s time and circulated his in Sanskrit verses followed by a Tamil gloss. views through a Ms. of his under the guise of The author is Appalachari, son of Appala­ a chapter of the Skandapurana to suppress chari, of the village of Srimushnam near the Chaturdandi. Mr. K. V. Ramachandran, Chidambaram. the discoverer of the utility of this At the end of the Nartanadhyaya we are Ms. considers that the work is still later informed that one Narayana Vadhyar of and belongs, in all probability to the time of Madura made this copy from the origina- a&niriiA LiitKAIUKE 7 3

Ms. of Raghunatha Nattuvanar (dance- Sangita Kaumudi master) for the sake of another Nattuvanar Sangita Narayana and Sangita Sarani named Sankaramurti. quote a work called Sangita Kaumudi or The work may be assigned to the 19th simply Kaumudi which, I believe, is the same century. as a Ms. of that name available in the Madras Govt. Ori. Mss. library, (Trien. cat. 1922-23 Meladhikaralakshana- to 24—25 R. 4163). This is an anonymous music work found The work is very small, extending to only in the Tanjore library, of which the music 25 pages in the Ms. Its treatment of the sub­ world is familiar through a critical review of jects is very brief and the following shows its contents in Vol. I. No. 1 of the Journal of the Madras Music Academy by Mr. T. L. the contents of its eight chapters Venkatarama Ayyar. According to Mr. Chap, I T. L. V. Ayyar, the work is “ a comparatively II 4T»T recent production not earlier than the 18th „ III, IV, V: rTT55 century. ” The author, who is not known, is said to take up and enlarge Venkatamakhin’s VI : system. It gives 24 srutis and the chief >, V II: feature of this work is said to lie in this res­ „V III: „ pect. The work is not written in Sanskrit of The last chapter deals with Natya also. a high order. In the Prabandhadhyaya (p. 17) the work Sangita Damodara. quotes a song on the ten of Vishnu in which appears the name of King Sana- This work seems to be older. No Mg. of it sena as its author. is found described in any Indian Mss. catalogue. Dr. Keith refers to it in his Skr. Drama and perhaps it is available in Europe. King Narayana quotes it. From his quotation we are able to see that it deals with music and dance. The work is sometimes referred to simply as Damodara and we are led to think Many more songs of this King are quoted that one Damodara is its author. Support is and if only we can identify this King, we can lent to this view by the statement of Kalan- have some clue to the date of Sangita kura who mentions a Damodara, the Raga- Kaumudi. dhyaya of whose work was rewritten with Oriya songs and notes by Kalankura. Harinayaka Suri Harinayaka is a writer who is known to us from quotations in all the Oriya writers 1 it works, the Sangita Narayana of King Nara­ yana, the Sangita Sarani of poet Narayana But there is a quotation, as follows, in the etc. All of them consider him a great autho­ Sangita Narayana according to which, one rity. He is given as one of his authorities Subhankara wrote the Sangita Damodara. by King Narayana: 3 ftBW H I Kalankura's Damodara may refer to the author of the Sangita Darpana. etc, p. 21. S. N. 10 Numerous quotations from Harinayaka’s one guru of his named Kaviratna—W&f&fi- work are found in Sangita Narayana. On 3>fgHr»rfq3r The quotation gives Sangraha p. 16 of S. N., Harinayaka is quoted to say Slokas for Talas. It is likely that this Kavi­ that Jatis are 18 in number and that they ratna, contemporary and teacher of king are the “ mothers ”, so to say, of Ragas. Narayana is identical with the author of Kalankura Nibandha.

3*: 1 Krishnadatta *rgf^w: dr m rm f ?r m?rc: 11 *fer 1 Of this writer nothing else is known except On p. 49 he is quoted on Sankirna Ragas. that he is quoted as a writer on music in This is a long extract from Harinayaka’s Narayana’s Sangita Narayana. The name of work. On p, 54 his definitions of Anibaddha his work is not known. On p. 30 of Sangita Gita and Alapa are given. Narayana he is quoted to say that it is the Raga Devakriya that is also called Suddha Vasanta. fM&T I Fn^^nTT^nR^Allft | ’ In the Prabandha- dhyaya he is quoted many times. Narayana . says that Harinayaka has described many Among the numerous writers quoted in difficult and rare Prabandhas in his work Sangita Narayana, Vachaspati is one. It is from Bharata’s treatise and the illustrations not known whether he is really a historical of these are to be found in the Gitaprakasa. personage who lived and wrote before or near the time.of King Narayana or the name re­ Kalankura Nibandha. fers to some work in the name of Brihaspati In the Trien. cat. of the Mad. Ms. library the mythical guru of the Devas. (1919-20 to 21-22) there is a work called Raga Two quotations from it are found in the Malika described under No. 3176 a. It is said Sangita Narayana. The first is on Tala and in the catalogue that,the work contains Oriya the second, the following, on Laya. songs— From the colophon to the Ms. described next to this under No. “ HJTcrr ftra; i 3176 b, we see that one Kaviratna Kalan­ (TOT (S«l || kura wrote in his Oriya language a new *frT ^T^ifrri I version of the Raga chapter of Damodara’s Sangita Darpana adding to it Oriya songs. Poet Purushottaraa Misra, King Narayana of Parlakhimedi and the Sangita ^ w i^ m w r p t cnrHife^n’ i Narayana SRSHIffcir ^ **ft*rM STTTOT II Last quarter of the 18th century. The work itself seems to be called Kalankura The Sangita Narayana of King Narayana* Nibandha. On the Murti of the Raga Sabari King of Parlakhimedi or of the Khimundi the Sangita Narayana quotes it so. line, has now been made familiar by repeated mention as above. It has been the greatest source for our knowledge of a large number etc- of works which we have noticed above. It is further quoted in the same work on the Under his patronage and after his time, a of the Ragas Abhiri and Khampavati large literature in music, both Lakshya and On pp. 84 a,nd 85 King Narayana quotes Lakshana grew up in Utkal or Orissa. The Sangita Narayana is available in the 88. The songs have the Mudra of the author’s Madras Mss. library. Trien cat. 1919-20 to name Purushottama. 21-22 Ms. No. R. 3234 contains its first two (ii) sniPt*: This is quoted by chapters and Trien. cat. 1922-25 R. 4212 con­ his son (on p. 16 Mad, Ms.) in his S. Sarani. tains the remaining two chapters. King Narayana’s Sangita Narayana is in four chapters. gWrrrrfimpJTr Chap I. Nada, Sruti, Svara, Grama, Raga, sfarShu n ” Gita and Tala. II. Vadya. (iii) (p- 20 S. Sarani.) III. Nritya. It must be taken for granted that the S. Narayana, though attributed to his patron IV. Prabandhas. King Narayana, was written by Puru­ The work has travelled for and we see a shottama himself. copy of it described in the catalogue of the The introductory verses and the colophons Kasmir and Jammu Mss. The works quoted speak of the king as its author. The colophon by it are: Narada Samhita, Panchama runs thus: Sara Samhita, Mammata's Sangita Ratna- mala, the commentary on the musical com­ position called ifrprtfe??, Lakshmana Bhatta’s commentary on Gita Govinda, rrsretj jnprfe- Kohaliya, Matanga, Sarngadeva, Sangita Siromani, Sangita Sara, S. Kaumudi, Gita prakasa, Harinayaka Suri, Damodara, fronir «rnr sraw: smm: i ’’ Vachaspati, Kalankuranibandha, S. Chan- But, in the notices of Rajendralal Mitra's Mss dika and S. Kalpataru. All these have of Bengal catalogued by Hara Prasad Sastri, been noticed above. this Sangita Narayana is described as the The author of the work shows his wide work of Narayana’s guru Purushottama learning by quoting in other branches of Kaviratna. knowledge, Vishnupurana, Kavyaprakasa, Alankara Chandrika Chando Ratnakara and Parasara Samhita on archery. The king had in his court many In the name of Narayana there are poets and scholars one of whom is his guru other works also. Alankara Chandrika is one Purushottama Misra who had the title of them. It is not a work on poetics but on Kavi Ratna. Purushottama was himself a the in singing. This special work great composer and his son Narayana wrote on Alankaras by him is quoted by him on a music work called S. Sarani. The compo­ p. 15 of his S. Narayana- sitions of Purushottama are quoted in the ufa-dP54;TTT: I Prabandha-chapter of the S. Narayana, where he is mentioned as Narayana’s guru The musical compositions of Purushottama gathered from these quotations as also from Most likely Purushottama is the real author quotations in his son’s S. Sarani are the of this work also. Besides this there are following: quoted in the S. Narayana some songs (i) - Rarnayana songs. bearing the authorship mudra of King Two songs from it are quoted on pp. 74 and Narayana Gajapati. oangtfiT^arayan^s quoted in later works i. A song in Dhan- of Orissa like Sangita Sarani and the Kavr asi Raga is quoted from this on p. 13, chintamani. •ysauifl The work opens with an account of the SffosTO q^rf^raim r. More songs ft»m dynasty of King Narayana who belongs to this are given on pp. 17 and 20. the Ganga dynasty. He was the son of Padmanabha. According to Banerjee’s ii- : History of Orissa (Vol. II. p. 120.) a Narayana “jTw^^ror— crra^^i?^«T *tot tnr- of Parlakhimedi attacked king Virakisora of tr^lTTntnr ” Songs from the house of Khurda, who ruled up to A. D. 1779. R. Sewell, in his archeological survey of this are quoted on pp. 14, 16,18 and 19. South India (part II. p. 186) mentions a iii- ST^VT: quoted on pp. 17. Viraprataparudra Narayana Deva, son of a iv- quoted on Padmanabha as having lived between 1748 pp. 30-34. and 1766. A. D. Almost all the Khimedi chiefs have the name Narayana and identifica­ ‘ *ror jt*t s r ^ ^ i r m - tion of this writer is therefore rather difficult. ’ The song ends thus : The Sangita Sarani of Poet Narayana. As noted above, poet Narayana, son of the guru of king Narayana i.e., of Purushot- ^ rs — fyr. . tama wrote a music work called the Sangita Sarani, which work is available in Narayana speaks of two varieties of Praban- good condition in the Mad. Mss. Library. dhas, Suddha prabandhas, and Sutrapfaban. dhas. All compositions of his father belong (Trien. cat. 1919-22. R. 3298.) The introduc­ to the former class as also the four above tory verses and the colophon give some referred to compositions of Narayana himself. information about the author, his father etc. A Suddhaprabandha is like the Gita Govinda, with the several songs in it set to different 1111 <4vi| I Ragas. As different from this, the second fid iq fr *f?ri ii variety of Sutraprabandha is sung to the end in only one fixed Raga. Says Narayana Col ffa sft on p. 313:

WTNircrf-

^ ir a n i fvTerr^r snw sraw: *nmr: i Narayana composed musical poems of this The work is called the ‘ Road to Music ’ and class also. Two of them, he quotes in his so its chapters are called Pravesas ’ i.e., Sangita Sarani. ‘ approaches.’ He quotes the S. Narayana of his father or patron and all the writers quoted therein. festival of a deity in a place called by him S. Sarani quotes also poet Narayana’s own as Nolagiri. The composition is on that musical compositions as also those of his Yatra and is in Sanskrit mixed with Oriya. father. Poet Narayana is a prolific composer. His musical poems are— i ’ p . 35. v i. He cites this Ramachandra Vihara of his as an example of a Gita Kavya. “ w-^sr^:; ?nr twftr The work is described in the Mad. Trien. TT^m arrf^: i Cat. 1919-22. R. 2925. The first 23 chapters This Ramabhyudaya is a Sutraprabandha on Alankara and drama quote numerous whereas his father’s Ramabhyudaya, referred Alankara works. Gopinatha is the son of to previously is a Suddhaprabandha. Vasudeva Patro of Karana family, who was The Sutraprabandha which is a composi­ the Guru and court physician of King tion to be sung in a single raga throughout is Jagannatha Narayana. the Raga Kavya of old, which is a variety of Uparupaka or semi-dramatic, operatic com­ Col. jfa sftfegffcf MgKlsfrq M H W IH - positions described by Kohala. It is describe ed by Abhinavagupta in his commentary on the Natya Sastra. He gives two instances of this Raga Kavya. Abhinava says that the Raga Kavya called Raghava Vijaya is sung yfafesrTTguil throughout only in Thakka Raga and the Raga Kavya called Marietta vadha, only in 5TTJT STTfl! f*h

S. Ratnakara, a complete Ms. of which is in Thus this work is similar to Tippa Bhupa. the Tanjore Library. One of the Skr. works la's Talaprabandha, a music composition on quoted is the Sangita Chandrodaya. It is Siva illustrating each Tala, which we noticed twice quoted in the Svaradhyaya portion. above under Tippa’s Taladiptka. Similarly we have the Tala Malika compositions on P. 60. 108 Talas, of which 56 are available in print, of Ramaswami Dikshitar, father of the celebrated Carnatic composer, . SpJTf: ^ «T93TT5J The Natya Chudamani or Svara cTT UJ^TNr: II Raga Sudha Rasa of Somanarya- It is again quoted as his authority, on p. 66' The Madras Mss. Library contains two Mss. The verse quoted defines and runs of a work called Natya Chudamani by one thus Somanarya, one a fragment of the Svaradh­ yaya and the next chapter only and the other containing the work completely. They are respectively described under Mss. R 366 and 3n,^f§*WT0T R. 1.998 in the Trien. Cat. 1910—11 to 12—13 ii and the Des. Cat. Vol. XXII. The latter Ms. is accompanied by a Telugu gloss. The Taladasapranadipika of Govinda. The work deals with all branches of music When one goes through the description of and dance. Its author is an Ashtavadhani, Music Mss. in Burnell’s Tanjore Catalogue, one who can attend to eight things at a time- one will find a work of the above name He says : attributed to one Govinda. One is likely to mistake it for a theoretical treatise on Tala- 3nsT^ir5Tf^3TrwrarcT«foT i I went through the work and found it to be a JTrsq^rirfiiRfa 3F3JT II poem in Telugu, in the form of songs on A fragment of this work was secured from Sri Rama, each song however being illustra­ private possession by Mr. P. S. Sundaram tive of a Tala. Just as we have Battikavyat Aiyar and produced as the Svararnava con­ a poem illustrating the Vyakarana Sastra, so nected with Sri Tyagayya’s life. (Vide my also we have here a poem for Tala. It is a article on ‘Some more early writers on music rTT5555$PJnT5Tf;TS*r The colophon calls it a in the previous issue of this Journal). and rlW^IUIui- The followers of the Tyagayya tradition f r f w i say that three works Svararnava. Ragar- afaTJTflsrrcrT qra«JIT*>2TSr nava and Sudharnava or Sudhambudhi are referred to by Tyagayya in his Kirtana ‘Svara Raga Sudha Rasa', ’ but I had already pointed (tf|<$R j|5T*Tr*TTfq according to the second out that this supposition is not quite sensible colophon). and that we have in the Mad. Library a Ms. called by the name ‘ Svara raga sudha rasa ’ itself. Its Tala chapter with a Telugu Tika is described in the Mad. Ori. Mss. Library, srsmiwrerg i Des. Cat. Vol. XXII, R. 12990. This Svara- raga sudha rasa is the same work as the called Varnalaghuvyakhyana (Mad. Trien. Natya chudamani of Somanarya, for we find Cat. 1919—T'2. R. 3942c). in the beginning of the Ragadhyaya Soma­ ir^rft^PT^mTTsr i — narya calling his work by that name. nfrn got; srg ii 9#ereiT^TTfi; Rama is a Tamilian as is cleaT from the *rm*Tpfor ii Tamil equivalents of the technical names The colophon also says so : 5% ^ J T O - given by him. vksiMi nirm^TPr: «*ira: i Tala Lakshanam Regarding the date of the work, we can only This is an anonymous work on Tala avail' say that it is later than that of the author able in the Mad. Library. (Des. Cat. Vol. of Ragavibodha, Somanatha (1609 A. D.) who XXII. R. 12993). The work is later than is quoted in the section called Saradatanaya’s BhavaPrakasa which it in the Raga chapter. quotes. Mridanga Lakshanam. Raga Pradipa This work is on the manufacture, etc., of Mridanga Vadya. Its author is not known- There is a work of this name available in Two Mss. of it are available with a Telugu the Mad. Mss. Library. (Trien. Cat. 1913-16. Tika in the Mad. Mss. Library. (Des. Cat. Vol. R. 1728). Its author is not known. The XX II. R. 13011 and 13012). The work gives Ms. is incomplete. The work deals with in the beginning a new and beautiful story of Ragas only. In Chap. I the work first enu­ how the first Mridanga was manufactured by merates the Ragas by their names and then Vishnu out of the skin of Vritra and Mura* describes 36 Suddha Madhyama Ragas• two demons whom he killed. This legend rftr spsTmanmur: i thus differs from the one found in Bharata’s SHUT!t Chap. II is devoted to Natya Sastra according to which sage Svatj JlRwt!nRPlftipi I first created the Pushkara drum on a rainy day. Arjunadimata Sara of Suddha The Sangita Muktavali of Devendra. Venkatacbarya The Bik. Catalogue describes on p. 521, Another work on music and dance avail­ No. 1112, a work on music by one Devendra able in the Mad. Library is Suddha Sattva called the S. Muktavali. The Ms. there des. Venkatacharya's compilation from the cribed contains only the last chapter dealing various older books. Though it is called with Nartana. Devendra is described in the Bharata Sastra it treats of music amply. colophon as a master of vocal and instru­ Chapters 1 and 2 deal with Natya and 2 to 5 mental music and of dance. with Tala. The work is unfortunately in­ complete. i

Varnalaghuvyakhyana of Rama Four copies of this work are available in the Tanjore Library and all of them are in. One Rama seems to have written a special complete, containing only the Nrityadhyaya treatise on Varna and a Comentary on it, One Ms. in palm leaf and Telugu script how- ever contains a larger portion (Burnell 11513) Another Raga Mala* The colophon here gives the author as The Bhandarkar Institute Mss. library Devanacharya. has a Raga Mala which is called in the end (Ms. No. 384 of 1895-98). Mr. M. R. Kavi is of opinion that this This small work describes 6 Ragas sftrPTJ Devana was patronised by king Praudhadeva- raya. (A. D. 1420) 9u*u!) TtSHin • and *ie*u- Among the authorities mentioned by | Devendra is to be noted a new name Rudra- The Section on Music in Oddisa •ena which we do not come upon elsewhere MahamantrodaTam. vfisirraT 55%*: srrar: ^ i There is a fragment on Tala Vadyas des­ The Raga Mala of Kshemendra and the cribed under the name 3T3rf«n£TR Mad. Mss. Ratnamala of Jathara Bhupati. ibrary. (Trien. Cat. 1916—19; R. 2779). A Pathaka, songster, named Kahemen- This or more correctly according dra alias Kshemakarna, son of Maheaa to the text, cTTv53T€rf^psn'T> is a small part of Pathaka has written a Raga Mala and the a separate section on music in a big semi- Bik. cat. describes it on pp. 56 under Nog puranic - treatise of unknown 1101. The colophan says jffcsrqHVTrtnT date called the I. The etc. section now available to us describes the The Bik. cat. says further that this same Avanaddha Vadyas, Mridanga etc. The Raga Mala is also called Ratnamala. But, on work is cast in the form of a dialogue bet­ examination, we can see that the catalogue ween Siva and , the former enlighten­ has made a mistake. The Ratnamala is a ing the latter on various subjects. We find separate work written by a king called, in a the following, indicating the nature of the a verse there, — King of work. Jathara. Perhaps he was the patron of the above said Kshemakarna. The Oxford Mss. Cat. by Aufrect describes two Mss. of this Raga Mala of Kshemakarna The music section of the Mantra work is Pathaka on p. 201b under nos. 481 and 482. given as the sixth section of the 81st chapter. The Raga Mala of Jivaraja Dikshita Talavadyas are proposed to be treated in 16 chapters. The Vadyas to be dealt with are There is another Ragamala written by some also given as 16 in number—Pataha, Jhallari Jivaraja Dikshita. A ms. of this work is Bheri, Maddala etc. described in the notices of Mss. by R. Mitra. Vol. VII. p. 261. It treats of northern Similarly the Kasyapa Tantra and the Ragas and their Raginis, their Putras Uttarakaranagama are said to treat of and the proper times for the singing of each. music. There is this verse at the end : Sangita Sara Kalika sjfcrcnrarajfer i From p. 54 of S. R. Bhandarkar's report of the II tour for Skr. Mss. in Rajaputana and Central India, we come to know of a writer on The Raghava mentioned as the prompter music named Suddha Svarnakara Mosha- of the work may be God Rama, some King, deva, a strange name indeed. This ‘Arch-thief his guru, pupil or some friend. who is a pure Goldsmith', for so his name means, is also a master of mathematics 18 ijp paper; 16 sheets). The Ms. is-from the besides music and is known to have written a Tclugu country. On p. i8a we find i this commentary on Lilavati. In music, he is the colophon: author of a work called Sangita Sara Kalika. Sangita Kalika. srt snfcwcTSTT# srtswRr- There is another music work with a some­ Tfsrarcur- what similar name, Sangita Kalika. srm i It is quoted by Hemadri in his com­ mentary on the Raghuvamsa. (Mad. Ms. P. On p. 8. the following verse enlightens us 236. R. 3376.) From the quotation it is seen about the author, his parentage etc. that the work dealt with Natya also. Hema- dri’s date is 1250—1300. A. D. sTRPmrs fasdftrwftrcTsh 11 The Sangita Sudha of Bhima Narendra The Oudh Cat. (X p. 12) contains descrip­ tion of a work called Sangita Sudha, which ...... I has to be distinguished from the south Indian S. Sudha of Govinda Dikshita- The author of this new S. Sudha is one King Bhima frfrgacqfHtrT trtftprirratm?: n Narendra. He calls the work as Natyasarvasva Dipika The Sruti Bhaskara of Bhimadeva Another writer named Bhimadeva, who and Adi Bharata. S J J S tn w fo may or may not be the same as the above The author’s name is also variously given as said Bhima Narendra is the author of a work Narayana, Siddha Sivayogiraja, Siva­ called Sruti Bhaskara. The work is very yogin and as R«^4tPk l 5T comprehensive and besides dealing with (p. *6). music and dance, it treats of Rasa and drama also. The Ms. gives a table of contents at the A Ms. of it is described in the Bik. Cat. beginning, from which we see that the work p. 530. No. 1129. treats fully of Natya and Sangita. In music, Talakala Vilasa vocal and instrumental branches are dealt In the Ms. library of the Bhandarkar Insti­ with. Tala, , Veena, Dhakka, Mridanga tute-, Poona, there is a treatise called Natya are dealt with. Natya of Angas and Upangas Sarvasvadipika by Narayana Sivayogin are given. Bharata is here reproduced. The and in that work is thrice quoted (pp. 34, 36 wprk speaks also of the manufacture of ins­ and 37) a work on Tala called truments, of bronze Talas etc. of Which the author is not known. The work borrows from the Ratnakara. Sangita Manidarpanam. Kohalamata is quoted on Tala. S. Chuda- The above said Ms. in the Bhandarkar Ins-, mani and S. Vidyavinoda are quoted. Besides titute quotes another music work of the these, the following new works are known name S. Manidarpanam, of which also the from quotations here—Sangitarnava, Tala­ author is not known. kala Vilasa and S. Manidarpanam. Natya Sarvasva Dipika (also called Adi Another interesting work quoted herein is Bharata) by Narayana Sivagogin a work treating of all the This work is available in Ms. library of the arts flourishing in the King’s court. Of these Bhandarkar Ori. Institute. (No. 41 of 1916— orki wj hive spa ken above. The Ramakautuhala of Ramakrishna and TPTTt$T3T‘ Bhatta. The colophon also Bhava Bhatta quotes a work called Raga gives the author as one Raghunatha Prasad, Kutuhala. Its author is not given by him. which may also mean ‘written by the grace of We come across a Work called Rama (ga?) God Rama. Kautuhala by one Ramakrishna Bahatta (&r) subtitled as Sangeeta Saroddhara which is m stw nm r un^ i described, on p. 518 under No. 1106 in the Bik. C at It is not unlikely that Rama The work is in very bad Sanskrit, most verses Kautuhala is an error for Raga Kutuhala having neither metre nor meaning. The colophon runs thus : rTf^tSTHand 31%:

(» i? ) In the Tanjore library we have two works dealing with that branch of Tala called The work thus deals with dance also. It which is ‘ vocal . ’ The may also be likely that Ramakautuhala alias work called has three copies and S. Saroddhara of Ramakrishna Bhatta that called ufars has nine copies. Both of derives its name from being in praise of God them are on OarararddMirm. Rama and thus different from the Raga (Burnell 11516 b and 11608; New Cat. 10848 Kutuhala quoted by Bhava Bhatta. and 10851) Sangita Sara Sangraha. Sangita of Ramananda . An anonymous work of this name is noticed This work is known to us from Aufrechts’ n.Rice’s Cat. of Mis. in Mysore and C ootg. Cat. (see L. 1017). (p. 292). Oppert also notices it as a Ms. available at Conjeevaram (Vol. I. 1052). This (N. p. VI. 28) and ^tcTm- S. Sara Sangraha must be distinguished IPC; (Radh. 41) are two more works we see from that of King Jagajjyotirmalla noticed from Aufrecht’s Cat. above and a modern compilation of that name published from Bengal which we shall Raga Chandrika, dealing with Ragas in mention presently. 143 verses, Ashtottara Sata Tala, a small The Bhara'a Sastra of Raghunatha work on 108 Talas and a third relating to Carnatic music entitled Raga lakshanam are A writer named Raghunatha wrote a work three works that have been published from called Bharata Sastra on music and dance, Bombay. in the form of a dialogue between sage Bharata and God Siva. The work is availa­ Another small work published from ble in the Tanjore library and is incomplete. Bombay is ^RTTniRreiilT, ‘treat­ Its contents are : ment of 140 Ragas’. which borrows from Sarngadeva and is wrongly attributed to *WFT:, Tim; and iRsqT: Narada. Burnell has given the name of the author in A work called Sangita Sara Sangraha has his. catalogue as Raghunatha and of the work been published from Bengal. It is a modern as Bharata Sastram. On the Ms. we find compilation by a scholar named Sourindra- mohana Sarma. It is in 6 chapters dealing 2. ta-gtftafaq q i (Do. No. 13027), enuma- with Natya also in the last chapter. rates 72 Ragas. Some modern works. The works of Appa Tulasi alias Kasi- so on and then defines them briefly jitdeals natha. 1914 A. D. Appa Tulasi alias Kasi- with the Ca.ma.ticMelakarta scheme oi Ragas* ^ natha wrote two works in 1914 A. D. (Saka 3. —A discussion as to 1836) named CTTOv'TffrtlTC which speaks what are considered flaws or mistakes in of 120 Ragas of the North from Bhairavi to songs. The subject is interesting and the Mis. is complete. (Trien. Cat. 1919-22. R. 3176 ft. Lalita and in two chapters, dealing mainly with Ragas numbering 125. A II. The Tanjore Library. third work by Appa Tulasi is on Tala called 1. Many fragments w th this «kiatne, giving the lakshana of various Ragas are found. * Another modern work of this class is the well known ^Rpra&rf^q^of Mr; Bhatkande Vishnusarma of Poona is another modern 3. (5 Mss) writer who wrote in Saka 1843 or 1921 A. D, 4. rfH fopig: his 3Tf*PT;n:T*TJT3Ctf. N In the south, few have been the modern III. Oppert’s Cat. o f Mss. ih South India— works written in Sanskrit, though the output Vol. 1. in Tamil and English is noteworthy. But 1. cTTSfJT^n?:: (2850) 2. some new Sanskrit works are in the making (6166) (6167) 3. 4. andiwill soon appear in print. One is being prepared by Mr. Hulugur Krishnachariar of 6. ^STEcTR: (6293) and 6. Hubli, another by Brahmasri P. G. Sunda- Vol. II. Oppert. resa Sastrigal, and a third, the latest, called 7. (8327) or ‘ The Music of to-day’ by IV. The Trivandrum library Catalogue. Brahmasri P. S. Subramanya Sastrigal of (P- 80). Tanj ore. 1- (no. 1422) Fragmentary Mss. (1+23) ^ Each library and each catalogue, besides V. Report of the search for Skr. Mss. in giving us complete works on Music and dance, on Music only, or on a branch of Music Bombay by Peterson (p. 262). only, supplies us with a number of fragments- 1- (no. 440). A list of them is appended here. VI. The Bikaner Catalogue. I. The Madras Oriental Mss. library contains the following fragments. 1. (P- 515; n it 1099) perhaps a chapter of some bigger 1 ; (Des. cat. No. 13013) on work. The Tfs^ describes the Ragas with' Ragas' and Varnas ; begins with Sowrashtra their Svaras, Murtis and appropriate times and ends with Kalyani. for singing them.

< THE MUSIC ACADEMY, MADRAS—MUSIC CONFERENCE 1932.

Opened by

T he Ho n ’ble Raja Sir. s . r . m . ANNAMALAI CHETT1AR, k t . l .l .d .

RAJA OF CHETTINAD THE MADRAS MUSIC CONFERENCE, 1932. OFFICIAL REPORT. The Opening Day.

The Sixth Annual Session of the Madras turer, Queen Mary’s College, Mr. G. V. Music Conference organized by the Music Narayanaswami Ayyar, Mr. K. Bala- Academy, Madras, was held in a special pan- subrahmanyayyar, Mr. Musiri Subramanyay- dal erected for the occasion, to the north of yar, Mr. Devakotta Soundararaja Bhagavatar, the Ripon Buildings in the People’s Park, at Gayanapatu Kirtanapatu Sri C. Sarasvati 5 P.M. on Friday the 23rd December 1932. Bai, Prof. Venkataswami Nayudu, Mr. T. P. The pan dal which was circular in shape was Kalyanarama Sastri, Dr. T. Srinivasa Ragha- a very spacious one and could accommodate van, Mr. Nemam Nataraja Bhagavatar, Mr. more than two thousand people; it was fitted Parur Sundaram Ayyar, Mr. Marur Subrah­ up with ornamental electric lights and taste­ manya Ayyar, Mr. Hulugur Krishnachariar, fu lly decorated with flags and festoons. Diwan Bahadur N. Pattabhirama Rao, Mrs. Here and there, one could see hung up on the and Mr. M. R. Ramaswami Sivan, Mr. P. S. pillars mottos such as: Sundaram Ayyar, Mr. C. V. Venkataramana " Music is the medicine of the mind. Ayyangar, Mr. W. Doraswami Ayyangar, “ God’s music will not finish with one tune" etc. Mr. M. S. Ramaswami Ayyar, Mr. Abdul Hameed Khan Sahib, Mr. T. L. Venkatarama A big dais had also been erected for accom­ Ayyar, Mr. Sami Venkatachalam Chetti, modating the artistes who were to give model Mr. V. Appa Rao, Mrs. Alamelumanga- performances every evening, beginning from thayaramma M. L. C., Mrs. and Mr. K. S. the next day, under the auspices of the Jayarama Ayyar, Mr. Ramanatha Ayyar of Academy. All prtraise is due to the authorities the Indian Audit Service, Mr. K. V. Krishna- in charge of the arrangements who have swami Ayyar, Diwan Bahadur M. Bala- spared no effort to make the place very attrac­ sundaram Nayudu, Mr. M. A. Muthiah tive. Chettiar, President of the Corporation of A huge gathering of prominent ladies and Madras, Mr. S. Muthiah Mudaliyar, Rao gentlemen, both of the city and of the mofus- Bahadur C. Chariar, Mr. K. sil, assembled long before the scheduled time, Chakravarti, Rao Bahadur P. Ranganatham to witness the opening ceremony, among Chettiar, Mr. K. S. Viswanatha Sastriar, whom were: Mr. S. Rajagopalachariar, Mr. A. Rangaswami Vidvan Tiger Varadachariar, Chief Lec­ Ayyangar, Mr. K. Srinivasan, Mr. L. Ananta turer, Diploma Course in Indian Music, the Ayyar of the 1 Hindu Nesan,’ Mr. K. Surya- UnivqjSity of Madras, the Hon. Dr. Raja Sir narayana Rao, Mr. U. Krishna Rau, Mr. Annamalai Chettiar, Kt., LL .D , Raja of Shafee Mahomed, Rev. H. A. Popley and Chettinad, Rao Sahib Dr. U. Rama Rau, others. Pandit S. Subrahmanya Sastri, Mr. T. V. Prayer. Subba Rao, Mr. E. Krishna Ayyar, Rao Sahib The proceedings began with Che recital P. SambandhamMudaliar, Mr. P. Rangaswami of a Sanskrit sloka on God Vighnesvara Chetti, Mr. P. Sambamurti, Music Lec- and another on Goddess Sarasvati 12 TTTBTTU^TC Kt; iu i

During the year, the Academy arranged Cossack regiments inciting the Mos- for nine musical performances and as many covites to furious attacks’’. Celerus employ­ as seven lectures by experts in Music, The ed music to curb the maniacal outbrusts of Academy avails itself of the present oppor­ madmen. He said " We must quiet their tunity and thanks the several Vidvans andi demonial laughter by reprimands and threats Bhagavatars who had readily responded toi and soothe their sadness by harmony, the its invitation. The Executive Committeei sound of cymbals and other instruments. ’ deserve to be congratulated on the excellent Music is above all a symbol of unity and is a choice they had made and the unique success platform for life-long enemies to join and that had attended these lectures and perfor­ shake hands- These unique potentialities of mances. As usual, the Sri Purandara Das Music have come to be recognized even by Day and the Sri Krishna Jayanti Celebra­ modern Scientists. I would therefore appeal tions were observed with much eclat. to the public to join the Music Academy in Before I conclude, I should like to touch larger numbers, and thus not only help the a little on the extra-ordinary virtues of Music. Academy but also help themselves in attain­ I have dwelt on this aspect oftentimes ing their physical, mental, moral and spiritual before, and 1 shall not be tired of doing it perfection and elevation. (Applaitse). again and again, even at the charge of re­ It now remains for me to offer my heart­ petition and boredom, for I am convinced, felt thanks to the energetic Secretaries of the that apart from its aesthetic value, Music has Academy Mr. T. S. Rajagopala Iyer and health-giving qualities which I should not Mr. T. S. Tiruvenkatachariar, to the treasurer overlook or omit to mention at every con­ Mr. S. Rajagopalachariar and to the other ceivable opportunity, as a health propagan­ office bearers of the Academy, Mr. T. V. dist, in the general interest and welfare of Subba Rao, the Editor, Mr. K. S. Viswa- the public {applause). The quality of Music, natha Sasfri, the Manager of the J ournal of like mercy, is not strained. “ It blesseth him the Music Academy, who have rendered active that gives and him that takes." The Musi­ and willing service to the Academy. The cian derives considerable advantage from Academy is also indebted to the Corporation Music. His lungs expand, his blood is purifi­ authorities for the valuable assistance they ed, his nerves get trim and his body there­ have given to us. by becomes, strong and healthy. As for his It is now my pleasant duty, Sir, to request mind, it never is disturbed. It remains ever you to open this conference.” pure and peaceful. M usic has the great virtue OPENING ADDRESS. of drowning one’s sorrows and fears, one’s The Hon. Dr. Raja Sir Annamalai anxieties and afflictions. Musician was, in Cbettisr who was loudly cheered on rising, the old ages, considered as a medicine man. said : He was and even to-day is an inseparable “Dr. Rama Rau, Vidvans, Ladies and Gen. part and parcel of the army. In social life, tlemen, music has its own rightful place. Greek It has been a wonder to me—and I historians tell us that Clytemnestra was believe to most of you also—why I should stayed from vicious inclination to unchastity have been chosen to open this Conference- by the sound of Music. The defeat of the Music as an art or science is an unknown French Army under Napolean by the Russi­ factor to me. I am quite innocent of the ans was the result, we are told, of “the A, B, C of music. An ear for music almost weird barbaric tunes of these monstrous all of us have; but a trained ear for music fH P aw most of us have not. Nor have I made a again chiefly through its efforts, Indian music study of the subject, giving me a right to had been made a subject of study in the open a Conference such as this. What I be­ University of Madras. The service that the lieve must have weighed with my friends is Academy is doing in these and other ways that those also who have done something for for the dessemination of South Indian the cause of Indian Music should be given an music is beyond all praise and reflects the opportunity to associate themselves with greatest credit on the management of the functions of this kind, so as to deeepen their Academy. interest therein. I am very thankful to Dr. Rama Rau and Srimati Sarasvati Bai for their The Traditional Method of Imparting very kind words of welcome. The Doctor Muaic. referred to my establishment of the Music I have heard it said that a very good sys­ College at Chidambaram. This, as most of tem of preserving music for the future ob­ you probably know, was in a large measure tained in our part of the country. Each due to the enthusiastic interest and the savant attracted round himself a body of active co-operation of my friends Rao Baha­ earnest students, infused into them a passion dur C. Ramanuja Chariar, Mr. A. Ranga- for music after his method, made them swami Ayyangar, Mr. N. V. Raghavan, masters of his method, by careful pruning Mr. W. Doraswami Ayyangar and others and weeding, giving at the same time, full {Applause)." scope for their orginality and thus .secured the continuity and development of his dis­ “ Ladies and gentlemen, tinct contribution to the subject. The The importance of conferences like these teachers, so to say, founded schools or cannot be over estimated. The Music colleges of music which kept handing on the Academy, if it has done nothing else than specialised knowledge from generation to calling such conferences, will be entitled to generation. It is doubtful if the music our deep gratitude ; for to bring together on pupils of these days will have the same a common platform great exponents of music robust faith and the implicit confidence on time-honoured traditional lines from all in the present day teachers of music ; over the presidency for discussing and arriv­ or if the same love and affection for ing at some satisfactory solution of the the pupils will animate the teachers; various problems connected with the theory perhaps there may be some. The changing and practice of music as it obtains in our times and the impact of modern civili­ part of the country is no easy task. The zation as ours with its greater insistence Academy from all accounts has been most on individuality, are not very congenial successfully doing it these four or five to the growth of such a spirit. All years. The music conference and the great the same, the traditional method has a performances by master-musicians arranged distinct value of its .own so far as music is under its auspices during the Christmas week concerned and one wishes something is done attract, in large numbers, the music-loving to preserve the method for the future. Though public of Madras and elsewhere. the method may be retained, the atmosphere The establishment of theTechers’ College of musical culture which the old gurukula of Mupic is an outstanding achievement of system afforded will not, I am afraid, be avai­ the Academy. It is hoped that this will in lable to the future studen t in the form in due course, set up a correct standard. Then which it was. The system under which pupils 90 THE JOURNAL OF THE MUSIC ACADEMY

regularly attended on their masters, beiDg part soul—stirring song. That is what one feels of their household and imbibing an accurate when hearing master-musicians. knowledge of the science and art by constant The work of Sabhas. association with the master-mind, will not find a place hereafter. The teacher in these days Sabhas too are playing a great part in dis­ of commercial spirit can hardly be expected seminating a knowledge of music to large to evince the same concern in the progress of numbers of people. They encourage young the student and the students’ enthusiasm and rising artistes and enable them to show out earnestness will not be sufficiently strong to their latent capacity. They serve well as prop him up to withstand the inherent incon­ popularising agents of music of all kinds and veniences and incompatibility of the old in a way contribute directly to the growth system. The system has to be modernised, and advancement of music in middle class the essential features of it being retained. In families and also in what may be called the- my opinion the nurturing of the best culture ordinary common life. It is a welcome sign is only possible in a residential institution, of the times that music Sabhas are springing which will be the nearest approach to the up all over and almost every big town posses­ gurukula. Great progress has been made in ses one or more such Sabhas. Here again the physiology, psychology voice-production, etc. Sabhas should see that the music does not They have their right place in musical training degenerate and that only the very best musi­ and I am sure it will not be beyond the capa­ cal fare is provided for the public. The city of the authorities of the Academy, the atmosphere should be pure and wholesome. experts and the great exponents of music to I should not be misunderstood if I should think out and arrive at a judicious combina­ take the liberty to sound a note of. warning tion of both our own traditional methods and to these organisations, admirably functioning a training in the modern subjects, taking from as they are, that they should always keep each, whatever is good and conducive to the green in the forefront, their main aims, viz., advancement of the science, to advance the cause of music under any cir­ A deterioration in taste of the average cumstances and to keep pure and high the public man is, I am afraid, noticeable, I speak standard which the art has attained in this subject to correction. There is a craving tor land. The interests of music should not be what may be called the baser instead of the subordinated to the temptation of supplying higher and the more sublime music. The music at popular price and the inevitable exponents of the art have to suit themselves results of the excessive popularisation of to the passing whims of the audience. One music should be kept in check. very much wishes that some means are devi­ Friends, weighty preblems of music, such sed for arresting the growing evil. Music must as the preservation and development of music always be, as it has always been, an uplifting, in all its phases, co-ordination of the vyork of ennobling element transporting the musician different schools of music are awaiting solution and his audience into realms of bliss and at the hands of the masters of music gathered happiness otherwise unknown, W hat phy­ here in this pan dal. I trust that the excellent sical exercise is to the development of the work that is being done by the conference body, that music is to the unfolding of the and the Academy these four or five years will soul. I have a curious idea that music chan­ be continued and I am sure that the Academy ges the constitution of man and a man under­ will, with greater resources, make a richer goes an inner change in response to a good contribution towards the reform and the TH E MADRAS MUSIC CONFERENCE, 1932 91 advancement of the science and art of lucky in getting such a distinguished and music. discriminating patron of music as the Raja I now declare the Conference open.” (Loud Saheb to open it, and, in getting to preside applause). over it, Vidvan Tiger Varada Chariar who combines in himself rare knowledge of music ELECTION OF THE PRESIDENT. and rarer humility, which helps him to Mr. Subrahmanya Sastri of Tanjore in a appreciate merit in others. short neat Tamil speech proposed Vidvan The Music Academy may well congratulate Tiger Varadachariar as President of the itself on having been the pioneer in many Conference. He said that the President- directions. Music conferences are now held Elect was an expert both in the theory and all over India. I earnestly trust that the practice of Music and was therefore the Music Academy will take a further step and fittest person to occupy the Chair. If he was summon an All-India Music Conference in not appointed as President of previous Con. Madras next year, for which I am convinced ferences, it was because they knew that, being there is great need. close at hand, he could be requested to guide their deliberations at any time, unlike the I would invite the Conference to deal with mofussil Vidvaus whose convenience had to a few important questions. The Conference be taken into consideration, and therefore should pass a resolution requesting the had to be given preference at the time. Government of Madras to restore the Music Mr. P. S. Sundaram Ayyar seconded the Course in the B. A. classes in Queen Mary’s proposition, and it was carried with acclama­ College, Madras, from the next Academic tion. year and take steps to implement the same. I shall be glad to serve on any deputation MESSAGES OF SYMPATHY. which may be appointed to wait on the Edu­ Mr. T. S. T. Chari, one of the Secretaries cational authorities for this purpose. The of the Academy, then read the following mes­ Conference may also invite the attention of sages of sympathy from Mr. S. Satyamurty parents and guardians and of students them­ and others. selves to the advantages of boys, and not only (1) “ My dear President, girls, taking to the study of Music as an I am very thankful to you for your kind optional subject at school and at college. invitation to be present to the Music Con­ The Conference, while expressing its grati­ ference, and to propose a vote of thanks to tude to the Corporation authorities for con­ the Hon. the Raja of Chettinad, who opens sulting the Music Academy in the choice of the Conference. Nothing will have given me singers at their broadcast studio, will do well greater pleasure than to respond to your to impress upon them the great need for a request. But, as you know, my doctor’s very careful choice of singers, especially of orders are peremptory that I should take professional ones. complete rest., I therefore regret very much Finally, I should like the Conference to that I have to deny myself the pleasure of give a definite lead on the question of the attending the Conference. future of South Indian dancing. There is no I should like you very much, however, to necessary or inherent connection between convey to the Conference my profound and dancing and immorality, any more than in sincere apologies for my absence and my best the case of any other art or profession. The wishes for its success. The Conference is Music Academy cannot allow the great art of dancing to die. Moreover, they are no well consider the suggestion of opening a friends of art or morality who seek to deprive Dancing class. any girl of an honourable means of liveli- I once more wish the Conference every hood, like music or dancing on fancied success. With kind regards. grounds. I think the Music Academy may S. SATYAMURTI-” Telegrams (2) TIGER VARADACHARIAR, People’s Park, Madras. Wishing Conference success coming Monday Rasipuram GURUNATHA CHETTY (3) SECRETARY, MUSIC CONFERENCE, People’s Park, Madras. Wishing all success. Conference. Splendid future Academy P rofessor SRINIVASAN. PRESIDENTIAL ADDRESS. Vidvan Tiger Varadachariar then rising amidst prolonged cheers, delivered the following Presidential Address:— "Rajah Sir Annamalai Chettiar, Dr. U. Rama I am glad to be able to say, thanks to the Rau, Ladies and Gentlemen. valuable services of Mr. T. V. Subba Rao, I am unable to express my feelings of deep that in the previous sessions great progress was thankfulness for the great honour you have achieved in demonstrating the thoroughly conferred upon me this evening. I feel that practical nature of the problem. The Aca­ the first thing we, assembled here, have to do demy should not rest satisfied until it has is to place on record our sense of gratitude described all the well-known Ragas in terms for the admirable work that the Academy has of Srutis instead of the 12 semi-tones. (Hear been doing in the development of the Art and hear). Musicians must be brought to appreciate Science of Music. When the history of this the reality of the subtle tonal differences branch of learning comes to be written, the which form the very basis of the place of honour will undoubtedly have to be Music. If that small but very essential and given to the Music Academy, Madras. clearly recognisable interval, which in the For obvious reasons, I do not propose to West is called a comma, is ignored, a great trouble you with the minute details of highly deal that is unspeakably melodius in our technical subjects which, however, are reserv­ system will be destroyed beyond recognition. ed for discussion in the Committee from day That students of music may be thoroughly to day during the present session : but I will familiarized with the twenty-two foundational content myself with referring, in broad out­ Srutis, Sruti-Veenas for demonstration pur­ line, to such matters to which I wish to poses must form part of the equipment of invite your attention. every institution where music is tsUughC Training in the method of tuning the Veenas The first great question which has, I will at once dispel the illusion that Srutis believe, successfully engaged the time of the are merely theoretical names and not living Conference is the one relating to the Srutis, realities, THE MADRAS MUSIC CONFERENCE 1932

Mi«*t

m m S pp. r w I f Tit :v JL . 4 m *. ■; ••p-jt.A.-JT.- « 7 /

a n d h s a f a t s u k a

O pened by Presided by th e Ho n ’ble D r. Raja Sir Vidvan T iger K. VARADACHARIAR, S. R. M. ANNAMALAI CHETTIAR. KT„ L L.o. Chief Lecturer in Indian Music. The University of Matir (By courtesy of 'B harati') k

s

A The next subject, we have' been discussing the notes which a raga takes, the admissi­ and further propose to discuss, is the Lak- bility of foreign notes and certain doubtful shana of certain ragas, where gross and Sancharas. I hope, in the years to come, it palpable differences have crept in between will be possible to consider other tradition and current practice. Reconcilia­ such as Graha, Amsa and Nyasa and other tion of these differences is no easy task. Com­ chz racteristics enumerated in classical trea­ promise which is the basis of all social order tises. has no room, at any rate with regard to Though the consideration of ragalakshanas essentials, in the domain of knowledge, where ought, in the natural sequence of subjects, to truth alone ought to prevail. I trust there­ be deferred to a much later stage of our fore, that when the Conference after due enquiry, yet, we have been considering them enquiry formulates its conclusion upon any in advance, as the need for a settlement of matter, the musicians will conform to them disputed points in them is, from a practical as far as possible. The question in this point of view, more urgent. I trust, some­ behalf which has given rise to many a lively time later, it will be possible to undertake an debate is that relating to the introduction of elaborate and careful enquiry into the an­ notes in a raga foreign to its Mela. That cient system of deriving ragas from the certain settled facts will have to be recognis­ Grama Murchanas and revive those classic ed goes without saying ; but the real difficulty melodies which do not find a place in is where to draw the line, so that, while the the numerical sysjem now in vogue with established facts are left undisturbed, the us. The scheme of V enkatam akhi’s Melas indiscriminate extension of the practice of is, in a sense, very admirable, but cannot importing alien tones will be prevented. I by any means be regarded as all com­ believe that except in Mukhari and Bhairavi prehensive. That I am not merely theo­ the foreign note is a trespasser. While long rising will be evident to those who have prescriptive rights cannot be ignored, it is up a knowledge of North Indian Ragas. Let me to us to prevent further intrusion. If a not be understood for a moment to detract courageous stand is not taken to prevent from the merit of a well ordered and exact future encroachment, the processes of atten­ plan of Venkatamakhi’s Melas. I am but uation and dilution will destroy the form suggesting the possibility of supplementing and beauty of our ragas. I need scarcely them so as as to include ragas which, though mention that the Raga system of Indian not now extant, had yet once an existence Music, and that of the Carnatic in particular, and are well worth being revived. with all its richness and variety, with its I am not unaware that all this will sound indefinable grace and fine emotional appeal, wild and chimerical to those who think that is at once the despair and envy of every many even of Venkatamakhi’s Melas are good other nation. It behoves us therefore that for nothing and that half a dozen of them we take good care to maintain the purity and should be enough to satisfy the most eager integrity of those exquisite modes of melody spirits. I have no hesitation in condemning which are the pride and glory of our heri­ the narrow outlook of these critics, who have tage. no faith either in themselves or in the future. So far as ragalakshanas are concerned Only those who are endowed with a long and limitations of time and convenience oblige us broad vision have contributed to the progress to concentrate our attention, at present, upon of the world and the happiness of humanity 13 (Applause) There is so much variety of taste, the composers aforesaid, will serve as an and temperament in human nature that efficacious corrective to the galloping vice. melodies, which are distasteful to some, may For persons inclined to do research work be delightful to others. I would there­ nothing can be more fascinating than the fore plead for a thorough enquiry into the history and evolution of the form, structure ancient and mediaeval ragas with a view to and characteristics of the different types of 'their resurrection and consequent enrichment composition. South India is remarkable for of our present stock. the large number of Vaggeya-Karas, as well Another matter which the conference as for the immense variety in the modes should consider is the examination and the of composition. I do not wish to tire definition of the various technical terms with you out by an exhaustive enumeration a view to adapt them to the present condi­ of these diverse types, but just point out that the transformation by the genius tions and devise new names wherever neces­ of composers of the elaborate and com­ sary. In the near future, when numerous plex Prabandhas of old into the neat little text-books are likely to be written, nothing modern Krtti, so compact in word, so simple will be more conducive to clearness than a in form and yet immensely capable of system of names which have their connota­ melodic expansion, is a matter of absorbing tion ascertained with, precision and are ex­ interest- Allied to this is the problem of pressed in unequivocal language. settling and defining the essential Lakshanas Questions relating to Talas form a very of the various compositional forms. interesting study. I would exhort the musi­ Next, I wish to draw your attention to the cians to take to the triputa and its syncopat­ great and urgent need for preserving all the ed form chapu tala more frequently. The good compositions that are available at the beauty of rhythm is never more manifest than present day. That many of the fine pieces in them. It is just possible that there may of old are irretrievably lost to us and of the be an apprehension in some quarters that the surviving, many have undergone deviations grip of their rhythm does not permit the from their original style, will be readily con­ free flow of melody. I have only to refer ceded. If the existing compositions and to the existence of the numerous Padams Raga Alapana at their best to day, should be of Kshetragna and Sarngapani, which preserved and made available for the at once falsify such a fear. These Padams generations yet unborn, there can be no abound, as everyone knows, with the ex­ better means adopted, than a careful uberance of melody. I hope, therefore, record of them on plates and films, as sung or &at the chapu tala of seven units, the very played by the true artistes. Correct notation perfection of rhythmic excellence, will come indeed goes a great way : but there can be to occupy its natural place of precedence. no true library of music without a collection While I am on this subject I wish to utter of well recorded compositions. This is an one word of caution against the growing enterprise requiring large funds. The State, tendency of the modern age to show a the Universities and great Patrons like the* distinct preference for the Madhyama Kala distinguished Raja Saheb of Chettinad, singing. It is the Vilamba Kala that reveals (cheers) should come to our aid. The the true beauty of the emotional spirit of appointment of a small committee of the melody. 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iiU liiH H U iA liU A iliiB liiidtt no doubt that Lord Nataraja worked they might enjoy it all the more—as must be through those gentlemen and made you adopt the case when music is rendered in the langu­ that Course of Study which he himself exhi­ age which they understand. I have no doubt, bited once with the divine art of dance in the Sir, that a defect in this respect does exist in very place in which you have started the the presentday music. I trust that in your University {Applause). We all know the own University you will insist upon this kind story that God Himself came down on earth of vernacular music being taught, so that in­ and, to the tune of the Devas, danced to the stead of music being merely a melodious tune merriment of all; and I have no doubt in my for the audience, it may appeal to them and own mind that when you thought of Divine make them feel how they should elevate Music and the way in which you should wor­ themselves and elevate the community itself. ship God, you should have felt that you could {Applause). best do so by providing for that which he I thank you once again, Sir, on behalf of himself exhibited to us all at that very the Music Academy for having opened this place. That dancing, which is now the Conference with such distinct success, and I subject of so much heat and controversy, have no doubt that under your patronage, God himself thought was a fit subject for all the Conference will do splendid work.” {Loud to follow and adopt. applause). I thank you, Sir, on behalf of the Music Academy, for having opened this Conference Mr. T. S. T. Chari Jt. Secretary, next with such great and distinct success. I think announced that a flute performance by Master it is my duty on this occasion to mention that Radhakrishnan accompanied by Mr. Erna- if music is to serve the purpose or purposes kulatn Krishna Ayyar {violin) and Mr. Sankara claimed for it by our doctor President Menon {Mridangam) would immediately and by others, the time has come for follow. the Music Academy to make that music After the performance, which lasted for intelligible to the people, to make the music nearly an hour, Mr. T. S. T. Chari expressed in every vernacular of the people, to make the thanks of the Music Academy to the them understand in musical style what the party who were kind enough to res/ond to thoughts of great men were and thereby to the request made to them, at such short make the nation march towards that goal notice. He also thanked Srimati Saraa- which music is intended to achieve. I think, vati Bai for having consented to sing the Sir, the time is come when, instead of listen­ prayer songs, at great inconvenience to her­ ing to the tune and the melody of the kritis self, having returned only recently from a of the various exponents of the art and be prolonged tour in the Southern districts, He satisfied with that, the audience should de­ then thanked the audience for having respon­ mand of the musicians that they should ded to the invitation of the Academy. render the Sahitya in a manner to be under­ stood by them and give them also the bene­ The Conference then adjourned to meet at fit of music in all the vernaculars, so that 12 noon the next day, * MUSIC CONFERENCE, 1932.

The President of the Academy with the office'bearers, the President of the Conference ’32 and other Vidvans assembled therein THE MADRAS MUSIC CONFERENCE, 1932. (Second Day). 24—12—1932. The Conference re-assembled at 12 noon T. V. Subba Rau, Dr. T. Srinivasaraghava- in the special pandal in the People's Park, chariar, P. Sambamurti, T. P. Kalyana- Madras, with Vidian Tiger K. Varada rama Sastriar, N. S. Ramachandra Sastri, chariar Avl., in the chair. The following Ernakulam Krishna Ayyar, Vinjamuri gentlemen were present Varaha Narasimhacharlu, Hulugur Krishna- macharya, N. Ramakotayya Pantulu, Mrs. Messrs Pandit S. Subrahmanya Sastriar of Alamelu Jayarama Ayyar, Miss Bhavani Tanjore, Sangeeta Bhushana Nemam Nata- Swaminatban, Mrs. Kalyanasundari Animal raja Bhagavatar, Rev. H. A. Popley, and other ladies including pupils of the P. G. Sundaresa Sastriar, M. S. Ramaswami Academy’s Teachers’ College of Music. Ayyar, P. S. SundaramAyyar, T. L. Venkata - The following was the agenda of the rama Ayyar, G. V. Narayanaswami Ayyar, Conference :—

AGENDA. I. (i) Lakshya and Lakshana of the following Ragas 1. Begada. 10 . 2. . 11. Ghanta. 3. . 12. . 4. Desyatodi. 13. Kedara. 5. Varali. 14. Kapi. 6. Pantuvarali. 15. Karnataka Behag. 7. Kamavardhani. 16. Devakriya. 8. Saranga. 17. Kannadagaula. 9. Hamirkalyani. 18. Desakshi. (ii) Reconsideration of : 1 Undo la. H indolavasan tar II. Ragalakshanas (in general.) III. Principles to be observed in Ruga Alapana and Pallavi singing. IV. Notation. V. Raga and Rasa. VI. Problems connected with instruction in Music. VII. Reading of papers and discussions. VIII. Demonstration of Musical Instruments and inventions. IX. Resolutions on other matters of general interest. The President—“ I would like to have Mr. P. Sambamurti—“ I do not see why the opinion of the Conference as to whether we should disturb the arrangement given in it is more convenient to take up the items in the agenda," the order given in the agenda or dispose of The majority were in favour of taking up the non-contentious portions first and then non-contentious resolutions and the reading proceed to the consideration of the more of papers first. controversial items." Music in Queen Mary’s College. Mr. G. V. Narayanaswami Ayyar—“ As many of the vidvans have not yet come, it Mr. T. L. Venkatarama Ayyar.—“With seems to be advisable to put off the contro­ the permission of the Conference I move the versial items for some time and take up the following resolution ‘Reading of Papers' first”. “This Conference is of opinion that the abolition of the Music course for the B.A. Mr. T. L. Venkatarama Ayyar—“ I too classes in the Queen Mary’s College, Madras, think so. Those present now include mostly has caused great hardship to the students of laymen or loukikas, and it would be better the College and requests the Director of to allow papers to be read”. Public Instruction and the authorities con­ The President—“ The vidvans who are cerned to re-introduce the subject from July just now absent may also be anxious to hear 1933’’. the papers read. But anyhow, we can pro­ “ It is unnecessary to say much in regard ceed according to the sense of the Confer­ to this motion as there is no difference of ence.” opinion about it. In the opening address of Mr. P. Sambamurti—“ It is difficult to Mr. Annamalai Chettiar, as also the Pre­ decide which item is more important and sidential address delivered yesterday, it was which is of less importance or less contro­ stated that music was learnt in the old (Jays versial. I think it would be better to stick by Gurukulavasa but it was not at present to the order given in the agenda." possible to follow that system, add so they had to resort to the modern method of im­ Mr. T. L. Venkatarama Ayyar— ‘ In the parting instruction by means of schools discussion of Raga Lakshana, it is absolutely through the school teacher. If neither of essential that all the vidvans should be pre­ these systems is followed, it is obvious that sent. There are other items on the agenda progress of music would be jeopardised. After which can well be taken up without any in­ a great deal of trouble and agitation we convenience. Resolutions may be taken could succeed in introducing music into the up, or the ‘ Reading of papers ’ as you may Madras University. It was included as a like." subject of study in the Queen Mary's College, Mr. P. Sambamurti—“Resolutions, in my but it was subsequently abolished owing, it is opinion, are more important! and some of said, to retrenchment. Music is a very them are controversial too.” important subject and especially women Mr. T. L. Venkatarama Ayyar—“More are most adapted for it and they ire formal matters may be taken up. For ins­ also most interested in seeing that it tance we may consider problems connected is taught in the women’s colleges. If Govt, with music, which could not be reached for find it necessary to retrench their expendi­ want of time last year." ture, they can find miny ochzr items which may be safely retrenched without detriment •or Venkataswami Nayudu Garu on Violin to the public interest. If this subject was not and Tanjore Vaidyanatha Ayyar Avl. on at all introduced in the Queen Mary’s Col­ the Mridangam. lege, that would be a different matter. But now that it was once introduced, the students (Third day) who already received instruction find them­ selves adrift owing to its subsequent abolition. 25-12-'32. What they have already learnt now becomes The Conference re-assembled at 12 noon in futile. It would indeed look anomalous if, the special pandal in the People’s Park, with after having accepted it at a subject of ins­ Vidvan Tiger K. Varadachariar Avl., in the truction and having prepared a syllabus, the chair. Mr. C. S. Ayyar and Vidvans T. S. authorities do not introduce it as a course of Sabhesa Ayyar Avl., and Brahmayya study in the Queen Mary’s college. With Sastrigaru were present in addition to those these few words I commend the resolution for that attended the previous day. your acceptance.” Mr. P. G. Sundareaa Sastriar concluded Mr. Neuiam Nataraja Bhagavatar the reading of his paper on “ Errors in Sahit- seconded the resolution. yam etc !” Opinion was expressed by a few members of the Conference that most of Mr. P. S. Sundaram Ayyar—“Whatever these errors were due to transliteration of may be the reasons that induced the authori­ Telugu Keertanas into Tamil, although it was ties to abolish this subj.-ct, everyone is agreed admitted that many errors were due to igno­ that it is absolutely necessary that music rance of correct Sahityam on the part of should find a place in the curriculum of the musicians who rendered the pieces. It was Queen Mary’s College, and it should be re­ also felt that it would be doing a real service introduced. I would therefore heartily sup­ to the music world if advantage is taken of port this resolution.’’ Mr. Sundaresa Sastriar's labours to bring out The resolution was carried r.etn con, and an authorised edition of these musical com­ the President was authorised to communicate positions. the resolution to the authorities. Pronunciation of Dhaivata. ERRORS in MUSIC PUBLICATIONS. Mr. P. Sambamurti— “ As these books are « written in Tamil some words are capable of Mr. P. G. Sundareaa Sastriar then read being read in two different ways, for instance a paper detailing the various errors found in Duritakalam, Drutam etc. Again, an aspira­ the current musical literature. He divided the subject into four branches, i.e. errors in musi­ ted consonant like ‘ Dha ’ is printed as ‘ Da.’ cal nomenclature, errors in Lakshana, errors In quick manipulation of the svaras, it is not in Geetas and errors in Kirtanas. possible to emphasise the aspirate and we need not find fault with the printers for print­ The reading of the paper was not con­ ing ‘ Dha ’ without indicating the aspirate.” cluded when the Conference rose for the day Mr. C. S. A yyar—“ Take for example, the to meet again at 12 noon the next day. Varna in Kambhoji beginning with ‘Tharuni., In the evening there was a vocal music In the we find the svara-grouping performance by Vidvan Muairi Subrah- ‘ Dha ni pa da ni ni da ma ’ etc. Though manya Ayyar Avl., accompanied by Profes- the first “ Dha ” may perhaps be pronounced with a clear aspirate, in practical singing, the when we explain the matter, we should use second and subsequent Dhaivata svaras are the correct Dhaivata (aspirated one). Some rendered without any aspirate.” people pronounce it with aspirate, but The President—“ It is grammatically in some places and kalas (timings) it is net. wrong to pronounce the Dhaivata without possible to use the aspirate. For instance, in the aspirate. We, being Tamil people, have some places in Sankarabharana, the Dhaivata not been observing the correct pronunciation can be articulated with the aspirate with some with aspirate. It must be sung with aspirate ease. But in some other ragas, especially always- (He sang the varna with aspirate those in which the komala Dhaivata occurs, Dhaivata wherever that svara occurred.)” Dha is used without the aspirate. I am speak­ ing of the practical side of things. Though Mr. C. S. Ayyar—“ Please observe how the it is easy to say that the aspirate Dha can and Dhaivata in the varna is pronounced. should always be used, in actual singing Jthe I mean the anupdllavi beginning with * Dani- aspirate disappears, and anybody can observe p a i’ which takes the svaras 1 Dha, ma pa da this phenomenon in any musical perform­ sa.' In this even the first long Dhaivata is ance.” pronounced without aspirate. The flat or the komala nature of this particular Dhai­ Mr. C. S. Ayyar—“ I would request the vata seems to induce us -in pronouncing it President to sing Dha with aspirate in the without any aspirate. An aspirated Dhai­ combination Dha Ma. We can then see whe­ vata in actual practice seems out of accord ther the aspirate is clearly perceivable.” with at least the flat variety of Dhaivata." (The President sang a number of such Mr. Nemam Nataraja Bhagavatar—“In combinations articulating the aspirate in the the course of practical singing as now current, Dhaivata every time it occurred). both the aspirated and unaspirated Dha are Mr. M. S. Ramaswamy Ayyar —“ When being used. Particularly in the Vilamba kola you deliberately sing it with the set purpose or slow measure, the aspirate can be and is of using only aspirated Dhaivata, youjmay being used; but in the Druta kola (quick trot) be able to articulate the aspirate every time. aspirate is not clearly articulated at all, and But when you do not particularly have your in fact it is more facile to pronounce the eye on this point and sing freely, the Dha Dhaivata without the aspirate. Though theo­ will come out without the aspirate.” retically we may be thinking that it is an aspi­ Mr. C. S. Ayyar—“ In Kalyani and rate Dha that must be used, in actual Sankarabharana, for instance, where Chatus- practice, this aspirate is not perceivable." ruti Dhaivata occurs, the aspirate can be The President—“ Whether the measure is used. But in the case of ragas which take quick or slow, it does not matter. The Suddha Dhaivata, like Todi and - aspirate must at all times be clearly pronoun­ malavagoula, the aspirate cannot be pronoun­ ced and is being so rendered by all orthodox ced with facility and also seems out of musicians." accord, with smooth running.” Mr. Nemam Nataraja Bhagavatar—“ I Mr. T. S. Sabhesa Ayyar—‘'In actual heard reputed vidvans of the highest rank singing, especially in the case of Suddha singing the Dhaivata without any aspirate.” Dhaivata, the Da is used without aspirate.” Mr. T. S. Sabhesa Ayyar—“ We may The general opinion in the conference sing as we like according to vocal facility, but was that it would depend on pada prayogam. riJ UIU 17J7 1VX

Mr. G. V. Narayanaawami Ayyar—“ I Mr. T. S. Sabhesa Ayyar—“ It is not simply want to say a word about the errors necessary to particularise the group or pointed out by Mr. Sundareaa Sastriar in usage Pa-dha-ni-dha-pa in the arohana, regard to gramyams. We cannot condemn because when once it is admitted that any usage simply because it is gramyam. the arohana is pa-dha-pa-sa and the avaroha­ Though some ungrammatical terms are na is complete, the usage pa-dha-ni-dha-pa actually found in Shakespeare, they are not becomes regular, or permissible. We must condemned or any attempt made to correct consider what usages are allowable and what them. Language is changing, and a usage usages are not." which may have gone out of practice now The President—" There seems to be an cannot be condemned as wrong. So in chang­ impression that Pa-dha-ni-sa is not permis­ ing the text in any , specially in the case sible. But I think it is not an incorrect of gramya prayogas, we must exercise much usage." caution.” Mr. P. Sambamurti—“ There is a varna composed by Veena Kuppayya in this raga Mr. P. G. Sundareaa Sastriar—“ There and the usage Sn-ni-dha ni-sa (Sa being pro­ may be some ungrammatical terms in the nounced long) is found in that varna" ; but as we take Ratnayana as a standard work, we allow such usages. Simi­ Mr. T. L. Venkatarama Ayyar—“ I have larly, we can allow some usages which are learnt this varna from Doraiswami Ayyar admittedly incorrect, in the kritis. But what and I remember this usage sa-ni-dha-ni-sa I want to urge is that the caligraphical or occurred.” typographical errors which have subsequently Mr. C. S. Ayyar—“ Please show from the crept in, should be corrected." compositions of Sri Tyagaraja or Dikshitar that this usage is permissible.” Mr. G. V. Narayanaawami Ayyar—“ But Mr. T. S. Sabhesa Ayyar —“ In all ragas what I would point out is that it is not in which Pa-sa occurs in the arohana, the desirable to change the Sahityam in kritis groupings Sa-ni-sa, Sa-ni-ri-sa etc. are also by Sri Tyagaraja and others merely on the used. For instance, see Bangala, Vivardhani, ground of the existence of some gramyams. . But in Begada there is no Such usages may be regarded as arsha Prayoga of Dha-ni-sa or pa-dha-sa." prayogas." * Mr. T. L. Venkatarama Ayyar—“ At the This view was concurred in by a time I learnt the kriti 'Nadopasana' from Do­ majority. raiswami Ayyar I observed this usage of Sa- ni-dha-ni-sa occurring in ‘ Vedoddharulu ’ (in RAGA LAKSHANA-BEGADA. %anupallavi). I pointed out to him that it seemed to be against the established arohana The President.—“ The arohana of this pa-dha-pa-sa. But he said that the usage raga, in my opinion, isSa-ga-ri-gama-pa-dha- Sa-ni-dha-ni-sa did not do violence to the pa-sa, and the avarohana is Sa-ni-dha-pa-ma- raga-bhava. In Dikshitar’s kriti 'Sri ga-ri-sa (Ni and ga being pronounced long).” Matassiva Vamanke’ in the anupallavi Mr. G V. Narayanaawamy Ayyar.—“In beginning with the words ‘ Sri Maha Ragini- many text-books we find the arohana given vadana Sasanke ’ the usage of Sa-ni-dha-ni- as Sa-ri-ga-ma-pa-dha-ni-dha-pa-sa (Ni being sa occurs in the last word ‘Sasanke.’ (He pronounced long).” sang both the kritis in proof of his point). 14 My impression is that the usage Pa-dha-pa- like Begada from Sampradaya (established sa is a subsequent one. This Begada is a practice) rather than from lakshana alone." Bhashanga and a chaya raga. In chaya Mr. T. V. Subba Rao—“In the gatnaka, it ragas there are some visesha sancharas may look as if nishada occurs, but it does (special usages) which are permissible. If you not clearly come in. Such kind of manipu­ take the arohana and avarohana alone as the lation of a svara as would indicate the chaya authority, the usage sa-ni-dha-ni-sa will have (shade) of another svara, is called gamaka." to be taken as wrong. But I think in chaya Mr. T. S. Sabhesa Ayyar—“Whether it is ragas such usages are allowable, and this dha-ni-sa or dha-dha-sa both are wrong in particular usage is not detrimental to the my opinion, as also dha-ri-sa.” raga-bhava. Veena Kuppayya's vama also contains this usage.” The President—“ So far as I see, dha-ni- sa appears to be permissible”. Mr. G. V. Narayanaswami Ayyar—“ I At this stage the Conference adjourned to think the character or tonal value of the meet again at 12 noon the next day. nishada occurring in Begada is more import­ In the evening there was a Flute perfor­ ant than the permissibility of this parti­ mance by Vidvan Swaminatha Pillai cular usage. Let us first decide whether accompanied by Vidvan Jayarama Ayyar the nishada occurring in this raga is kaisiki of Kumbakonam on violin and K-umba- or kakali." konam Kodandarama Ayyar Avl. on the Mr. T. L. Venkatarama Ayyar—“It is mridangam. kakali nishada. (Hesang the above mentioned (Fourth day) Dikahitar’s Kriti to show it).” 26-12-1932. Mr. P. S. Sundaram Ayyar—“Is there any T.he Conference re-assembled in the special place for kakali nishada in this raga at all? pandalin the People's Park, with Vidvan I wonder if there is any such nishada occur­ Tiger K. Varadachariar Avl., President, in ring in this raga." the chair. In addition to those present on Mr. T. S. Sabhesa Ayyar—" The Nishada the previous days, Brahmasri Gayakasikha- does not sound pure. It comes down touch­ mani L. Muthiah Bhagavatar, Vidvan Pal• ing Shadja above. It is difficult to say ladam Sanjivi Rao and Mr. Etnana Atchu- whether it is kaisiki or kakali, but it seems to taramayya Pantulu (vainika) also attended. be nearer to the former.’’ The discussion on the lakshana of Begada Mr. C. S. Ayyar—" From the rendering was resumed. of the kritis just now by Mr. T. L. Venkata­ The President—“ In connection with the rama Ayyar, I see that the svaras Sa-ni- lakshana of this raga, there was a section of dha-sa-sa or Sa-ni-dha-dha-sa occur but not opinion which contended that the usage of Sa-ni-dha-ni-sa." Sa-ni-dhani-sa occurred. It was also demon­ Mr. T. V. Subba Rao—“ Yes, I agree. In strated yesterday; we must decide whether the songs as they have been just now sung I that prayoga is sa-ni-dha-ni-sa or sa-ni-dha- see the usage Dha-dha-sa but not dha-ni-sa.” dha-sa.” Mr. V. Brahmayya Saatri—“ The usage Mr. P. S. Sundaram Ayyar—“ I doubt dha-ni-dha appears to be permissible.” whether this particular usage would give Mr. T. L. Venkatarama Ayyar—“ We the chaya of the raga. We must hear must take the characteristics of chaya ragas the rendering from musicians and then ltl£> i W B B T I T O LUINf EKEINUt, V J J i 1VJ

decide whether such usage can be employed Sa-ni-dha-dha-sa. It is not obligatory to use without detriment to the raga-bhava of this prayoga for the purpose of bringing out Begada.” the raga bhava of Begada.” Mr. L. Muthiah Bhagavatar—“ We find The President sang a number of usages the prayoga in the git as and varnas handed like Sa-ri-nidhapa etc. and also employed the :down to us from old days as also in the prayoga Dha-ni-sa in several groupings, and kritis of Tyagaraja and Dikshitar. This showed that this prayoga (Dha-ni-sa) was not can be accepted as a special or peculiar usage detrimental to the raga-bhava of Begada at but should not be taken to affect the recog­ all. He added :—“ This is a special usage nised arohanaand avarohana of Begada. In just like the prayoga Pa-dha-ni-pa-ma in this raga unless the nishada and madhyatna Sriraga. It is employed very rarely. Such .are pronounced long the raga-chaya will not special usages in some ragas have been coming be discernible. Just as there is the prayoga down to us traditionally since the old days. Sa-ni-dha-ni-sa, there is also the usage of Although these prayogas may not be always Ga-ma-pa-ga-ri-sa. Both these prayogas necessary for the purpose of expressing the express the raga-bhava of Begada.” main characteristics of the ragas concerned, Mr. T. V. Subba R ao:—The prayogas like we cannot dismiss them as superfluous. In Ga-ma-pa-ga-ri-sa are used for purposes of my opinion they are also characteristic san- gatnaka, but they cannot be taken to go charas in a way.” against the established or recognised ragd Mr. P. Sambamurti—“ There seems to be lakshana or even to constitute exceptions an impression that this usage Sa-ni-dha-ni-sa thereto. Such usages generally occur in the might have been appearing in the text books course of alapana. This particular prayoga due to printer’s devil but that is not correct. Dha-ni-sa may be accepted as an alpa pra­ Tiruvayar Subrahmanya Ayyar employed or exceptional usage but not common. this prayoga. This occurs in the varna com­ I must emphasise that this is a particularly posed by Veena Kuppayya printed in 1877 exceptional usage, which occurs very very Jo ‘ Gayaka Parijatam ’ of Thatchur Singa- rarely.” racharlu. The usage was also recognised by Mr. L. Muthiah Bhagavatar:—In Begada Dikshitar.” we see a clear usage of N isa, which is not Mr. G. V. Narayanaswami Ayyar—“ I Strictly compatible with the established can also show printed books and authorities arohana and avarohana, that is, Pa-dha-ni- to the contrary.” dha-pa-sa, or Pa-dha-pa-sa. If a similar usage of Ni sa is to be permitted in ragas Dr. Srinivasaraghavan—“I think Dha-pa- like Anandabhairavi (with recognised aroha­ sa shows the raga-bhava of Begada more na of Pa-dha-pa-sa) and such other ragas, clearly than Dha-ni-sa. Our ears are ac­ I am afraid the character of our music will quainted only with the former usage but not be entirely changed.” the latter.” Mr. T. V. Subba Rao :—“ The usage of Mr. Nemam Nataraja Bhagavatar—“Just Ni-sa occurs not by itself but in the course as Dha-ni-sa is permissible and is generally of Sa-ni-sa. This so-called usage of Sa-ni- employed in , so also this prayoga may dha-ni-sa would be found in practical be used without detriment to the raga-bhava i manipulation of the svaras, to be really of Begada." Mr. P. S. Sundaram Ayyar—“ This usage Dr. Srinivasaraghavan—“ The usage Sok Sa-ni-dha-ni-sa must be sung in slow time, ni dha-ni-sa will give the chaya of the raga each svara being pronounced sufficiently Kalyani.” long and clear. Then we can easily decide Mr. T. L. Venkatarama Ayyar—“We whether the raga-bhava will be perceivable. must decide the question in accordance with These svaras must be used particularly and the existing compositions. The kirtana of prominently with emphasis on each svara, Dikshitar and the varna of Kuppayya were and then it will be clear to us whether the sung yesterday. I admit that Pa-dha-pa-sa raga-bhava of Begada will not be destroyed would clearly bring out the raga-bhava even by such a usage.” if sung by beginners. But even Sa-ni-dha-ni- Mr. T. L. Venkatarama Ayyar—“ It is sa can be employed by experts to produce .the not necessary to linger on each svara occurr­ raga-bhava of Begada. These sancharas ing in the arohana and avarohana of each existed before even melakartas were created and every raga. For instance, there is the and we have to bring these ragas into the nishada occurring in Arabhi. It is not pro­ melakarta scheme.” nounced prominently at all, and cannot on Dr. Srinivasaraghavan—" Tonal exacti­ that account say that nishada is altogether tude can be arrived at only by classifying the absent in Arabhi. So I say that this Sa-ni- svaras in terms of the 22 srutis. We cannot dha-ni-sa is a special and rareprayoga and we obtain precision if we merely rely may accept it as such.” on the melakarta scheme.” Mr. T. S. Sabhesa Ayyar—" My view is Mr. Appavu Ayyar—“ Though such rare that the usage of Sa-ni-dha-ni-sa is objection­ usages may be employed in alapana, they do able, as also Dha-ri-sa. So many musicians' not occur in swra-singing. Take for in­ are singing Begada but this Sa-ni-dha ni-sa stance Kambhoji. Although kakali nishada is is never used by anybody in the course of said to occur in this raga in the text books, svara singing. It is said to be found in some this svara is not generally used in the course prayogas about which we have no knowledge. of svara singing." How these usages have crept in, either into books or into music, it is difficult to say. If Mr. T. S. Sabhesa Ayyar—“ I heard we are going to solve problems of music on many times Sa-ni-pa-dha-sa (the nishada the strength of books and speeches, it is not being kakali) being taken as the main possible to come to any correct conclusion. Ethugada svaras in the course of Pallavi - We must hear these usages practically sung singing. I am sure many others have heard by musicians in the course of an alapana or such pallavis." pallavi and then we can arrive at a reason­ The President.—“ As these special usages, able decision. For my part, I think that the i.e., Sa-ni-dha-ni-sa etc., have been tradi­ usage Sa-ni-dha-ni-sa does not bring out the tionally handed down to us and have been in raga-bhava of Begada, and is not permissible.” use for a long time, it is reasonable to accept Mr. P. Sambamurti—” It is not necess­ them as permissible.” ary to employ such rare prayogas in slow Mr. T. S. Sabhesa Ayyar—“ With regard time. Take for instance Atana in which to the so called authority of the geetas and there is the usage of Pa-dha-ni-sa. It is varnas which have been quoted in support of employed in quick time (druta kala) and yet these usages I may say that I have got an old it is an important prayoga." manuscript containing many geetas with all sorts of sancharas which are patently wrong. Ayyar, T. L. Venkatarama Ayyar, Sankara It would not be safe to accept all such autho­ Ayyar (Annamalai Music College), M.S. Rama- rities at their face value, without seeing whe­ swami Ayyar, Gayakasikhamani L. Muthiah ther such usages occur in actual practice." Bhagavatar and P. Sambamurti—(Total 16). Mr. Umayalpuram Venkatarama Ay- Those that were against this view were— yar—‘‘ There is actually a usage of this Sa-ni- Dr. Srinivasaraghavan, C. S. Ayyar, P. S. dha-nisa to my knowledge." Sundaram Ayyar, G. V. Narayanaswami Mr. T. S. Sabhesa Ayyar—" Where does Ayyar, T. S. Sabhesa Ayyar and another— it occur ? Is it in any kriti of Sri Tyagaraja (Total 6). or is it any other kriti ?” Mr. T. V. Subba Rao “Though there is Mr. Umayalpuram Venkatarama evidence of such prayaga, it is not ordinarily Ayyar—“ It occurs in a varna. In the book permissible.” in which this particular varna appears, we The Conference decided by a large see that ragas are divided into two kinds, m ajority that the usage of Sa-ni dha-ni-sa chaya ragas, suddha ragas. Qhaya ragas are in Begada is permissible as an pra- those in which foreign notes occur in spite yoga or rare usage. of the fact that its arohana and avarohana Mr. P. Sambamurti—“ The next point to are fixed unalterably. These foreign notes be decided in regard to this raga is the are used for the purpose of ranjana, or aesthe­ character of its nishada. It is well recognis­ tic effect or emphasis. This raga, Begada, ed that Begada comes under the 29th Mela, is classed in that book as a chaya raga, and but the nishada at times takes a sruti less than therefore the usage Sa-ni-dho-ni-sa is permis­ kakali nishada occuring in the 29th Mela. This sible." Begada has been classed as a bhashanga raga e sang Tyagaraja’s kriti beginning with in the text books, but bhashanga ragas are the words ‘ Gattiganu Na Chayi' to show that known to be those in which foreign notes this sanchara occurs therein). occur. In Begada, the nishada is one sruti Mr. T. S. Sabhesa Ayyar—“ In this kriti less no doubt, but it cannot on that account be called a foreign note. Therefore, as no as just now sung there is no Sa ni-dha-ni-sa foreign note occurs in this raga, it cannot be at all, but only Sa-ni-dhapa-sa-sa." ti classed as bhashanga, but should come under The President.—"The question now to be the upanga group.” decided is whether in Begada, the usage Sani-dhanisa is admissible as a rareprayoga. Mr. T. S. Sabhesa Ayyar—“ It will be Those in favour of this view will please say more convincing if the character of the nishada is practically shown by singing the so." section of the raga where that svara promi­ The following gentlemen were in favour nently occurs.” of the view stated above—Messrs. Nemam Nataraja Bhagavatar, Emana Atchutara- (Mr. Sambamurti sang the particular mayya Pantulu, Vinjamuri Varaha Narasim- group of svaras where the nishada occurs). hacharlu, Umayalpuram Venkatarama Ayyar, Mr. T. S. Sabhesa Ayyar—“ The nishada Ramakrishna Ayyar, N. S. Ramachandra in this raga is not manipulated pure, or by Sastri, S. K. Srinivasa Ayyar, Hulugur itself. It never comes without touching the Krishnamacbarya, P. G. Sundaresa Sastriar, shadja above. It is not a question of its S. Subramanya Sastriar, Maiur Subramanya being a sruti less. It -is a moving svara "3 3 5 " TTJI^JOUHWTL ur m £. m X

which is sung in the gatnaka fashion and so 'Sadhinchene' at the place where ‘Kalibad- cannot be limited or located as a particu­ hala occurs.” lar kind of nishada, or any such thing." There was no contest about this ragt^ Mr. P. Sambamurti—‘‘ I want it to be and it was unanimously agreed that it is recognised that the nishada of Begada is a a derivative of the 29th Mela and that its special one which is neither kaisiki nor arohana is Sa-ri-ma-pa-dha-sa and its avaro- kakali." hana, Sa-ni-dha-pa-ma-ga-ri-sa. The nishada and gandhara should he used only by u)ay Mr. T. L. Venkatarama Ayyar—“ It is of alpa prayoga.” generally recognised that Begada is a janya of the 29th Mela. Those who want to urge DEVAGANDHARI. that it comes under the 28th Mela may say Mr. P. Sambamurti—” This raga also is a so and give reasons for their view.” derivative of the 29th mela, and its arohana As nobody came forward to urge the latter and avarohana are the same as those of view, the Conference decided that Begada Arabhi. But in the usage Pa dha-ni-dha kai- com et under the 29th Mela. siki nishada occurs. There is also a viseshd The President—“ Several eminent vidvans (special) sanchara of Ga-ma-ga-ri-sa {madhy­ have assembled here and have been freely ama being pronounced long).” expressing their views for or against a parti­ Mr. P. G. Sundaresa Sastriar—“Several cular proposition. In the course of the books give different versions about the ascent discussion, some experts may have to differ and descent of this raga. We have to decide from others, and I would only appeal to all which is correct.” hot to take anything stated in this Confer­ Mr. Ramakrishna Ayyar —“The dkaivata ence as any kind of personal reflection or is used long in this raga." insinuation.” Mr. Umayalpuram Venkatarama Ayyar ARABHI. —“The usual avarohana of this raga is Mr. P. Sambamurti—“I think there is not Sa-ni-dha-ni dha pa-ma-ga-ma-ga-ri sa (Ma much difference of opinion on this raga. It and ri being pronounced long). The dhaivata is accepted by all that this is a derivative of should be used with reference to kaisiki nish­ the 29th Mela, that it is an Upanga raga, ada (from the kaisiki nishada-sthana). Sa-ni- that it takes Sa-ri-ma-pa-dha-s r in the ascent dha-pa sanchara does not occur in the and lull compliment of svaras in the des­ usages (current musical practice).’’ cent, and that janta usages (double svara Mr. P. Sambamurti—“In the Tyagaraja usage) and madhyama kala (quick trot) kriti 'Namoralakimpa' this sanchara Sa-ni- prayogas are main features of the raga." dha-pa occurs.” The President—‘ In this raga the nishada Mr. Palladam Sanjivi Rao—The aro­ and gandhara svaras are not used long and hana for Devagandhari is Sa-ri-ma-pa-dha- prominently. They occur only as alpa or ni-sa and the avarohana Sa-ni-dha-pa-mu- shadowy notes.” ga-ri-sa." Mr. T. L. Venkatarama Ayyar— “ There Mr. P. Sambamurti—"If that is to be is the usage of Sa-ni-dha in the kriti of accepted as the arohana then the usage Pa- Tyagaraja beginning with the words dha sa which is found to occur in many musical compositions, will have to be declar­ ascent, because it will violate the raga- ed inadmissible " bhava." Mr. Palladam Sanjivi Rao sang the Anu- Mr. T. S. Sabhesa Ayyar—"I am for ac­ pallavi 'V aranarajunu in the Tyagaraja cepting pa dha-sa. But if pa-dha-ni-sa is proved to occur in any recognised kriti, we kriti ‘Kshira Sagara’, to show that pa-dha- may accept it as a special usage.” ni-sa prayoga was found therein)." Mr. Martir Subrahmanya Ayyar—"In Mr. T. L. Venkatarama Ayyar—“Some fixing the arohana and avarohana to a raga, authorities seem to hold that the arohana we should not take visesha prayogas or spe­ may be recognised as Sa-ri ma-pa-dha-sa and cial usages into account.” that Ma-pa-dha, Ni-sa-ri, and Sariga-ma- ga-ri may be used as special prayogas. I Mr. T. V. Subba Rao—“ Pa-dha-sa is the request the Conference to consider this ordinarily accepted usage in the arohana, but aspect." pa-dha-ni-sa seems to be a visesha or special prayoga." Mr. Totadri Ayyangar then sang the anupallavi of the Tyagaraja kriti ‘Karuna• Messrs Subrahmanya Sastri and Srini­ samudra, which showed that the prayoga vasa Ayyar were in favour of Pa-dha-sa, and pa-dha-ni-sa occured in it). Messrs P.S. Sundaram Ayyar, M.S. Rama- Mr. T. S. Sabhesa Ayyar—"This usage swami Ayyar and G. V. Narayanaswami occurs in one of the sangathis, but not in the Ayyar were for Pa-dha-ni-sa. (Mr. Nara­ opening line of the anupallavi, (primary yanaswami Ayyar qualified his support by melody of the anupallavi, but not the saying that the usage was not a direct pa- subsequent melodic variation thereof). If it dha-ni-sa but occurred in groups such as Ma- is proved that this particular usage of pa-dha• pa-dha and Ni-sa-ri)."

na-sa occurs in the said opening line of the The Conference finally recorded its anupallavi, then we can accept it.” decision thus :

Mr. Netnam Nataraja Bhagavatar— Devagandhari is a ja n ya of the 29th "There is also another usage namely Sa-ri-ga- Mela. It is a Bhashanga raga and ri-sa.” takes Kaisiki Nishada in the prayoga Mr. T. V. Subba Rao—This is quite per­ Pa-dha-ni-dha. As regards the arohana missible and is not inconsistent with the there were two different views among established lakshana. The descent being the members of the Conference, one full, this particular usage Sa-ri-ga-ri-sa is favouring Sa-ri-rna-pa-dha-sa and the quite in keeping with it.’’ other advocating Sa-ri-ma-pa-dha-ni-sa; Mr. Ramakrishna Ayyar—"I am for opinion was divided between these accepting the arohana as Sa-ri-ma-pa- two views. The avarohana is Sa-ni-dha- pa-ma-ga-ri-sa, With Sa-ri-ga-ma- (long) dhasa. But we can allow pa-dha-ni-sa as a -ga-ri-sa as a special Prayoga. special prayoga. The dhaivata should be pronounced long." Motion for a Sub Committee. Mr. Vinjamuri Varaha Narasimhacharlu Mr. T. S. Sabhesa Ayyar—" I move that —■" I agree with the previous speaker." a sub-committee may be appointed to Mr. Netnam Nataraja Bhagavatar — consider all the various usages in regard to “I am against accepting Pa-dha-ni-sa in the the ragas in the agenda and make a report to this Conference on the existing usages in out by the songs as rendered. The final each raga, mentioning the place where each decision should be such as to be acceptable usage occurs, so that this Conference may be to all those musicians and experts who can in a position to decide on the matter with sing and can appreciate the practical side^bf certainty and confidence. I need not say the question. So, I think this sub committee much on this proposition, for it is well known should be brought into being.” that there are many versions in regard to the Mr. C. S. Ayyar—“Then, does it mean that kritis of Tyagaraja and Dikahitar, and the Members of the Expert Committee of the there are also many varnas in which special Music Academy are tiot competent to discuss usages occur. We have not got full material this matter in practical detail ? ” in the shape of these compositions now, and many vidvans do not seem to be prepared to Mr. L. Muthiah Bhagavatar—“I do not give information on the subject here at mean any reflection on the members of present. They want time to refer to the ttie Expert Committee: What I am simply various authorities and give us correct in­ saying is that it is very difficult for pro- > formation. I, therefore, move my motion for fessional people to fully discuss these a sub-committee.” matters in the short time at their disposal Mr. L. Muthiah Bhagavatar —“ I second now. Take for instance Begada. There this motion. I think we can arrive at a more are a number of kritis and other composi­ satisfactory decision if we have all the material tions, varnas etc, in this raga. All these have before us. Otherwise, our decisions will not to be picked out from the records, they will be broad-based.” have to be practically rendered and then only we will be in a position to come to a Mr. C. S. Ayyar—“ I strongly oppose this satisfactory conclusion. Then only will we motion. This body is itself called an Expert be able to answer the questions put by mem­ Committee. This is not a general meeting. bers in the open conference. Now, we feel It is a body of experts met to consider the that some of these questions are suddenly agenda now with us. Every one of us was sprung on us, and we are not able to give given ample time for preparation and we are satisfactory replies.” expected to be ready with our facts and other material, and I do not see any reason Mr. T. L. Venkatarama Ayyar—“ The why further time should be given.” motion is for a Sub-committee out of this Mr. L. Muthiah Bhagavatar—“ We have Conference. It may be no doubt desirable, got a number of ragas on the agenda. In each but we have no power to appoint a Sub-com­ raga there are a number of recognised san- mittee. We are ourselves appointed by the charas as also special usages, arsha prayogas main body of the Academy and have no and so on. If we are to discuss all these power to delegate our functions to another points fully, the time now at our disposal is body. We will have to get sanction from not at all sufficient. Every one' of these the Academy for this Sub-committee being ragas will have to be considered for days appointed. So, let the Executive Committee with tbe help of records. Vidvans urging a of the Music Academy consider this matter particular usage or sanchara will have to and decide. We shall communicate this sing and prove their contentions, and the motion to them and await their decision. other experts will have to hear and satisfy Meanwhile we will have to go on with the themselves whether the contentions are borne agenda before us.” The President concurred in the above view Mr. N. Ramakotayya—“In this raga both and ruled that until the decision of the Exe­ the madhyamas occur.” cutive Committee of the Music Academy on Mr. T. L. Venkatarama Ayyar—“In a the subject of the Sub committee was made text book called 'Pallavisvara-kalpavalli' known to them, they would have to go on this has been printed under the 8th mela and with the business on the agenda. He said he described as a Vakra-shadava-ouduva raga, would coummunicate to the Executive Com­ taking Sa-ga-pa-tna-dha-ni-sa in the ascent mittee the fact that such a motion had been and Sa-dha-pa-ga-ri-sa in the descent; but a moved. note is added that it is not connected The Conference then adjourned to meet with any mela. The late K. V. Srinivasa again at 12 noon the next day. Ayyangar’s book 'Sangita Rasarnavam’ says that it is a derivative of the 8th mela." In the evening there was a Harikatha Mr. Syama Sastriar then sang ‘Sri Ka- Kalakshepam by Guyakasikhamani L. malambika’, a composition of Subbaraya Muthiah Bhagavat'r Avl. on Seeta- Sastri in this raga with a chitta svara kalyanatn. beginning with ‘Dha-pa-ga-ma-Pa-dha-pa-ga- ri-sa-ni etc.’ (Fifth Day) The President— “ There is no prati- 27—12—1932 madhyama in this kriti which has just now The Conference re assembled at 12-30 p.m. been sung.” with Vidvan Tiger K. Varadachariar, Mr. L. Muthiah Bhagavatar—“My President, in the chair. Brahmasri Syama view is that the raga called Desya Todi is Sastriar, great-grandson of the noted really Subhapantuvarali, because when we composer of the same name, was present in hear it sung there is no difference between addition to tffose that attended on the pre­ the two. The song ‘Nepogadakunte’ as it is vious days. Desya Todi was taken up for dis­ generally sung reflects Subhapantuvarali." cussion. Mr. Syama Sastriar—“I think it is a derivative of the 8th mela." DESYA TODI Mr N. Ramakotayya Pantulu—“ All Mr. T. L. Venkatarama Ayyar—“About ragas with the prefix ‘ Desya ’ have a Hindu­ this raga we have no recorded authority stani tinge about them ; the word ‘ Desya ’ either ^.in the shape of lakshana slokas or means that. I do not see the sancharas geetas or otherwise. There is only one kriti mentioned by the previous speaker in this of Sri Tyagaraja beginning with the words raga. In one book which I have got I find *Nepogadakunte' which is classed in the text­ there is no rishabha in the descent at all. It books under the raga Desya Todi. But it ends with Ga-sa." seems to be sung in Subhapantuvarali. If any­ Mr. P. G. Sundaresa Sastriar—“Different body among us knows any song in this raga, versions are found in different books. One we can decide its lakshana on hearing it.” book says that both arohana and avarohana Mr. Syama Saatri—“There is a raga are complete, but another says that the called Desya Todi in our music. It is not a ascent is Sa-ga-ma-pa-dha-ni-sa and the prati-madhyama raga, although in the usage descent is complete.” Pa-ga-ri-sa, the chaya of prati-madhyama Mr. L. Muthiah Bhagavatar—“ I learnt slightly occurs." the kriti ‘ Nepogadakunte’ from the Umayal- puratn Bhagavatars, and it takes all the (He then sang the kriti ‘Rajuvedale' in Which svaras of Subhapantuvarali. A discussion the above usages occurred). arose on this point in Mysore, and a Hindus­ Dr. Srinivasaraghavan—“The song just tani musician by name Baratulla Khan who now sung is in the common Todi only. My heard this ‘ Nepogadakunte’ from me, gave it ear is not able to perceive any difference bet­ as his opinion that the raga in which the said ween the Karnataka Todi as usually sung and kriti is set goes by the name of Todi in the raga as reflected in the kriti ‘Rajuvedale' Hindustani music and that it is called which has been now sung. My opinion is that ‘ Turushka Todi’ (meaning Muhammadan Desya Todi is a prati-madhyama raga. We Todi) by the Karnatic musicians.” have only to decide about the character of the Mr. C. S. Ayyar—“ I suggest that no deci­ gandhara, whether it is sadharana, antara, sion "be recorded on this raga owing to the suddha or otherwise.” (He sdng the kriti^ paucity of reliable material regarding its *Nepogadakunte’). characteristics.” Mr. Emana Atchyutaramayya Pantultl The President—“ It is not a Karnataka —“In fact any composition can be sung in raga. Tne very fact that it is known among any way we like. But in the kriti just now some Karnatic musicians as Turushka Todi sung, only sadharana gandhara occurs." shows that it is of foreign origin and charac­ Mr. Vmayalpuram Venkatarama Ayyar ter. So it may not be necessary for us to —“I have got in my possession a manuscript record any decision on it.” which has been handed down to us from Mr. P. Sambamurti—“ We have got this Maha Vaidyanatha Ayyar. In that book we raga in our music in the shape of one or two And it stated that Desya Todi is a janya of Todi kritis, and we have got to decide on its and my patam (version) of ‘Nepogadakunte’ lakshana.” shows it”. (He sang 1 Nepogadakunte' with Mr. S. Subrahmanya Sastriar—“ Some suddha madhyama, on the lines of the com­ people seem to be of opinion that this is a mon Todi). Bhashanga raga. We cannot call it Bha- Dr. Srinivasaraghavan—“ In this rend­ shanga because in this song ‘ Nepogadakunte ering also the madhyama seems a little higher or in the other one by Subbaraya Sastri than suddha madhyama. Last year, I two madhyamas do not occur (in the same remember, Mr. Swaminatha Ayyar sang this song). We will have to class it under some kriti with prati madhyama. My patam of Melakarta." this kriti is the Tillasthanam version and Mr. T. S. Sabhesa Ayyar—” Mr. Syama takes prati madhyama. The Conference Sastriar has just now sung a composition may consider the advisability of treating which has been coming down to us traditio­ this Desya Todi as a janya of ." nally. There is no prati-madhyama in it. Mr. T. S. Sabhesa Ayyar—“ My patam We may base our decision on this song.” is also of Tillasthanam, but the way I learnt Mr. Vmayalpuram Venkatarama Ayyar— seems slightly different from the rendering by “ Sri Tyagaraja’s kriti ‘ Rajuvedale’ is in the Doctor.” Desya Todi. The sancharas ga-gapa-ni-sa- Mr. T. L. Venkatarama Ayyar—“ Now dha, ga-ga-pa-ga-risa, so-ri-sa-ri-ni-sa etc. we have heard two or three songs said to be occur. It is not a raga whose lakshana can in Desya Todi ; Subbaraya Sastri’s kriti be defined by sanehara kramas.” contains a chitta svaraalso. As for ‘ Nepo- LUMIIULWUL, 7J5 T il

gadakunte,' the Umayalpuram patam seems 8th mela with Sa-ga-ma-pa-ma-dha-ni-sa as to differ from the Tillasthanam pat am. Let the arohana and Sa-ni.dha-pa-tna-pa-ga-ri-sa us take a composition about which there is as the avarohana (Ga being pronounced no difference in version.” long)." Mr. Nemam Nataraja Bhagavatar— Mr. L. Muthiah Bhagavatar—“In this “ The sanchara for this raga is Sa-ga-ma-pa- raga all sorts of sancharas occur and so it is madha-pa-dha-ni-sa and Sa-ni-dha pa ma pa more reasonable to treat it as a sampurna (tna) ga-ri-sa. In the latter grouping in the raga (with full complement of svaras both descent from panchama to gandhara, a shade ways).’’ of prati tnadhyama occurs.” (He sang Mr. T. S. Sabhesa Ayyar—“ I would ‘ Rajuvedale' to illustrate his point.) suggest that it may be called Bhupala Todi or Mr. Emana Achyutaramayya Pantulu—■ Bhup Todi like Bhup Kalyani, a Northern “In this rendering we have heard just now, raga." especially at the place where ‘ Jutamurare ' Mr. Emana Achyutaramayya Pantulu— occurs, it does not run smoothly at all and it “ Though this raga is called Desya Todi, all looks as if it has been purposely twisted to the songs now sung are said to be in Desya bring in theprati tnadhyama." Todi, I am unable to see anything but pure (Dr Srinivasaraghavan then sang 1 Raju­ unmixed Kamatic Todi in every one of the vedale ' in the well known Karnataka Todi). renderings we have just heard except proba­ Dr. Srinivasaraghavan—“ This is my bly ‘Nepogadakunte'. In my opinion Desya- Patam (version) and it is easy to see from Todi is a different raga with Sa-ga-ma-pa-dha- this that it is ordinary Todi." ni-sa in the ascent and full complement of svaras in the descent.” Mr. T. V. Subba Rao—“While coming down*or gliding from Panchama, a slight or Mr. S. Subrahmanya Sastriar—“ As shadowy tinge oiprati madhyama just strikes the prati madhyama is only touched very the ear, as in the case of the Gowlipantu slightly, this raga may be grouped as a raga.” janya of the 8th mela, Hanumat Todi." Mr. Gomati Sankara Ayyar (Veena ins­ The President—" For all practical pur­ tructor in the Annamalai Music College and poses we may place this raga in the 8th mela. a son of a disciple of Maha Vaidyanatha That appears to be the better course, because Ayyar), then sang ‘ Nepogadakunte ’ with some experts think it is Todi itself in a some­ Prati madhyama and kakali nishada, and what modified form. No doubt a slight claimed that that was the version he got by shade of prati tnadhyama may seem to show parampara from Maha Vaidyanatha Ayyar itself in some places, but that is not such as himself. to warrant its mela being shifted.” Mr. L. Muthiah Bhagavatar—“It is clear Dr. Srinivasaraghavan—“If it is to be that this raga, Desya Todi came from accepted that in the descent from Panchama another province. Simply because its suffix to Gandhara, Madhyama occurs in some form is 'Todi,' we cannot say that it is connected or other, are we to understand that with Todi. For instance, there are ragas Madhyama occurs for instance in raga going by the names of Salagabhairavi and NLohana ?" Vasantabhairavi. Does anyone contend that Mr- T. L. Venkatarama Ayyar—“I am for they are derivatives of Bhairavi or are in any treating this Desya Todi as a janya of the way connected with the well-known raga Bhairavi ? So the name by itself does not prati madhyama alone occurring in Desya- signify much. It is a raga the name of which Todi will first please say so." is given as ‘Todi' among the Northern ragas. Messrs. Muthiah Bhagavatar, M. S. Ranj£- When it was adopted by our Kamatic musi­ swami Ayyar, Dr. Srinivasaraghavan, T. S. cians, it was called Turushka Todi or Desya Sabhesa Ayyar, Sankara Ayyar and another Todi, to distinguish it from our Kamatic were in favour of Prati madhyama. Todi. It is well known that many ragas which have a northern tinge are given the prefix Messrs. Umayalpuram Venkatarama Ayyar, ‘Desya.’ I heard many northern ragas from Syama Sastriar, Nemam Nataraja Bhaga­ very big Vidvans (one of whom, as I said vatar, Marur Subrahmanya Ayyar, N. S. before, gave his opinion that ‘Nepogadakunte’ Ramachandra Ayyar, P. Sambamurti Ayyar which I sang before him, was the northern T. L. Venkatarama Ayyar, Etnana Achyuta- Todi). What they call ‘Yarnan’ is exactly ramayya Pan tula and two others were in our Yamuna Kalyani; so also, their ’Hamit’ favour of Suddha madhyama. is our Amiru Kalyani. Our Kalyani is called Messrs. P. S. Sundaram Ayyar, C. S. by them as ‘Bhup Kalyani.’ So also, this Ayyar, V. Varaha Narasimhacharlu and two Desya Todi is called by them as ‘Mia Todi.’ others were of opinion that both the madh­ As for my version of the song ‘Nepogada­ occurred. kunte’ (which takes the svaras of the mela raga going by the name of Subha Pantu- Mr. T. V. Subba Rao.—" This raga takes varali) it is the version I learnt from the the suddha madhyama predominantly; but Umayalpuram school of Sri Tyagaraja’s prati madhyama also occurs at times.” Sishyas; this is also the version of Dr. Srini- The Conference decided by a majority vasaraghavachariar, as you have heard him that Desya Todi takes suddha madhyama. just now. The other song which has been The President was of the view expressed by sung before you now and is said to be in Mr. T. V. Subba Rao. Desya Todi, is the one composed by Sri Tyagaraja beginning with the words The Conference also decided, that ‘Rajuvedale.’ I heard it many times from Desya Todi is a janya of Todi with the fol­ various musicians, but it was always sung in lowing arohana and avarohana: Sa-ga-ma- pure Karnataka Todi. I hear the contention pa dha ni-sa and Sa-ni-dha-pa-ma ga-ri-sa that it is to be sung in Desya Todi, for the and Dha-pa-ga-ri-sa as a special prayoga. first time now.” The President—“ We shall now adjourn to meet again to-morrow at 12 noon, when The President—“ It is now clear that we will first discuss the subject of dancing on there are two distinct schools of thought, which resolutions have been given notice of. one holding that Desya Todi should take They will be moved tomorrow and speeches pratimadhyama (the svaras used being made thereon. After they are finished, we those of Subha Pantuvarali), and the other shall go on with our usual agenda." holding that only suddha madhyama occurs in this raga. Of course there are In the evening there was a Flute perfor­ a few who think that both the madhyamas mance by Vidvan Palladam Sanjivi Rao occur in the raga. Now, it will be advisable Avl. accompanied by Professor Venkata- to know exactly how many support each of swami Nayudu Garu on violin and Vidvan these views. So, those who are in favour of Dakshinamurti Piilai AvL on mridangam, (Sixth Day) removed by attendance at these public func­ 28—12—1932 tions of respectable people. The Conference reassembled at 12 noon on The Chairman then stated that he had Wednesday, the 28th December, 1932. In received from Mr. E. Krishna Iyer, notice addition to those who were present on the of the following resolutions to be moved previous days, the following gentlemen also at the Conference that day, regarding the attended : Mr. C. R. Srinivasa Ayyangar, Mr. encouragement of the art of Bharata K. V. Krishnaswami Ayyar, Dr. S. Krishna- Natyam : swami Ayyangar, Diwan Bahadur N. Patta- (1) “ This Conference is of opinion, that bhirama Rao, Mr. V. Appa Rao, and a few Bharata Natyam, as a great and ancient art, others. is unexceptionable and worthy of public The Chairman in opening the proceed­ support. ings for the day, read the following letter (2) This Conference views with concern addressed to him by Mr. G. A. Johnson, the the rapid decline of Bharata Natyam and Assistant Editor of the ‘ Madras Mail,' re­ appeals to the public and art associations to gretting his inability to be present : give it the necessary encouragement. Dear Sir, (3) This Conference requests the M usic We thank you for the invitation contained Academy, Madras, to take steps to dissemi­ in your letter of 27th December, to attend the nate correct ideas regarding the art and to proceedings of the Conference at noon to-day. help the public to a proper appreciation Unfortunately this is an impossible time for thereof. either the editor or myself to get away and (4) This Conference is of opinion that we regret we shall have to decline. inasmuch as women are the appropriate ex­ There is a point which has occurred to me ponents of the art, it is desirable that to in connection with these discussions which I start with, women’s organisations do take submit might usefully be raised. This refers immediate steps to give proper training in to the public performances of the nautch, the art by instituting a course of instruction which I understand many reformers wish to for the same, discourage. It is reasonable to suppose: (5) This Conference is of opinion that, in (i) That if it is intended to reform the order to make dancing respectable it is neces­ Devadasis they must be given an alternative sary to encourage public performances thereof profession. Public performances of the before respectable gatherings.” dance should provide them with a lucrative The Chairman then requested the gentle­ opportunity to display their talents. men present there to give a lead to the (ii) If the dance is to be freed from its less Conference with their views on the subject of respectable associations, the encouragement the resolutions. of public-displays appears to be the best way Gayakaaikhamani Muthiah Bhagavatar to do it. Private parties tend to encourage spoke in Tamil to the following effect— the notion of lack of respectability. Public, on the other hand, show the dance for what ‘‘Ladies and gentlemen, we all know that it is. Lack of respectability might best be the art of dancing is fast becoming extinct if it has not already become so. We are all “ Ladies and gentlemen, the art of music assembled here now to discuss whether dan­ may be divided into three main branches, cing as an art should be revived. Some peo­ , vadyam and nrttyam. Music will ple have been doubting whether dancing is a not be complete without a combination St necessity at all in connection with the art of these three factors. If we sing a song in the music. We all know by experience that the ordinary way, only the melody appeals to us; primary basis on which music itself rests is if you add tala to it, even then the bhavam bhavam; and the art of dancing is undoub­ is not expressed; and music without bhavam tedly the best and most natural exponent of is not real music at all. The Maharajas of that bhavam which is the fundamental ele­ old, who encouraged the art of music, are ment in music. Everybody knows that God known to have encouraged dancing also. Siva himself and sage Narada practised this There are records to show that Raja Raghu- art to a very great extent. No raga will be natha Naik of Tanjore, whenever he retur­ complete without bhavam and the only art ned home victoriously after a war, us«d that brings out this bhavam to perfection is to hold dancing parties in his house and dancing. When a man worships God, the also dance himself and thus celebrate bis best method adopted by him for showing victory. I have also heard that the vid~ his feelings is by bhavam—i.e., either by vans of old who taught music to their chil­ word of mouth or by facial expression or dren or sishyas taught them this dancing movement of limbs. In the olden days nautch also. My opinion is that there is no greater parties were held on all the days of a mar­ yoga-sastra than music which delights the riage ; and that was done not only as a sort of people acid brings mukti to them. of entertainment in the evenings but with a I am sure you will agree with me when I say view to bring out the bhavam aspect of music. that no great expert in any art can satiny It has been said that in the practice of the many thousands of people in a trice as much art, certain objectionable features creep in. as a musician can do. I hold strongly that I would meet that criticism by saying that education should include in its syllabus a simply because a particular individual deve­ course of training in music. lops a particular defect or does not impress the audience in any particular respect, it is Mr. Muthiah Bhagavatar said tha£ music not proper to condemn the art itself. I am is a natural enjoyment. I agree. We know strongly of opinion that not only females even a child sings without being taught but males should practise the art, if they music; similarly, when a song is sung, we see want to attain perfection in music itself. many people keeping talam without knowing After all, in these days when we hear of ashta- what it is—that shows that talam also is vadhanam being practised by many people, natural. Again, when people speak, they I am sure it will not be a very difficult affair sometimes nod their heads, or make facial for males to practise this art of dancing side gestures. That shows that bhavam also is by side with the greater art of music. I natural. And unless these three factors com­ request the gentlemen assembled here to bine together, we cannot have good music. encourage this ancient art more and more by Just as it is natural for blood to be running passing the resolutions unanimously.” (Cheers) in our body so long as there is breath, so also it is natural that bhavam should exist in Mr. C. R. Srinivasa Ayyangar spoke in music, whenever, wherever and howsoever it is Tamil as follows— practised. Such bhavam exists in all of us, as a natural element—in both the sexes. It is was one gentleman, Garric by name, whb a mistake to think that bhavam exists only in stood behind the screen and acted the whole females; it does exist in males also. For drama and he should have done it only by instance, we see vakils and teachers shaking bhavam. What I want to emphasise in con­ their heads vigorously whenever they want to nection with this resolution is that if you find emphasise any point. There is record to anything distasteful in this art, you can show that even in the time of Demosthenes eschew it. Rig Veda says that males were people used to practise elocution by having a practising t.his bhavam to a high degree. We mirror opposite to them, in order to assist them have heard that Arjuna practised the in finding out for themselves whether the a rt; Usha seems to have had something to bhavam aspect came out aright. All these do with this art and many others. We can things show that bhavam is a natural factor certainly exclude people who are unfitted for in music. this art, from practising it. Recently, we trained a small girl to sing a particular song, I wonder why we have to discuss this sub* but when she did so, we had great difficulty ject at all because bhavam is there already in in differentiating it from a Kshetraya Padam. everything that we do daily. It is a great Similarly, we can exclude certain people and pity that by force of circumstances, the art of dancing has come to occupy a low level at train others to a high level of efficiency, present. Everybody knows that there are I know that our revered President’s brother practised this art to a great extent. I only two ways of relieving a patient— either by giving him medicine or by killing him out­ wish he were here with us to-day to speak in my stead and give us his strong support. We right. If the art of dancing is to be killed, hear nowadays that many sciences are being we need not assemble here at all. Moreover encouraged in particular colleges. But this it is an art which cannot be killed, being science of bhavam has existed in this country naturally present in everything we do. So, the only course now open to us is to mend it for ages, and it is up to us to improve it and bring it to a high level. With these few and bring it to a level which it ought legiti­ words, gentlemen, I earnestly trust you will mately to occupy. A high level of efficiency all unanimously vote for these resolutions.” in this art of Abhinayam can be reached only if we teach it to our children while they are Mr. T. V. Subba Rao—“I only want to say young. that because we are living in such degenerate In a drama, there are screens, lights, times, we think it necessary to make any pictures, etc. Only if all these things com­ speech in regard to this subject. I support bine together, a good impression can be the resolutions before us very strongly.” given to the audience. Even then, there are Mr. V. Varaha Narasimhacharlu (In certain things that cannot be acted on a Telugu)—“There is a doubt about the antiqui­ stage; for instance, a man cannot be a child. ty of this natya vidya, the art of dancing. Just Similarly, in my opinion, a Bhagavatar as music has degenerated and come down to although he cannot be a child, should act a its present level, so also Bharata Natyam has child, a female, without being himself a female, been going down gradually, so much so, that etc., and the best way of so acting is by in the present day, it may be said to be almost bhavam. In other words, the one thing that extinct. We have got standard works in riioves the audience is bhavam. It used Sanskrit in which we find 120 postures to be to be said that in western cduntrles there adopted in dancing described in detail. Representations of these pastures, I am told, Dr. S. Krishnaswami Ayyangar—“ Mr. are found in the Chidambaram temple. Chairman, Ladies and Gentlemen, the re­ B harata treated this subject in his treatise solutions of which I was given notice yester­ which is well-known. Somanatha in his day evening, seem to cover very plain ground Raga Vibodha wrote about this in 1609. He and do not require much advocacy one way was an inhabitant of Andrangi village in the or another, but for some controversy-that Cocanada taluk, where an agraharam was has arisen in regard to this art. Whether the made over as a gift to him. He was known aFt is worth preserving is perhaps of the to be very proficient in Bharata Sastra and essence of the question ; but why should that he was called Bharatacharya, on that question arise with respect to one art alone account. Even in very recent years this art which is so much appreciated as a necessary was flourishing in that district. In a village branch of the art of music—whether the called there were some Bhaga• Natya Sastra or dancing is worth preserving vatOrs (actors and featurists) who played or no. Very unfortunately, we are now_ at what may be called street dramas. In those the crossways of civilization ; we are very dramas bhava prdkatana (expression of emo­ often both western and eastern, but we are tion) was more prominent and more subtle not always eastern. But whether we are than is found in the histrionic art of the eastern or western, there is no reason why we present day. Even now there is a tradition should not keep to ourselves an ancient art. that persons born in any family of these But if we are western, there is no reason why bhagavatars should tie gajjis and learn the art we should give up the art of dancing. Every of dancing, as otherwise there is a strong time we are- present at the Government belief that they will be visited with the wrath House, we are reminded of our own art of of the Gods. So, this gajji tying is obliga­ dancing. I had myself the honour of bef^g tory on every one born among them, though asked, by no less a personage than Lady they may be actually following other fields of Willingdon, to take to dancing. I said of employment. Sri Jayadeva’s ashtapadi is course, well, my limbs would not respond. I acted by them in a characteristically beautiful would rather forego the pleasure. But she fashion. That this important art of Bharata again confronted me with the question ‘ How Natya should be confined to a small sect like about Mr. Habibullah ?' ‘ He is an expert dan­ the Kuchipudi people is a fact which is much cer.’ I do not know whether he became an to be deplored. Until a very few years ago, expert dancer, and if so, how. So, if we are this art was practised by females in temples copying from the west, there is no reason why as an expression of ; but it gradually we should be talking about the question of degenerated. That is however no reason why encouraging dancing as an a r t; we need the art itself should be condemned. If there not make any request or offer prayers that is any defect in the morals of these persons, dancing should be preserved as an art, as steps should be taken to remedy that defect; we do in these resolutions. For instance, but to destroy the art itself on that ground is school boys and girls in the west are neither an effective remedy nor a wise step. in a way dancers, according to the capacity Even in that profession, there are people who of each individual to take to the art. are leading good lives. It is a pity that these Although I have never been in touch with the are gradually giving up the profession as it is art, either by practising it myself or by not paying nowadays.” paying much attention to it—nor am I a THE MADRAS MUSIC CONFERENCE, 1932 117 musician—I know enough of it to understand was euphemistic enough to say that it is an that the arts of music and natyam are con­ art worth preserving at all cost. So, let us nected with each other and go together. If bring the art back to our own houses. We you destroy the one, you may perchance, should certainly bring music performances to without meaning it, destroy the other as well. our own houses. After all, with the wide The greater the degree of cultivation of the cultivation of music during recent years, fine arts by society, the greater is the measure even now we have only one or two first-class of its culture and capacity to manage itself in flutists and probably one or two great ex­ this life and a better life in the other world. ponents of another department of music. And even if you think there is no life beyond They seem to come very far between like death, even then you will have spent this life good angels. Therefore, it gives us an idea up to death much happier than otherwise. as to how difficult the art is. Even if you are Mr. E. Krishna Ayyar, our ex-Secretary, going to practise it very widely, only half was very anxious that I should speak here to­ a dozen may come to the top, and such day on this subject. Perhaps he wanted a practice may help you only to appreciate little light as to what this art was like in them. Therefore, I quite agree that both former times and also perhaps, why it has gone music and dancing should be cultivated by down to an extent where we have now to say everybody and ought to be familiar in every ‘ let the dancing art live ’ etc. We have come household. It is with a view to render it to this stage because there are a hundred and to the highest perfection, that the art calls one other arts of ours or cultivated habits, upon you, as intellectual beings capable of which have come to the same position, and advancement to the height of your tradition. we have to bid for their existence simply How were these arts treated in days of old ? because our culture and civilization have My friend Mr. Srinivasa Ayyangar took you reached a condition of anarchy. Everybody to the sixteenth century and referred to the claims to be a master, whether he happens to Raja of Tanjore, in whose court flourished a be young or old, with or without followers. certain number of people belonging to the Anybody’s freak finds a full field for play. Devadasi community. They cultivated not We also make full use of the freedom allowed only this a rt; the particular lady, from whose ■ to us by the Press in the expression of our composition my friend made a small quotation, own views. Somebody says ' let the art go' happened to be a woman at the court who and then follows a lot of correspondence. It could compose first-class poems in many is freely said that the art is objected to on languages. The Raja himself who could the score that the practitioners, or some compose such poems in different languages of them, at any rate, are leading lives, granted her a title ‘ Ratna Kanakabhisheka' which fall very much below what a moral life and appreciated her talents very much. It ought to be—according to our own standards seems she attained perfection in eight langu­ —and therefore, since the practitioners ages and could compose with facility poems happened to be people not worthy of being in all of them. Mahamahopadhyaya is a associated with, on a level with others, the title which was given in those days to art might go as well as the immorality with one who could compose in one language; it. It is just like saying that because I am in similarly, ‘Kaviraj’ was the title for one who the habit of getting frequent colds, I must composed in two languages, and so on; and cut off my head. Mr. Srinivasa Ayyangar this title ' Ratna Kanakabhisheka ’ was given referred to this aspect of the question and to that woman who composed in eight langu- TIS TWk JUURUIAL .UJ 1HH,. M U ML ALAUEM!

ages. There was also another woman belong­ at the same time we do know that ati art like ing to his court; I believe she did not belong this, has a tendency, to . lapse, into, thatrkind of to. the Royal family. The Raja conferred on thing. You cannot, on that account, sayj>' her the title of ‘ Madhuravam. ’ Raja Raghu- it is the peculiar sin of this land of sins* natha Naick himself wrote a poem in Telugti appears.that in all countries; the practitioners on Ramayana and his court voted it as .of this art were not free from taint till rece'rit- being as good as 's Ramayana itself. ly. The dancers of Europe .are just.- now -That lady rendered it in Sanskrit and offered coming in favour, but as a rule: they are .to abide by the judgment of the court; and certainly no better.. We have copied_!■things her rendering was voted by the court as much from outside so nicelyi. 'and readjusted, them .better than the Telugu renderingby the Raja _to" our own environments so w&ll, that'• -’i the r M Jhimself. It was .as a.result of that judgment original itself, could not be recognised in-the .that the title ‘ Madhuravani ’ was conferred copy; and Hindu civilization has,beehadvanc­ upon her. ing from step to step, assimilating things from Going back still further, dancing as an art outside, but adapting them so well to itself," was being practised in every home by the peo­ that it becomes a matter of doubt, whether ple for a long time ; but the cultivation of the we borrowed them at all from anybody. At art .was so difficult and expensive that every any rate, I for one, am not the least ashamed* house could not practise it. At any rate, we that we horrowed just as they, borrowed from have records to show that well-to-do people us before. But only we should try to bring were cultivating the art to a very high degree it. into practice in such'a way that it should of perfection. A queen who was of Jain origin .not appear as il.there is something bad in it. is supposed to have cultivated it almost to I would stress the point, that, if you want .to- the topmost degree of perfection. Of course, consider the position of any largely practis­ we never hear of such people giving perfor­ ed and largely appreciated art jike.that, ijf- mances in public; perhaps the Raja enjoyed dancing, you mist consider the'question on that pleasure. This naturally shows that its. own merits and in our own surroundings dancing was a domestic art practised for the and with the one idea-in view as'to. how. We delight of a select domestic circle. If you can, possibly improve the surroundings and'Iet educate yourself in this respect in the schools, it grow to the.full magnitude of.its^Qw£b.. perhaps, it may take you some way but surely ‘Because somebody does something objection­ it cannot carry you far. In reading through able, we should not say at once, that we should Sanskrit dramas, we find young royal, un­ leave it altogether. Dancing, like;,so .many married girls, sometimes taking part in actual other arts, comes as a rare accomplishment dramatic performances enacted within the and if you have a big body, it well nigh conies royal precincts. A princess of Ceylon wais to bean impossibility too. In that way pf discovered—she happened to be incognito— course it is a difficult art. , \ one day by some people enacting dramas. In a Tamil classic relating to Kaveri- Beyond that, we do not hear of public per­ patnam , the- early capital of the Cholas, formances being given by these well-to-do a remarkable woman of the dancing ; class people. If, however, we come to recent times, was introduced as an expert dancer, -The we hear the art was practised by the same story may evea-4>e—a—fiction,-but that is class of people as the one that practises it not of. any consequence to. us .now. "This now. There is nothing innately bad in the only shows that.the art acuted-^ven^the^* • -art— that—makes it necessarily immoral; bi^t— It' used tp ■ be-said- that a- dgneing wotpaq, beginning . tbei :: artvat,f fivet :"'(vbuld be6ome an honourable one. I do not believe that those an ' expert , a-fter^&te^ ; ^ o t j ^ ; <;^q i^ ^ e o p le ^ h iu n selves would wish that they a bad life. {Applause). No lion goes a long way to make ; but there is another fcb&considered. Apart from any being imparted to our pepple •$i^.;t,he future, you must see that,

Royal. Hall. ii» ob^iiv?d >- e 11 Tb^? ’■at’t. least a few people. In my opi- itf (those exhibi t heir- • iiiOn? aVcouritry which does not do it is com- aift: t^ h h exp^ course.- tie-: mitting-acrime against its own interests and • longed, .to tfie commuhityVdgainst ‘Whpm'.we* i ts own people. If you do not propose to give aremow up -in. arrosr . Tfiie ai?t:was carried to ,;. tQ the present practitioners of this art, an op* such' perfection that, a. reward of 1,008 gold . ppttunity,of attempting to make an earnest , pieces was givetv;^h'^ir;!Y'Oj%will..'.aH ..easily .living,purely it would not be possible for them .Coh'cede thatsuch a person,.for whose one. pecj. ■ fo;retrace .their steps now without your help fbcniahce a bigreward wasfgi^en; is no’t rlkely • apd begin, to lead moral lives all at once. ...to'. be purchased. The^ .r£al'-,;questioit:* 'is And I take it that the view of the majority 'whether there ~~cari~.be a.separatea**cla*ssy of " assembled here is that we cannot begin under, women, .:' fot.- dancihg, * anothei i.cl^^ .^fprr'/.Ibetter'auspices than by helping them towards, - music and:so.on. L think we*m'avCsav J.yeaJ'.*-~this improvement. ” (Loud and continued .■sprlmg' as .t.he profession' ‘does not - fail fd- apptaUsi). '

bharatta, so al§o the melakarta is called Jhalavarali for the purpose of Katapayadi Jhalavarali and Varali is its derivative.” Samgna and Varali as sung is a* sampurna Mr. T. S. Sabhesa Ayyar— “ Although melakarta itself, with full complement Sa-dha-pa is said to be the prevailing usage svaras both ways.” in Sankarabharana, do not the prayogas Sa- Mr. T. L. Venkatarama Ayyar—“ Dik- ni-pa oi Sa-nidha-pa occur in Sankarabha­ shitar in his kriti ‘ Seshachala Nayakam’, rana ?” which is in Varali, used only Sa-ri-ga but Mr. P. Sambamurti—“ As regards Sa-dha- not Sa-ga-ri ga ma." pa, it is a characteristic prayoga in Sankara- At this stage the Conference adjourned to bharana. Please try to use Sa-dha-pa in meet again at 12 noon the next day. Kharaharapriya and see whether the raga- In the evening there was a Harikatha bhava of that raga will be perceivable”. performance by Gayanapatu Kirtanapatu Dr. Srinivasaraghavan—“ I think the Sri Sarasvati Bai on Nandanar. name Jhalavarali has been used for purposes Seventh Day of Katapayadi Samgna. That is all. What (29-12-1932) is commonly called Varali and sung as such is the melakarta raga itself." The Conference met at 12 noon in the Mr. C. S. Ayya r—“When once it is agreed special pandal with Vidvan Tiger K. Varada- that Sa-ri-ga-ma is the recognised sanchara chariar in the Chair. Messrs. C. R. Srinivasa in the arohana, and not sa-ga-ri-ga-ma, I Ayyangar, Musiri Subrahmanya Ayyar and Parur Sundaram Ayyar were present in think we must treat Varali as a Sampurna raga." addition to those that attended on the Mr. Umayalpuram Venkatarama Ay­ previous days. yar—" There is no usage of Sa-ri-ga-ma in ‘ Later writers in Sangita Literature** Varali, as I see it. It is only Sa-ga-ri-ga- Mr. V. Raghavan read the synopsis of his ma." paper on the above subject. The President The President—“The Kriti of Sri Tyaga- thanked him for his learned and exhaustive raja which has just now been sung may be treatment of the subject. taken as the lakshyam. We may decide Varali—(Continued) what its correct lashana is, whether it is Sa-ga-ri-ga-ma or Sa-ri-ga-ma." The discussion on the lakshana of raga Mr. Umayalpuram Venkatarama Ay­ Varali was then resumed. yar then sang another kriti of Sri Tyagaraja, The President—“ Let us first consider namely, ‘ Kanakana Ruchira’. the textual authorities available, and we can Mr. T. S. Sabhesa Ayyar—“ It is quite go to other aspects later on.” clear that in this very song which has been Mr. P. Sambamurti—” We find a note in rendered just now, the usage Sa-ri-ga-ma the treatise ‘ Pallavi Svarakalpavalli’ that occursbut'not Sa-ga-ri-ga-ma as contended Sadharana Gandhara and Chatussruti Risha• by Mr. Venkatarama Ayyar.” bha occur in this raga. The ascent and descent Dr. Srinivasaraghavan—“ There is no are given therein as complete throughout. Sa-ga-ri-ga-ma at all in the kriti which we In the prayoga Sa-ga-ri-ga-ma, that is, in the have now heard.” ascent, the Gandhara is said to be Sadharana The President—“ It seems to me that and the Rishabha as Chatussruti; these two what we call Varali is given the name of are also mentioned as chaya svaras (charac- ~ Vide page 1$, w n m m m i i lum uw u, iyj. 125 teristic notes) of this raga. In the descent treatise under the name ‘ Manavali', the same the important svara is said to be Suddha ascent and descent are given. So, what I say Gandhara. Whatever this may be, it seems is, several books give several different better and safer to stick to the melakarta sancharas. But it is safer to go by recognis­ raga itself. This raga Varali is, strictly ed compositions.” speaking, Jhalavarali. The prefix Jhala is Mr. Parur Sundaram Ayyar —" What simply added for purposes of the Katapayadi has been demonstrated here up to now as Samgna. Practically, there is no difference Varali appears to my ear as Subha Pantu- between Varali and Jhalavarali." varali". Mr. T. S. Sabhesa Ayyar—“ I agree with Mr. C. S. Ayyar—“ I request the previous what Mr. Sambamurti has just now said.” speaker to kindly show practically what in Mr. Emana Achyutarama Sastri—“This his opinion is the correct Varali. When once so-called characteristic usage of Sa-gariga a member says that a particular raga sung as seems to me to be a sanchara purposely Varali is not Varali at all but only Subha improvised, and it does not give the chaya of Pantuvarali, we expect him to practically the raga as clearly as does the regular Sa-ri- demonstrate by singing (or playing on the ga tna usage. In fact the raga is sampurna instrument) what according to him is the correct Varali. I would request the President and is the same as the Melakarta raga to call upon the previous speaker to sing it.” Jhalavarali." The President—" Let us first hear the (He sang the raga with Sa-ga-ri-ga-ma and various views on the arohana and avarohana Sa-ri-ga-ma and showed that the latter usage and then we will listen to demonstrations.” is the characteristic one). Mr. C. S. Ayyar—“ We can fix the Mr. N. S. Ramachandran—“ Sa-ga-ri ga arohana and avarohana, only after hearing may be employed in prastara. But the raga the renderings of the raga". must be classified as Sampurna ; there is no doubt.” Mr. Umayalpuram Venkatarama Ayyar Messrs. Ramakotayya, Sundaresa Sastriar then sang the following composition said to and Mr. Ernakulam Krishna Ayyar were of be of Sri Tyagaraja : opinion that the correct usage was Sa-ri-ga- “Eti Janmamidi Enduku Kaligeno Entani ma, while Mr. Syama Sastriar said that there Sairintu was no composition of his great-grandfather Leni Marakoti Lavanyuni Matimatiki in this raga and so he could not express any Joochi Mataladani Vani. opinion on it. Sagara Sayanuni Tyagaraja Nutuni Vegame etc.” Mr. T. L. Venkatarama Ayyar—“ I do not see the usage Sa-ri-ga-ma in any com­ The President—“ In this song we see only position, and I do not therefore agree with Sa-ri-ga-riprayoga. It is not Sa-ga-ri-ga.” the previous speakers. Now, Nata and The Conference then decided that Varali Chala Nata, owing to different sancharas, are is a Sampurna raga and is the same as classified as different and separate ragas. In Jhalavarali, the melakarta raga. The aro­ this manuscript (showing one) there is a hana and avarohana were unanimously deter­ raga named Janavali with Sa-ga-ri-ga-ma- mined to be pa-dhani-sa in the ascent and Sa-ni-dha-pa- Sa-ri-ga-ma-pa-dha-ni-sa ma-ga-ri-sa in the descent. In another Sa-ni-dha-pa-ma-ga-ri-sa 17 The President—“ We have now to decide In all the above songs, the usage of Sa-ri- about the character of the Gandhara occur­ ga-ri was found to occur but not Sa-ga-ri ga. ring in Varali" The Conference therefore decided against Sa-ga-ri-ga usage as a characteristic dti?.. Mr. P. Sambamurti—“According to Sas­ No decision was considered necessary as tra, Suddha Gandhara must be used. But if regards the character of the Gandhara in Sadharana Gandhara is employed, we must this raga, it having been agreed to that it is say that it is not correct.” the same as the Melakarta raga Jhalavarali Messrs Etnana Achyutarama Sastri and (which takes Suddha Gandhara). N. S. Ramachandran then demonstrated on the Veena that Suddha Gandhara can be Pantuvarali clearly perceived only if the string is manipu­ Mr. P. Sambamurti — “ According to lated from the Suddha Rishabha sthana, but Sastra, this Pantuvarali comes under the not from the Chatussruti Rishabha sthana as 45th Melakarta. Now Sri Tyagaraja’a songs some people do.” which are classified under the raga Pantu­ The President—“I see that if this Suddha varali, do not take the Sadharana Gandhara, Gandhara is sounded from the fret intended as they ought to according to strict Sastra, for Suddha Rishabha, it is clearly perceivable. but take only the Antara Gandhara which But I must say that the practice is to mani­ completely transforms the character of the pulate it from the fret meant for Chatussruti raga and converts it into Kamavardhani. It Rishabha," may be decided first who changed the nomen­ Mr. Sambamurti wanted to know if any­ clature of the raga for the kritis of Sri Tyaga- body could throw some light on the reason raja now going under the name of Pantu­ why our ancients classed Varali and four varali." other ragas as Ghana ragas ; but no member Dr. Srinivasaraghavan—"Nobody chan­ was able to speak on the subject with ged the raga of these kritis. For my part, authority. I sing them only with Sadharana Gandhara but not Antara Gandhara. (He then sang Mr. P. Sambamurti—“We see that Vaini- has practise these Ghana ragas for Tana the song of Sri Tyagaraja beginning with the words ‘ Ennallu Ooraka ’ with Sadharana purposes, but not others.” Gandhara)." Dr. Srinivasaraghavan—“I do not see how The President—“ In practice ps we see, this bears on the question under discussion. mostly Antara Gandhara is being used. We We are now on the lakshana of Varali." must discuss the question as to whether •-> The President—“ We shall proceed with Sadharana Gandhara cannot be used. I Varali and its svaras. Is there any member would personally suggest that all songs now that can sing authoritative compositions in classified under Pantuvarali and sung as this raga ?” Kamavardhani, may be classed under the Mr. T. L. Venkatarama Ayyar then sang latter raga alone, thus reconciling theory Dikshitar’s kriti ‘ Seshachala Nayakam.' with practice.” Mr. Muthiah Bhagavatar sang SriTyaga- Dr. Srinivasaraghavan—"I am against raja’a composition ‘ Noremi ’ and Aruna- this suggestion. I think that the songs were chala Kavirayar’a ‘ Saranatn Saranam all in Pantuvarali; if they are being sung as Raghurama,’ Ham avardhani by many, it may be a univer- w sal mistake due probably to the difficulty of (Eighth Day) manipulating the Sadharana Gandhara with 30-12—1932 Suddha Rishabha on the one side and Prati The Conference reassembed at 12 noon in Madhyama on the other." (He sang Sri the special pandal. Owing to the unavoida­ Tyagaraja’s kriti * Siva Siva Yenarada' ble absence of Vidvan Tiger K. Varada- with Sadharana Gandhara). chariar Avl., Mr. T. V. Subba Rao proposed Mr. T. S. Sabhesa Ayyar—“Varali which, Mr. C. R. Srinivasa Ayyangar to the chair. stric tly speaking, should be sung with Suddha The proposition was seconded by Mr. T. L. Gandhara, is now being sung with Sadharana Venkatarama Ayyar and carried. He there­ Gandhara, thus converting the raga into upon took the chair. Subha Pantuvarali. The latter raga in turn Melakartas came to be sung with Antara instead of Sadha­ rana Gandhara, thus changing itself into Mr- T. R. Ramakrishnan then read a Kamavardhani. So Varali ousted Subha paper on Melakartas, Pantuvarali from its place; Subha Pantu­ The President—“ The lecturer has given varali in turn ousted Kamavardhani from its certain and quoted ancient texts rightful seat and Kamavardhani is now going in support of his theory. Vidvans assembled about without any local habitation. We may here may give their views on the subject. now decide the Gandhara of Pantuvarali as it ought to be sung. For instance, there is Mr. S. Subrahmanya Sastriar—“ He has Todi Gandhara which is sounded from the stated that by introducing a new Panchama, second fret on the Veena, whereas when it is 108 melakartas can be created. If another sounded in the descent from Madhyama it Shadja by name Chyuta Shadja is added, we seems to sound differently. Let us see it will get a of 144 melakartas. So, even practically played on the Veena and decide his number 108 is not the maximum. He on its tonal value. As for Suddha Gandhara, also referred to vivadi doshas in the present I do not accept the view that it can be sound­ melakarta scheme of 72 melas. I am inclined ed from the Suddha Rishabha sthana alone to think from the paper read just now that, in the Veena." though Venkatamakhi’s melakartas were 72 in number, 40 out of the total number The Conference then adjourned to meet of 72, suffer from vivadi doshas ; but that the again at 12 noon the next day. In the even­ new melakartas, 36 in number, sought to be ing there was a vocal performance by Mr. created according to the paper, are not vitiat­ B. S. Raja Ayyangar accompanied by Mr. ed by any such defect. It would be more Rajamanickam Pillai on the violin and useful if the lecturer explains how these Mr. Dakshinamurti Pillai on the mridang- vivadi doshas occurred in the former scheme am. and how they are avoided in the latter (The above artiste was engaged in the place scheme." of Mr. Ariyakudi Ramanuja Ayyangar The President—“ Now that the question who wired his inability to come on account of vivadi doshas is raised, I may say that of illness). there is a school of thought which maintains that vivadi dosha by itself is not objectiona­ ble. This vivadi dosha is known to occur in Hindustani music. It would be advisable that the conference should discuss also the of these 22 srutis. Though he says question whether in our Carnatic music it is he follows the system of 22 srutis, as desirable to take or retain any vivadidoshas." a matter of fact, he follows neither that Mr. T. R. Ramakrishnan—“ It is said that system nor the present day system. I majf^ in the existing melakarta scheme, Suddha tell him that Venkatamakhi’a Varali Madh- Rishabha and Suddha Gandhara have got has only 3 srutis; it is not Prati Madk- vivadi dosha; the former has got 3 srutis and yama. He is talking of Prati Madhyama the latter 5, and the difference being two, it and wants to take it as Chyuta Panchama; is said to be vitiated by vivadi dosha. but Prati Madhyama has only 2 srutis. I am Similarly, Shatsruti Rishabha and Anlara sorry he had not attempted to have a clear Gandhara, Shatsruti Dhaivata and Kakali grasp of our svara sthanas, before he tried his Nishada, Suddha Dhaivata and Suddha Ni- hand at creating new melas. In our music shada suffer from Vivadi doshas." we are using only three kinds of intervals, and even the smallest interval conceived by Mr. S. Subrahmanya Sastriar—“ I also us was used by Ramamatya in Hejjejji; it is agree. But from this explanation I see that 80/81 ratio. Though our ancients never what the lecturer says is not that there are combined two consecutive intervals, they no vivadi doshas in his new proposed mela- combined other intervals. Again, what my kartas, but that they may be added to the friend means by vivadi dosha is not clear. existing melahartas without -any objection, Ekasruti may be vivadi, but not Dvisruti. even though they may suffer from any vivadi I have no time to explain all these details, dosha, because in the old scheme itself as but I am sure there are many misconcep­ many as 40 melas have got this vivadi dosha." tions on the part of my friend, as to the Mr. P. S. Sundaram Ayyar—“ I want to principles of the science of our music.” know the basis on which the new melas are The President—“ I should like to suggest proposed to be added. Is it on the basis of to Mr. Narasimhacharlu one thing. It is the scheme of Venkatamakhi, as explained by more convenient and reasonable to first him, or is it on the basis or in terms of the put forward arguments and then come 22 srutis ? " to a conclusion thereon. But it seems to me The President—“ First, I want to clear that Mr. Acharlu is putting forward his con­ one doubt. Do you say that Suddha Gan­ clusions first and then trying to prove them. dhara is Panchassruti Rishabha ?” It is like putting the cart before the horse.” Mr. T. R. Ramakrishnan—“ Yes. I am Mr. M. S. Ramaswami Ayyar— “I think talking in terms of 22 srutis. When you this nomenclature of Chyuta Panchama etc., classify the melas in terms of the 22 was referred to even in very ancient times. srutis, you will find that both Panchas­ They were dealing with 19 svaras, that is 7 sruti Rishabha and Suddha Gandhara are the plus 12; the first seven svaras are prakrti same.” and the other 12 are vikrti. These 12 vikrti Mr. V. Varaha Narasimhacharlu—“ My svaras came in as a concomitant of the friend seems to have misconceived the science Gramas or groupings in the scales. This re of our music. He does not seem to have were three of these Gramas, the Shadja Grama followed the systems of Sarangdeva, Rama- the Gandhara Grama and the Madhyama matya and other authorities. I am afraid Grama. These two latter Gramas have now he has not a clear idea of the sthanas (places) gone out of use. These svaras called Chyuta TH^MADRA^MUSI^CONFERENCE^95? 129

Panchama etc. were used when these two perssion. I want provision also to be made Gramas were in existence. But now that they for mixed melas that come under what are have gone off the field, we cannot also use the called ‘ Grama Sadharanas.’ That is neces­ Chyuta Panchama and other similar svaras.” sary and I can quote from Bharata and Rat- nakara in support of my contention. I want Mr, L. Muthiah Bhagavatar—“This is a 36 more melas, to be created in addition to very intricate and subtle subject requiring the 108 now proposed." very keen powers of intellect and grasp, dealing as it does with the elusive srutin. I The President—“ May I request the may at once say that the addition of a new speaker to give us in brief the arguments Madhyatna would not be in consonance with upon which he bases his theory ?’’ our musical system ; it will be out of accord Mr- Hulugur Krishnamacharya then with it. I must have time to think on this began to read from his paper. subject, and unless anybody convinces me The President—“ You heard the sugges­ practically of the possibility of the new mela- tion that melakartas should be increased to kartas, I feel it difficult to accept them.” 144, just now made by one of the speakers. Do you support that view ?” Mr. T. V. Subba Rao—“ We must clearly understand that melas are distinct from Mr. Hulugur Krishnamacharya—“ I ragas. Mela is a musical scale, and so far as say that there should be provision for 144 scales are concerned, I think it is better to melas. According to Bharata’s theory have as many scales as possible so that we Prati Madhyama was called Kaisiki may have a wide field for musical expression. Madhyama. If we adopt that system, more So, theoretically, I think there should be no melakartas can be formed. In fact they objection to having these additional scales were used in our music practically.” proposed. I do not mean to say that every Mr. P. Sambamurti—“All ragas in which one of these 36 new scales should be used. two Madhyamas come in are called Desya But they must be made available for melodic ragas, for instance, Hamir Kalyani, Saranga expression, to be used by creative artistes, as etc. In these cases, the two Madhyamas do it would afford a wider range for them to not occur, side by side, but each in conjunc­ select from." tion with another svara; in one group of Mr. T. L. Venkatarama Ayyar—" The svaras, Prati Madhyama may occur, and in new melas cannot be used unless we know another group Suddha Madhyama. But them practically. I am not for increasing according to the proposal of Mr. Ramakrish- the existing number of melakartas." na Ayyar, we have to consider the effect of Mr. Hulugur Krishnamacharya—" I have the two Madhyamas occurring side by side or consecutively. From time immemorial, it has explained fully about this proposition been almost an axiom that Panchama is a in my article submitted to the All prakrti svara which admits of no vikrti. In India Music Conference; that article propounding this theory of 108 melas, we is published in the first number of the are doing violence to that established theory. Academy’s Journal. I have explained all my If we are to accept it, we will have to invent points in that paper and I need not take up a new Sastra.” the time of the Conference now. My opinion is that increasing the number of melakartas to Mr. T. L. Venkatarama Ayyar—“ No 108 is not sufficient for complete musical ex- doubt Mr. Ramakrishna Ayyar has taken much trouble to work out of his scheme. Mr. T. R. Ramakrishnan—“ I have made But I may say that various names were given graha for a number of ragas and found that by our ancients for these Madhyamas. Just Suddha Madhyama ragas and Prati Madhya- as two Gramas (the Madhyama Grama and ma ragas and also some ragas in which both the Gandhara Grama) are lost to us, so also the Madhyamas occur would result. That is I think these svaras have become extinct. why I suggested 108 melakartas.” * There is no doubt that we have in our music Dr. Srinivasaraghavan—“ If the Risha- two unchangeable landmarks, i.e., Skadja and bha of Mayamalavagoula is made graha, as Panchama^and we will have to change these also the Nishada of Kamavardhani, I want landmarks if we are to accept the theory to know what ragas would result.” of 108 melas. Mr. Krishnamacharya has Mr. T. R. Ramakrishnan—“ I cannot say stated that many more than 108 melas at once, I want time to give a correct were used in our music, but I do not know answer. But my view is that if we want to whether the two Madhyamas were used side increase the possibilities of providing for by side as is now proposed. No doubt it is variety of taste in music, it is advisable to said that according to Sangita Sampradaya increase the number of melakartas. I also Pradarsini, a slight shade of Panchama think that some of the ragas of the north occurs in raga Vasanta, as found in the which are really very pleasing to the ear, may kriti ‘ Ramachandram.' But there are many be adapted to Carnatic music. So, I move versions of this kriti in which even a shadowy that the existing number of melakar­ _ touch of Panchama does not occur. Any­ tas be increased to 108 by adding 36 new how there is no clear usage of Panchama in melas, obtained by the arithmetically this song by any musician; that is undoubted. possible combination of the two Madhyamas, We must think well before trying to bring the higher Madhyama being regarded as a into existence new melakartas. It has been variety of Panchama." suggested that in another composition, there is mention of an 'Alpa' Madhyama implying Mr. T. V. Subba Rao seconded it. a shadowy Madhyama. The term 'alpa' does Mr. N. Ramakotayya Pantulu—“ I am not mean that Madhyama is articulated in a against this proposition.” shadowy form, but that its usage (in its full significance) is not frequent. If, in spite of Mr. P. Sambamurti—“ I want to say a all these facts, it is urged that melakartas few words on this resolution, but in making should be increased to provide for the two this statement, I do not want to commit Madhyamas being used side by side, why not myself either to support or oppose this i^call these new melas Bhashanga, thus re­ proposition. Venkatamakhi, when he formu­ taining the existing number of Melakartas lated his melakarta scheme, laid down that i.e., 72 ?.” Shadja and Panchama were the prakrti Mr. S. Subrahmanya Sastriar—“ As for svaras (fixed tones), divided all the melas the Gramas, it is admitted that Madhyama into groups on the basis of the two Madhya­ Grama and Gandhara Grama have now gone mas and permuted the other svaras. But out of use. But 1 am inclined to think that now, it is proposed in this resolution, that, even Shadja Grama is not in existence in our new melas should be created involving the present-day music, as it was contemplated by two Madhyamas occurring side by side which Bharata and others. So I am not in favour is not the case in the Venkatamakhi scheme of increasing the melakartas to 108.” at all. If you want new melas, I would THE MADRAS MUSIC CONFERENCE, 1932 131

suggest that this can be done by adding to red to by the mover as Chyuta Panchama, the existing melas, without disturbing their but not a vikrti of Panchama. Somanatha’s original scheme. I would urge that the Mrdu Panchama is treated only as a variety current system of melakartas need not be of Madhyama, but he does not give it the disturbed.” name or the place of Panchama. Pundarika stated that the Madhyama Grama became Mr. Hulugur Kriehnamacharya—“ This extinct or obsolete and that all ragas current resolution does not mean a disturbance of were derived from the Shadja Grama. Tulaja the old system but an improvement on it. M aharaja deeply considered about the quality We can add 36 new melas without disturbing of the Madhyama Grama ragas and stated the present system.” that this so-called Chyuta-Panchama Madh­ (He sang the composition of Sri Puran- yama was a sruti less than Panchama and daradas in Lalita beginning with the words was not to be found in the ragas in practice ‘ Kande Karuna Nidhiya' to show that new in his time. Ramamatya also supports that melas are possible as in this composition alpa view. Moreover, if we add a new Panchama, panchama occurs). we will destroy the Sa-Pa relationship, the basic foundation of our music. These two Mr. Nemam Nataraja Bhagavatar—“ I (Sa and Pa) are perfect svaras or consonants think the existing 72 melakartas are quite which admit of no variety and if these are to sufficient for our music. On the other hand be modified or disturbed, then it will not some people are of opinion that this number make for good music at all. We cannot des­ should be reduced because it is very difficult troy the age-long universally acknowledged to sing all the 72 melakarta ragas. If new relationship between Sa and Pa. It is indes­ melakartas are to be created, it will add to tructible and immutable.” the confusion. If we are able to successfully utilise all the existing melas, that by itself Mr. P. S. Sundara Ayyar—“So many autho­ rities have been referred to, but nobody would be a tremendous achievement.” spoke about Matanga. M atanga stated that The President—“ I would appeal to the only Shadja Grama is existing now. This conference to distinguish between ragas and proposed addition of new melas would do melas. The proposition now put forward is violence to Shadja Panchama Bkava. Con­ about the creation of new melas. Please sidering all these circumstances. Venkata- mark". makhi classified his melas and numbered them Mr. T. R. Ramakrishnan—“I am not for as 72. I am against disturbing the existing disturbing the existing scheme of melakartas, number of melakartas." but only propose adding to it some more The President—“Mr. Hulugur Krishnama- melas." charya says that he had read only half of his Mr. Hulugur Kriehnamacharya—“ I sup­ paper and explains that the other half con­ port this proposition. We must try to bring tains anwers to all the points raised by the our system to perfection. We want that our previous speakers. This question may be science of music should be recognised by all taken up after he finishes reading his paper peoples and nations to be a perfect one.” tomorrow.” Mr. N. S. Ramachandra Ayyar—"Rama- The discussion on this resolution was accor­ matya called this particular Madhyama refer­ dingly adjourned to the next day. Pantuvarali that Pantuvarali and Kamavardhani cannot The Conference then resumed discussion on be the same. Pantuvarali. Mr. L. Muthiah Bhagavatar—“ Subha­ The President—“As a result of yesterday’s pantuvarali and Pantuvarali are different. discussion we find that Varali has come into They are not the same.” the place of Subhapantuvarali, that Subha- Mr. T. V. Subba Rao—“ Subhapantu­ pantuvarali in return came down to - varali is the name given to the scale (mela- vardhani and displaced it. We have now to karta) and Pantuvarali is the raga which find a local habitation for this Kamavardhani. results from using that scale.” That is how I understand the matter. I think it will be advisable first to discuss the Mr. S. Subrahmanya Sastriar—“ Mela is textual authorities. My own opinion is that quite distinct from raga. Mela was the name the name Pantuvarali has been in use for originally given to the various methods of a long time. Kamavardhani is a compara­ arrangement of the frets on the veena. tively new one ; the nam^itself is not very In the old days there were no fixed frets. pleasing. Now we have to decide whether The musicians were moving the frets as Pantuvarali is a janya of Subhapantuvarali required according to the raga they wanted and if so, what are its sancharas, and also to sing or play. This process was called whether Pantuvarali and Subhapantwdhrali ‘ making melam.' This is what is called are the same.” melam. Melam is thus quite different from raga." Mr. P. Sambamurti—“ If we view the matter scientifically, we will have to hold The President—“ The ascent and descent it a parent raga and that it is not a janya of Pantuvarali have been stated already, I (derivative). Both Subhapantuvarali and think. Now we must decide whether there Pantuvarali are the same." are any visesha prayogas (special usages). I would request vidvans to sing recognised Mr. T. V. Subba Rao—“ Both are the same." compositions so as to bring out any special sancharas. I may also put a direct question. Mr. S. Subrahmanya Saslriar—“ Yes, I We are now singing a particular raga under too think so.” the name of Varali. Is this raga really Mr. P. S. Sundaram Ayyar—“ I think Subhapantuvarali or not ?” that the present Pantuvarali is in fact Mr. L. Muthiah Bhagavatar —“ I will Kamavardhani. ” first sing both these ragas so as to bring out Mr. Umayalpuram Venkatarama Ayyar, the difference. (He then sang Sri Tyaga- Messrs Ramakotayya Pantulu, Achyuta- raja’s ‘Noremi’). This I have now sing with rama Sastri, N. S. Ramacbandra Ayyar, Suddha Gandhara pure and unmixed. If it Sankara Ayyar, Nemam Nataraja Bhaga- is shaken a little, or articulated with some vatar, P. G. Sundaresa Sastriar and gamaka, it would appear, as if it proceeds M. S. Ramaswami Ayyar were of opinion from Chatussruti Rishabha sthana. (He next that the present Pantuvarali is the same as sang the raga Subhapantuvarali in the abs­ Kamavardhani. tract, using Sadharana Gandhara). I am Mr. Hulugur Krishnamacharya then sang singing these two ragas in two distinct ways a varna said to be in Pantuvarali in which as I have just now demonstrated. So let it Sadharana Gandhara occurred. So he said not be supposed that their individuality ^^UTTrEKETIL»llf 133 suffered at my hands. As for this question re- may group it under Kamavardhani, and Pantuvarali, my opinion is that Subhapantu- those that sing it with Sadharana Gandhara varali is the karta raga but that Pantuvarali may class it under Subhapantuvarali," is a separate raga. We can say it is a janya Mr. L. Muthiah Bhagavatar—“There are of Kamavardhani. I shall sing it and illus­ several differences in sanchara between Pan­ trate the point.” (He sang the abstract raga tuvarali and Kamavardhani. For Pantuvarali, in which Antara Gandhara occurred). Sadharana Gandhara should be used, and it The President—“ This Kamavardhani is has been so used for a long time. Just as in put as the 51st Mela. It is called Kasi- raga Arabhi, Nishada and Gandhara are ramakriya by Venkatamakhi. Let us now simply touched but not emphasised, in this discuss its lakshana raga also, generally the Gandhara is not dwelt upon sufficiently long or with emphasis. Mr. P. Sambamurti—“ All musicians are If and when the musician dwells upon Gand­ singing this Pantuvarali with Antara Gan­ hara with emphasis and length of time, it is dhara. This is the established practice in Antara Gandhara that is generally met with. the case of all kritis classed under the name This Gandhara is used in conjunction with of Pantuvarali. To avoid confusion, I would Prati Madhyama, its next svara. Of course, suggest that the raga may be called Kasi- it is no douht true that if we ask any musician Pantuvarali." to sing Pantuvarali, he will sing it with Anta­ The President—“ Now Kamavardhani is ra Gandhara; Sa-ni-dka-pa is not generally the 51st Melakarta. Some kritis in the raga used with clearness, the Nishada being only named Pantuvarali are sung by me with slightly touched. So I say that, strictly Sadharana Gandhara. If, for instance, we speaking, Sadharana Gandhara should be are to accept Sadharana Gandhara as the used for Pantuvarali and Sa-dha-Pa is a correct Svara for Pantuvarali, what is to be frequently occurring sanchara." done about the various kritis now sung with Mr. T. L. Venkatarama Ayyar—“I search­ Antara Gandhara under the name of Pantu­ ed many texts for the name ‘ Kamavardhani.’ varali ?” The raga containing these svaras (the svaras Mr. Jayarama Ayyar of Kumbakonam allotted to Kamavardhani) is given different (Violinist)—“ In Pantuvarali Sa-dha-pa names in different books. In Svaramelakala- occurs as the characteristic sanchara. Its nidhi of Ramamatya we see that the name Gandhara is midway between Sadharana of ' Ramakriya ' is given. In Chaturdandi- Gandhara and Antara Gandhara. (He sang prakasika of Venkatamakhi we find that a keertana of .Ramadas in Pantuvarali begin­ the name of ‘ Kasiramakriya ’ is given. ning with the words ‘ Karuna Niku Napai ’). Tulaja Maharaja gave the name of ‘ Rama­ It will be observed that the Gandhara occur­ kriya' for this raga. This name ‘Ramakriya’ ring in the keertana I have just sung is neither seems to be coming down for a long time, Sadharana nor Antara, but between the two. and there is a song of Sri Purandaradas The usages of Sa-dha-pa, Sa-sa-dha-pa and in Ramakriya, which has these particular Pa-ma-ga-ma-ri mostly predominate. So I svaras now allotted to Kamavardhani.” suggest that it be treated as a janya raga. The President—“ I would suggest that we As for the Mela under which it is to be may hear any padams of Kshetragna classed grouped, it depends upon the practice. under Pantuvarali and see what usages People who sing it with Antara Gandhara are observable therein ; for, these padams 18 represent the oldest known musical practice hara it should be classed under Pantuvarali now available. We can then decide whether and if it is sung with sharp Gandhara it the svaras occurring therein tally with those should be put under Kamavardhani." of Subhapantuvarali or Kasiramakriya." The President—“But it is the practice (Dr. Srinivasaraghavan then sang Kshe- that is the most important consideration." tragna’s padam beginning with the words ‘Paditi Nenandu Bonu.’ In this song a Mr. T. V. Subba Rao-^“We are not dis­ Gandhara which is midway between Sadha- puting the substance, but we are disputing rana Gandhara and Antara Gandhara was only the name.’’ found to occur. So also was the case in The Preaident—“ There is a difference in another padam beginning with the words ' Vaddante’). substance also." Dr. Srinivasaraghavan—“I would suggest Dr. Srinivasaraghavan—“I would ask for that this raga may be classed under Subha­ a poll." pantuvarali." Mr. T. L. Venkatarama Ayyar—“I move The President—“But we cannot get over that the further consideration of this matter the fact that most of the musicians are sing­ may be adjourned tomorrow." ing this Pantuvarali with Antara Gandhara. Mr. M. S. Ramaswami Ayyar—“I second So I would put the following question to the >1 Conference: Is the raga, which is at present called Dr. Srinivasaraghavan —“I want a ruling Pantuvarali, to be classed as a janya of the from the Chair whether a matter can be 51st Mela? " adjourned, when a poll is demanded." 7 Vidvans were in favour of Sadharana The President—“There is a feeling among Gandhara and 10 were for Antara Gandhara. the members of the Conference that the That is, the above question was not directly issues have not been clearly explained.” voted upon, although a majority were in­ clined to think it was a janya (derivative). Dr. Srinivasaraghavan—“I want to know The President—“Now it is decided that whether it is Parliamentary procedure to this raga is a janya. We have to consider, of adjourn a matter when a poll is demanded. which parent raga this is a derivative, I want a categorical ruling from the chair whether it is Subhapantuvarali carrying flat on this point." Gandhara or the 51st Mela (Kamavardhani) or The President—“Taking into account the Kasiramakriya or which takes time already spent on this matter and also Antara Gandhara. This raga, Pantuvarali, in view of the grand performance which is to is one in which there are master compositions beheld in this very place within half an handed down to us by very great composers, hour, I adjourn the Conference to meet again and according to the existing practice, a large to-morrow at 12 noon." majority are using Antara Gandhara. We have now to decide the Mela of which Pantu­ There was a vocal performance by^ Mr. varali is a Janya." Vidvan Tiger Varadachariar followed by Mr. T. V. Subba Rao—“When a particu­ Mr. Venkatrama Ayyar (Papa) on the lar composition is sung with the flat Gand­ Violin and (Palghat) Mani on the Mirdangam, TH E MADRAS MUSIC CONFERENCE, 1932 135

(Ninth Day) take it that in the old days Pantuvarali was 31-12-1932 sung with Sadharana Gandhara under the melakarta Subhapantuvarali. But subse­ The Conference re-assembled at 12 noon quently it has come to be sung for a long in the special pandal with Mr. C. R. Srini­ time with Antara Gandhara by even very old vasa Ayyangar in the chair. vidvans. To avoid all controversy, I would Mr. Madhava Row read a paper suggest that the names of Pracheena Pan• on ' Sahityam and Ganatn and followed it tuvarali and Naveena Pantuvarali may be by demonstration. given to the two kinds of this raga (one with The President—“ Yesterday we were dis­ Sadharana Gandhara and the other with cussing the lakshana of Pantuvarali. One Antara Gandhara).” vidvan asked for a poll being taken, but this Mr. Syama Sastri—“ I want that the raga could not be done for want of time. Another with Antara Gandhara should be called matter also could not be fully explained Pracheena Pantuvarali but not the other one." yesterday for want of time and it is this( The President—“ I would suggest that Sri Tyagaraja’s compositions were shown as for the old variety of the raga the prefix lakshya. Now, is there any kriti composed by ‘ Purva’ or ‘ may be added, and for Syama Sastri in Pantuvarali which would the recent variety the prefix ‘ Abhinava may also serve as a lakshya ? The Conference will be adopted." be thankful if Syama Sastri's representative Mr. T. L. Venkatarama Ayyar—“ I sug­ can throw any light on this point." gest that Subhapantuvarali may be put as the Mr. Syama Sastriar—“ Yes, there is a 45th Mela and that Pantuvarali may be kriti in this raga composed by Syama Sastri- classed as a Janya of the 51st Mela, as it is gal beginning with the words ‘ Karunajuda' now being sung with Antara Gandhara. If it which takes Antara Gandhara." is to be sung correctly, it should take the Sadharana Gandharai and so there should be Mr. T. L. Venkatarama Ayyar—“ There no difference between Subhapantuvarali and is no kriti composed by Dikshilar under the Pantuvarali in regard to Gandhara. There is name of Pantuvarali. There is a raga called no place for any compromise in this matter.” Kasiratnakriya, which corresponds in svaras to the so-called Kamavardhani. I may also The President—“ I would try to explain point out that there is a lakshana geeta of the position with regard to compromise. The Venkatamakhi in Sivapantuvarali.” Pantuvarali which is to be classed as a Janya of Subhapantuvarali is found only in lak­ The President—“ I remember a song shana grant has but we have no lakshya for composed by a disciple of Dikshitar with the it at present. The Pantuvarali which takes mttdra ‘ Guruguhadasa ’ with the name of Antara Gandhara may therefore be put as a Pantuvarali mentioned in the body of the Janya of the 51st Mela. This is the com­ song itself. Can any vidvan sing it ?” promise. The dispute is about the names. If Mr. L. Muthiah Bhagavatar—“ Yes. we adopt the prefixes ‘ Pracheena ’ and There is a kriti like that composed by Pon- * Naveena,' there will again be a dispute as to nayya. It begins with the words ‘ Needu which is to be treated as Pracheena, and Padame Gati ’. (He sang this piece).’’ everybody will claim his version to be Mr. P. Sambamurti—“ Two points seem Pracheena. One point I want to emphasise is to emerge from this discussion. We may that Lakshya is all important, whatever the THE tousic a c a d e m

Idkshana may be. Venkatamakhi himself opinion, it may be recorded as a dissenting admitted that our music is based on Lakshya. minute. There is no'doubt about the fact So I say that Lakshya, is all important and the name ‘ Pantuvarali' has been comiog we will be well advised to go by Lakshya." down for a very long time. But at what Mr. T. V. Subba Rao—“ I want that if the period Antara Gandhara crept into this raga raga is sung with Sadharana Gandhara it we do not know. There are many who should be called Pantuvarali, and if it is support the use of Sadharana Gandhara sung with Antara Gandhara it should be while there are a larger number of others called Kamavardhani. Both are Sampurna who urge that the practice is to use Antara and no question of Janya comes in.” Gandhara. So that there are two distinct opinions on this matter, and it would not be Mr. Hulugur Krishnamacharya—“ Ven­ right merely to put this raga in the 51st katamakhi wrote about Pantuvarali in his Mela, as that would mean that it carries Chaturdandi Prakasika. He must have Antara Gandhara only, whereas, as a matter incorporated this melody from the then of fact, there are some holding the opposite existing practice.” view. So I think the words ‘ in which The President—“ I may suggest one Antara Gandhara is used ’ are necessary.” thing. Dikshitar has given the name of This amendment fell through for want of Kasiramakriya foe the 51st Mela. This seems a seconder. a desirable name to adopt. The Conference The original motion of Mr. Varaba may consider this point also.” Narasimhacharlu that Pantuvarali be Mr. V. Varaha Narasimhacharlu—“ I classed under the S lst Mela, was then put move that Pantuvarali be classed as a Janya to vote and carried by 11 against 5. of the 51st Mela." Dr. Srinivasaraghavan—“ I propose that This motion was duly seconded. Pantuvarali be classed under the 45tb Mela.” Dr. Srinivasaraghavan—“ I move an am­ The President—“ This cannot now be endment that the words ‘if Antara Gandhara allowed as a separate proposition, as we have is used' be added to the motion moved by already passed the positive motion that Mr. Narasimhacharlu.” Pantuvarali should be classed under the 51st The President—“ The great majority sing Mela" it with Antara Gandhara, and in that case Dr. Srinivasaraghavan—“ I want it to be what necessity is there for this particular recorded that there is a Pantuvarali wLich amendment?” uses Sadharana Gandhara and which comes Mr. P. Sambamurti—" As regards the use under the 45th mela." of Antara Gandhara, the words suggested by The Conference agreed that this should Dr. Srinivasaraghavan, that is, ‘ if Antara be recorded.

Gandhara is used,’ would imply a doubt as The Conference also agreed that the

to the use of this note. But we are quite current Slst Mela is Kamavardhani. certain about it, that this particular note (Antara Gandhara) is actually being used. Saranga So I would suggest that after ‘ Pantuvarali,' The President—" There are differences of the words ‘ in which Antara Gandhara is opinion as regards the constituent svaras of used ’ be added. If the Doctor sticks to his this raga and even regarding its Mela. I THE MADRAS MUSIC CONFERENCE, 1932 137 remember an amusing incident which occur­ The President—“Is there a prayoga of red in connection with this raga. There are pa-sa". some keertanas called Adhyatmaramayana Mr. T. V. Subba Rao—“Yes, there is. It is keertanas in Telugu, and one of those keertan­ a visesha sanchara”. as is put under raga Saranga, in the printed book, and one musician sang it straightaway The President—" It would be useful if any in (as Madhyamavati is called sancharas not conflicting with the full ascent Sarang in Hindustani music). So there are and descent are pointed out by vidvans.” differences of opinion both in name and subs­ Mr. Syama Sastri—“I cannot say whether tance. There is a dispute about the sanchara, it conflicts with the full ascent and descent. as also the character of the two Madhyatnas But there is a composition of Syama occurring therein. The basis of this raga is Sastrigal in this raga beginning with ‘ Sri afforded by the kritis of Sri Tyagaraja, ‘Inta Katnakshi Matnpahi ’. (He sang this song). Bhagyamu,' * Nivadanegatia,’ ‘ Ehi Trijaga- It will be observed that in no place is there deesa,’ ‘ Karuna Jooda ’ etc., as also two any Sa-ri-ga-ma sanchara. So I think it keertanas of Dikshitar. There is a varna in is not satnpurna (complete both ways).” Thatchur Singarachariu's book, but it is incomplete. Let us try to see whether there The President—“ Does anybody know to are any lakshana geetas in this raga. I would sing the kriti of Sri Tyagaraja beginning ask Mr. Hulugur Krishnamacharya to say with the words ‘ Karunajooda' which is whether there is any raga in the north said to contain a chitta svara composed by corresponding, to this Saranga.” the Swami himself ? It will also be helpful if Sa-ri-ga-ma prayogas are shown in any of Mr. Hulugur Krishnamacharya—“ Yes* his compositions.” there is a raga called Suddha Saranga which corresponds to the Carnatic Saranga. Its Dr. Srinivasaraghavan then sang Sri ascent is Sa-ri-ga-ma-pa-ni-sa and its descent Tyagaraja’s ‘ Ehi Trijagadeesa.’ is Sa-ni-dhapa-ma-ri-ga-ma-ri-sa." The President—“ Is there any vidvan The President—“Our Carnatic Saranga that can sing any Dikshitar's composition has the full complement of svaras in the as­ or any Kshetraya padam or Dasar Padam cent, whereas for this raga now mentioned, jn this raga ? (None came forward). I know the ascent avoids the Dhaivata. So this Sud­ Arunachala Kavirayar’s ‘ Enindamadikuri- dha Sarang does not correspond to our Car­ tta i' in this raga. The tnettus of this and natic Saranga." ‘ Ehi Trijagadeesa ’ are the same. In both of them Sa-ri-ga-ma prayoga occurs. (He Mr. Hulugur Krishnamacharya—“ Then then sang the above song of Arunachala we have no raga in Hindustani music exactly Kavi). Now, another point is that two corresponding to the Carnatic Saranga." Madhyamas occur in this raga. There is Mr. P. S. Sundaram Ayyar—“For our the authority of Venkatamakhi for the use Saranga the ascent .is full and the descent is of two Dhaivatas in some ragas, but there Sa-ni-dhapa-ma-ri-ga-ma-ri-sa”. is no raga in which both the Madhyamas Messrs Varaha Narasimhacharlu, occur except this. These Madhyamas occur Netnatn Nataraja Bhagavatar, M. S. Rama- in the descent. In one particular combina­ swami Ayyar and another agreed with this tion Pama-ri-ga-ma-risa occurs ; here the view. first Ma is sharp and the second, flat corres- T 3 5 1 I UK JUTONAL TJF iU k

ponding to the Varna-mettu in the above characteristic. Sa-ni-dha-pa does not occur Kriti. In the ascent, only Prati Madhyama generally but only Sa-dha-pa-tna-ri-ga-ma ri- occurs.” sa in the descent, the last Madhyama beings Dr. Srinivasaraghavan—“ In the ascent Suddha. In the old days Sa-pa-ma-pa-dha- Prati Madhyama occurs; and Suddha Madh- ni-sa was used in a Dasar padam beginning K yama occurs in the descent.” with ‘ Ninna Dhyannavakodu ’. (He sang this Mr. P. Sambamurti—“ In the prayoga piece). In Sri Tyagaraja’s kritis in this Sa-ri-ga-ma-pa, only Prati Madhyama raga also some musicians use Sa-pa-mapa- occurs. But in the descent, when the group­ dha-ni-sa. Ri-ga-ma was used, in one kriti ing Ri-ga-ma-ri-sa is used, Suddha Madhya­ of Sri Tyagaraja namely, ‘Emi Dova ma occurs.” Balku.’ (This was also sung by the Bhaga­ The President—“ In Goulipantu raga we vatar). In this kriti Riga-pa-ma-dha-pa-dha- observe, particularly in the combination ni-sa is observable. So though I have no Dha-ma-ga-ri-sa that Prati Madhyama occurs. objection to this raga being classed as- We have to see whether such usages are due sampurna, I want it to be recorded that to carelessness or are attributable to what Sa-risa-pa-ma-pa-dha-ni-sa and Sa dha-pa- I may call the law of least resistance. It is ma-ri-ga-ma-ri-sa are its characteristic also advisable to decide the precise total sancharas." value of the Prati Madhyama in such cases. The Conference decided that Saranga The practice in the western countries may comes under the 65th Mela, that it is sam­ v also be stated by Mr. Sambamurti.” purna—its arohana and avarohana being Mr. P. Sambamurti — “ In Scotch Sa-ri-ga-ma-pa-dha-ni-sa and Sa-ni-dha-pa- Music there is Prati Madhyama. In the ma-ri-ga-ma-ri-sa—and that in the descent, in th prayoga Ri-ga-ma-ri-sa, Suddha Madh­ Hungarian Music they use what they call Syncodra; the major scale is not used. yama is used. The most characteristic san­ What is called harmontcal minor (Keervani) charas are : Sa-ri-sa-pa (long)-ma-pa-dha-ni- is altered by changing the Madhyama. The sa and Sa-dha {long)-pa. original was used by the gypsies. Prati Hamirukalyani Madhyama is much used in the west. As The President—“ We shall first consider regards this particular raga Saranga, Suddha whether this is a northern raga.” Madhyama occurs in the descent in the Mr. Hulugur Krishnamacharya—“ It is a grouping Ri-ga-ma-ri-sa. Sa dha-pa-ma pra­ northern raga. It starts with the svaras, yoga occurs frequently, the Madhyama in Ni - ri -ga-ma riga-ma-pa-ma-ga-ma-dha - ra­ this case being Prati Madhyama.” sa, and the descent is Sa ni-dha pa-mapa- The President—“ There seems to be also ga-ma-ri-sa.” a dispute as to whether Saranga is a Janya of The President—“ As we have no lakshana Vachaspati or Mechakalyani. Vidvans may of this raga given in any of our musical also throw some light on it. (There was no treatises, let us see what svaras our composers response to this suggestion).” have used. This is said to be a chaya raga The m ajority was inclined to think that in which there are many Suddha Madhyama the ascent as well as descent was complete. prayogas. This is called also Hamiru or Mr. L. Muthiah Bhagavatar—“ There Hamviru ; apparently, this nomenclature is are no doubt many prayogas of Sa-ri-ga-ma, due to a northern raga being written in our but in this raga some sancharas alone are own language. This is said to be a sampurna lay

raga. AH the three composers (Sri Tyaga- Mr. L. Muthiah Bhagavatar—" In the raja, Dikshitar and Syama Saatri have grouping Pa-ma-ga-pa-ri-sa which occurs in given us songs in this raga. We may hear Sri Tyagaraja’s ‘Ni Dasanu the Madhyama these kritis and then try to arrive at the is Suddha. (He sang this song to illustrate lakshana." his point). We can use Pa-ga-ma-ri-sa also.” Dr. Srinivasaraghavan sang Sri Tyaga- The President—“ There is a doubt among raja's ‘Manatnuleda’ and Mr. Syama Sastri musicians whether this kriti ‘Ni Dasanu is sang his ancestor’s ‘ Venkatasaila Vihara.’ in Hamiru Kalyani or in Yamuna Kalyani." Mr. L. Muthiah Bhagavatar—"This raga Mr. T. V. Subba Rao—“I cannot say any has the full complement of svaras both ways thing about that, but my view is that in this like Bhairavi, Manji and Husseni. This is raga, the Gandhara is not long but only alpa admittedly a northern raga which is sung or shadowy.” very well in the north and its characteristics On further consideration it was noted can be perceived from the way in which it is that its Arohqna and Avarohana arc actually sung rather than from svaras. To Sampoorna; but the characteristic Sancharas bring out the raga bhava the prayogas Sa-ri- are Sa-ri-sa-fta-ma-pa-dha-ni-sa, Dha-pa-sa- sd-pa-ma-pa-ma (long)-ga-ri-sa and Pa-ma- ni-ri-sa, Pa-ma-ga-ma(long)-ri-sa (when it pa - dha- ni-sa - dha (long).pa-magama-ri-sa takes Suddha Madhyama), Pa-dha-sa (long) lend themselves easily. In the ascent Dha- is a frequent prayoga. It is a Janya of the pa-ni-dha-sa-ni-ri (long)-so would bring out 65tb Mela. the raga bhava. The chaya of this raga is perceivable and is obtained by a long use of Yamuna Kalyani the Madhyama and also at times Dhaivata. Mr. Hulugur *Krishnamacharya—“ This See for instance, Dhapa-ma-pa-ma (long) is a sampurna raga with full ascent and des­ and dha (long)-pama-pa and Sa-pa-ma-pa• cent. But in the descent, we see Sa-ni-dha- dha (long)-ni-sa which are frequently used pa-ma-ga-ma-ga-ri-sa. In this, both the Madh- for this raga. Pa-ma-ga (long)-ma-ri-sa is yamas occur but not side by side.” also an important sanchara; in this Suddha The President—" Is there anybody that Madhyama only is used. In the descent Pa- can sing any of Sri Tyagaraja’s compositions ma-ga-ma-ri-sa is a characteristic sanchara-’’ in this raga ? 'Haridasulu Vedale' is in this raga" Mr. T. V. Subba Rao—“ I would say that Madhyama is made to come from the Pan- Mr. Rajagopalachariar—"I heard this chama sthana ; it is always so used as not to kriti sung by the President in Kalyani." touch the Gandhara.” (Mr. Umayalpuram Venkatarama Ayyar Mr. L. Muthiah Bhagavatar—‘‘In the then sang ‘Haridasulu Vedale in Yamuna descent Suddha Madhyama no doubt occurs Kalyani and said that Sari-ga-pa-dha-sa and it can be used without touching the Gan­ occurred in it). dhara." The President—"I heard ‘Manamuleda' Mr. T. V. Subba Rao—"Is it not the case sung in Yamuna Kalyani. Mr. Krishnama­ that the Madhyama which comes from Pan- charya is an authority on this raga and I chama, in the usage Pa-ma,isPrati Madhyama would request him to enlighten us by singing and the Madhyama which occurs in the pra- any Drupad or other composition in this raga yoga Ga-ma, Suddha Madhyama ? ” sung in the north.” 140 THE JOURNAL OF THE MUSIC ACADEMY

Mr. Hulugur Krishnaraacharya—“There in Ga-ma-ga-ri-sa. Sampoorna prayogas are is a Drupad in Yaman, the name by which also admissible. It is a Janya of the 65th this raga is known in the north, and this Mela. ^ Drupad is the authoritative basis from « hich The President—‘ ‘Tomorrow the Confe­ to determine the s'ancharas of this r./ga rence will meet at 12 noon. First, there will (He then sang 'Parabrahma' in Yaman. He be reading of papers and then some other also sang 'Vitthalaranga' in Hamir). non-controversial matters will be placed The President—“Dikshitar has a composi­ before the Conference. The Conference will tion in this raga. Will anybody sing it ?’’ conclude its labours tomorrow at about 2 p. m.” (Mr. T. L. Venkatarama Ayyar sang *Jambupate.) Mr. V. Varaha Narasimhacharlu— “ I propose a hearty vote of thanks to our The President—“I remember some vidvan revered chairman Mr. C. R. Srinivasa Ayyan- expressed a doubt whether the northern ragas gar for having so ably and tactfully conduce can be adopted here or brought into the Car. ted the proceedings, that we have been able natic system without doing violence to their to finish the discussions within a short time.’’ form. This kriti is an evidence that the doubt Mr. T. L. Venkatarama Ayyar—“ I has no strong basis.” heartily associate myself with what has been Mr. L. Muthiah Bhagavatar—“ The sva- stated by my friend. Mr. Srinivasa Ayyan- rupa for this raga is Kalyani. It is a Bha- gar has reconciled all differences among the shanga raga. Sa-ri-ga-pa-dha-sa is its chara­ vidvans present here and conductd the pro­ cteristic ascent. Sa-ni'pa-dha-ni-sa prayogas ceedings smoothly and well.” are also frequent; but even if Ma-pa dha ni- Dr. Srinivasaraghavan—” I heartily sa is used* the raga chaya is not disturbed on agree. There is no doubt about his ability/' that account. We see also the usage of Sa■ Mr. L. Muthiah Bhagavatar—“ Mr. Ayy- ni-dha-pa, but the descent generally takes Ma- angar is an authority on music in South In­ ri-sa. We do not see any difference between dia. I must confess that hitherto I was some­ Yaman of the north and the Dikshitar’s kriti what angry because he did not attend our just now sung. I shall sing a Drupad in conferences up to now. But seeing the way Hindustani which is similar.” (He sang the in which he conducted the proceedings during Drupad beginning with the words ‘ Dhittar.') the last two days, I must say that I am now Mr. T. V. Subba R ao-“ I am inclined to thoroughly satisfied. He has justified his think that the Dhaivata! should be given position as an authority in Carnatic music.” prominence to bring out the chaya of this The President—“ I thank you all for the raga.” good words said of me, which, I hope to deser­ No fin a l and definite conclusion was ve. I have no doubt that the Goddess Saras- arrived a t by the Conference as the vati is present in this august assembly of lakshana of this raga was apparently not vidvans and experts. I pray that She may generally known among the vidvans so as bless us so that we may re assemble with to enable them to speak with directness and renewed vigour and enthusiasm next year.’’ precision on the matter. (Cheers). It was noted that the ordinary Sancharas The Conference then rose for the day. In are Sa (]ong)-gapa-dha-sa and Sa-ni-dhapa- the evening there was a vocal performance ma-ga ma-ri-sa. It fakes Suddha Madhyatna by Mr. Chembai Vaidyanatha Bhagavatar - ______THE MADRAS MUSIC CONFERENCE, 1932 141 accompanied by Messrs. Erode Viswanatha The President—“ On behalf of the Con­ Ayyar on the violin and Palghat Mani on ference, I thank the gentleman for the paper the mridangam. he has read. Let us all hope that this subject will be taken up next year by this Confer­ (Last day) ence.” 1st Jan. 1933 The Conference met at 12 noon on Sunday Qualifications of Music Teachers the 1st January 1933 at the special pandal. Mr. V. Varaha Narasimhacharlu of In addition to those who were usually present Cocanada moved the following resolution at the Conference daily, the following were “That this Conference requests the Govern­ also present viz., Srimati C. Sarasvati Bai ment, the local bodies and other educational and Mr. V. Appa Rao. authorities to appoint, as music teachers, Mr. T. S. Rajagopala Ayyar—“ Ladies only those persons who have qualified them­ and Gentlemen, I have received a letter from selves in recognised musical institutions.” one Mr. Subrahmanya Ayyar expressing “ Gentlemen, the object of this resolution his desire to sing before the Conference is this : there are many institutions in this a few Tamil songs composed by him, which presidency like the Madras University and the are translated from Gita Govinda. He may Annamalai University, where students can be permitted to sing some of these songs.” qualify themselves in music. The local bodies On the gentlemen assembled there signi­ are now appointing all sorts of untrained fying assent to the demonstration of a few musicians as teachers in the schools songs, Mr. Subrahmanya Ayyar and a managed by them. It is only proper, when friend of his gave a demonstration of two qualified teachers are available, that the select songs, from the compilation in Tamil authorities, concerned, should take steps to of Geeta Govinda, one in Raga Todt and appoint only trained teachers in preference another in Raga Sankarabharana. to the untrained ones. I accordingly move Mr. G. Krishna Ayyar of Manabkarai, this resolution for the acceptance of the Tinnevelly District, then read a paper on Conference.” ‘ Talas’ accompanied by demonstrations here Mr. T. L. Venkatrama Ayyar seconded and there, in a few places. the resolution. Mr. L. Muthiah Bhagavatar—“ Gentle­ men, this is the first time that a paper Mr. P. S. Kmhnaswami Ayyar of Chala- on Talas is read in this Conference. puram—“ Ladies and gentlemen, although I Mr. Krishna Ayyar has demonstrated some accept the underlying idea of the resolution, I minute points very well. I take it that this am not for it now, for this reason. As a result will be the first of the occasions when we are of the spread of music education within the to have such demonstrations and discussions last few years, more and more music schools on Talas and that more will surely follow in are likely to spring up in different parts of the coming years. I only request that the province in the near future, and we will sufficient encouragement should be given to require good musicians to take up the posts this aspect of music. I also hope that the of teachers in those schools. We all know Conference next year would seriously take up that certain restrictions in regard to educa­ for consideration some of the talas, just as we tional qualifications are now placed in both are considering ragas now." the Universities on the students that take to 19 TET ^H E JOURNAL OF THE MUSIC ACADEMY

this music course. If we pass this resolution Mr. V. Appa Rao—“ It is a well-known now, it will mean that only such students as fact that pandits of the old type are much possess those educational qualifications and better than the present-day Siromanis. A^e complete their music courses in these must be very careful in discussing this reso­ institutions, can be appointed as music lution. The result of passing this resolution teachers in the schools maintained by the will be to shut out many qualified people local bodies. As I said, there will be a large from becoming teachers in music schools. demand for music teachers and it will be I think we should try to avoid such a impossible for us to find the teachers with the situation." necessary qualifications. I therefore move an Mr. P. Sambamurti—" Apart from that, amendment that the words, *wherever possi­ Mr. President, if this resolution is passed and ble ’ be added after the words 1 music if it is accepted, the services of all the un­ teacher.’’ trained teachers at present in the employ Mr. L. Muthiah Bhagavat&r—“ I second of the local bodies will be dispensed with.” the amendment and, in doing so, I want Mr. V. Appa Rao—“ I do not think there to add only one word. Having regard is any necessity for a resolution like this at to the fact that people with S.S.L.C. qualifi­ all. We cannot expect the Government to cations alone are admitted, to the music act according to the principles laid down by courses in the two Universities, unless this rule this Academy.” is relaxed and people with less educational qualifications are admitted to the music Mr. V. Varaha Narasimhacharlu—“ My courses in the Universities, I am afraid there intention is not that the present teachers is no chance of our being able to get, in any should be sent out. I am anxious that here­ large number, in the near future, qualified after untrained musicians should not be em­ music teachers. I am, therefore, of opinion ployed as music teachers, and that greater that even those that get training in music encouragement should be given to those who in their own homes, should be admitted into pass out of the recognised music schools." these institutions, irrespective of qualifica­ Mr. L. Muthiah Bhagavatar—“ I do not tions. think there can be any harm in our saying Since its inception, this Academy has done what we want to. After all, the Government many good things in the field of music ; for may not say ditto to what we say ; and if it started a Music College of its own, they are going to do that, why was the Music and soon after, the University started Teacher’s post taken away from the Queen a Diploma course also. The Music Mary’s College? Therefore, there can be no College attached to this Academy, spends objection to our saying what we feel." most of its energies in training people who Mr. V. Varaha Narasimhacharlu—"The will be easily fit to appear for the Diploma course in Music, without any further training only resull of this resolution will be that in the University classes. Having regard to a large number of students will join the music these facts, we should take the opportunity, schools, and that should be a welcome feature. I appeal to you all to see that this resolution in passing this resolution, to impress upon the Universities the necessity of admitting is passed.” students, irrespective of their educational The resolution, as amended, was put to the qualifications.” house and lost. ' TB e TJ a d r a ST i TO c CONFERENCE, I'JiZ HO

Gramas and Murchanas Yamuna Kalyani. I once again thank all of Mr. Hulugur Krishnamacharya then you, for the help you have rendered me all read his paper on ' Gramas and Murchanas.’ these days, and I thank the Academy for the honour conferred on me this year. Mr. Narashimhacharlu’s paper on “ The System of Indian Ragas " was taken as read. Mr. P. G. Sundaresa Saatriar has men­ k At 2*15 p.m. Mr. T. S. Rajagopala Ayyar tioned many ways in which reform can be moved “ that the Conference do adjourn.” carried out with reference to pronunciation, The motion was duly seconded and put to etc., of the many songs. We should all thank the house and carried. him for it. Mr. Raghavan (of the Madras (The resolution which was left undecided University) gave us a lot of information in on the 30th Dec., viz., that the number o f regard to many writings, their meanings, me/as should be increased from 72 to 108, etc., We are all indebted to him for it. [ was treated as having been talked oat). Mr. Ramakrishna Ayyar read a paper the other day, on the increase in the number of The Chairman’s concluding speech melas from 72 to 108. As we have no time The President (who on rising was gar­ now to come to a decision on the question, it landed) said—“ Ladies and gentlemen: may be taken up next year and discussed this year, in this Conference, we have all fully. Our thanks are due to him for bring­ joined together and discussed in detail, many ing up the question before the Conference. resolutions and intricate points with great Then again, Mr. Hulugur Krishnamacha- patience and at great inconvenience to many riar read a lengthy paper on melas. He has of the Vidvans assembled here. Many of you made a thorough research into the subject have come from long distances and taken and has taken great pains to collect all part in the debates. To them I extend my possible information on the subject. It is a thanks, on behalf of the Academy. very useful paper, treating about a rare Gentlemen, when I was asked to preside subject, and we are very thankful to him. over this year’s conference, I felt that a great Mr. Subrahamanya Ayyar har- translated burden was placed on my shoulders. 1 was into Tamil Sri Jayadeva’s Ashtapadis from wondering how I could bear the responsibi­ Girvana Bhasha without the bhavam being lity ; but when I was assured of the help of affected even in the slightest degree. The all the Vidvans assembled here, I readily translation is rendered in easily readable style. consented. During the discussions on all Our thanks are due to him for giving us the these days, some gentlemen might have felt benefit of his labours. Mr. Krishna Ayyar that I let them down while I encouraged of Manakkarai has taken a lot of trouble others; some others, might have been dissatis­ in making a research into the question, of fied with me for other reasons, and so on. I talas. He also demonstrated before us earnestly appeal to them now to forget these to-day one or two items. We all hope that, incidents and excuse my shortcomings. Such in future, other vidvans will take up this differences as were found to exist, were quite subject and give us the benefit of their views. natural, and must have been based on indivi­ We have also passed resolutions about dual experience and the kind of training Bharata Natyam. They were important received in earlier times. All the ragas men­ resolutions. Dr. Krishnaswami Ayyangar, tioned in the agenda could not be discussed Mrs. Jayarama Ayyar, Mr. C. N. Muthuranga for want of tim e; we have come only up to Mudaliar, Mr. K. V. Krishnaswami Ayyar 144 THE JOURNAL OF THE MUSIC ACADEMY

Mrs. M. R. Ramaswami Sivan and many other but for your co-operation, but for the trouble learned gentlemen and ladies were present you have taken in coming here, hundreds that day and gave us great assistance, in pas­ of miles away from your homes, aad sing the resolutions unanimously. Our special placing before the Conference, your views thanks are due to them also. You all know on current topics of music, I do not that Syama Sastrigal is one of the musical think it would have been the great success trinity of South India. We were all very that it has been. We, members of the glad to see his great-grandson in this Con­ Academy, have tried our best to see that you ference the other day; he helped us much were lodged well and that your comforts during the discussions on certain ragas. were well attended to. But most of you are We are very much obliged to him also. well-known to Madras and stopped with Let me thank you all, once again, ladies your friends. We are only sorry that we and gentlemen, individually and collectively, were not able to give more comforts for the immense help you have given me and during your stay here. I trust you will kindly for making the Conference a success." excuse any shortcomings on our part and take our will for the deed. We thank you Vote of thanks again, for your co operation. There is one difference between other Sangeeta Sabhas Dr. U. Rama Rau—“ Vidvan Tiger and this Music Academy. If you take away Varadachariar, Sangeeta Vidvans, Ladies the vidvans from this Academy, it will col­ and Gentlemen, it is now my privilege to lapse like a pack of cards. The vidvans are propose a hearty vote of thanks to the the very prop of this Academy; and so, I President of the Conference. He presided cannot impress upon you too strongly that all over the daily meetings all these seven or the good name, pomp and stability, that the eight days, with a good deal of anxiety, Academy is enjoying to-day, is due entirely trouble and self-sacrifice. He was able to get to your hearty co-operation and the trouble through a major portion of the work in a that you take, at great self-sacrifice, in coming very short time, giving attention to every forward to help us with your views and point that was raised. This year we have advice. done something more than we could do last year; but we have yet to do a lot. I trust, As you all know, our music is going down. the next Conference will settle all the points We have become degenerated in so many that were left unsettled in the previous Con­ respects, in politics, in science, in many ferences and in this year’s. On behalf of the matters. The great art of music also has Music Academy, therefore, it is my great gone down, and it is a great credit that you privilege to offer a vote of thanks to our vidvans have taken the trouble to come here revered President. During the one or two and co-operate with us in reviving the art. days that the President could not preside Another thing that I want to refer to is a over our deliberations, our friend Mr. sort of complaint, and there is no other place C. R. Srinivasa Ayyangar was good enough where I can make that complaint. That is, to preside and he conducted the proceedings that the artiste vidvans are giving us a lot with great ability. Our thanks are therefore of trouble. Of course, nobody has any control due to him. over them. The Music Academy exists for Gentlemen, the whole success of the Con­ the sake of people who are fond of music ; ference is undoubtedly due to you, Vidvans ; the members of the Academy' join together THE MADRAS MUSIC CONFERENCE, MZ

and choose the Executive Committee. The fluential gentlemen, have to appeal to the Executive Committee is doing its best to artistes and request them to maintain our improve the tone of music and all things good name. I know, on occasions, there may connected with the art of music. Each one be good reasons for any delay; but we feel it of us here has got his own profession to all the more, when people begin to say all attend to ; there are lawyers, advocates, sorts of things. Therefore, I appeal to the medical practitioners, merchants, officers and Vidvans here, who have some influence with so on among us. We all, individually, do these artistes, to request them to co operate not derive any benefit by convening such with us to a greater extent. They should conferences as these; but we all love music think it is an honour to them to come and and musicians. It is for that reason, that we give performances before big appreciative are trying our best, through the efforts of audiences in this Conference, consisting of enthusiastic young men in our midst, to bring three or four thousand people. And from a music to a higher level of efficiency, than professional point of view also, they will get what it is now in. Somehow or other, the a good name. In certain cases, these artistes public, have begun to think that we are also demand exorbitant fees for their per­ making good money by having these per­ formances, which we are not in a position to formances and shows. I may assure you, pay. Ladies and gentlemen, as you all know gentlemen, we are earning only enough to we have a big white elephant to maintain — make both our ends meet. Even the other the Music Journal. Every one is agreed that day, Rajah Sir Annamalai Chettiar said ‘ I the Journal should be continued. Another know these artistes are giving performances expensive department is the Teachera’ Col­ here for nothing.’ I immediately told him it lege of Music that we have recently opened. was not so. We are giving them certain These two items in themselves cost us a standard fees; and in spite of that, the good deal of money. musicians are giving us a good deal of trouble. If we write to them, they won’t send us a When speaking about the Music Journal, I reply ; if we want a programme, they won’t must appeal to the Vidvans to continue their send us one; in these and other ways, they co-operation. The Journal cannot exist even give us any amount of trouble. But, at the for a day unless the Vidvans take interest in same time, I may assure you that the amount it and keep it alive. Most of you, Vidvans, of trouble that we undergo is nothing, when have retired from the profession and I appeal compared to the results that we obtain. My to you to take an active interest in the main object in bringing this to your notice is Journal and give us all possible help. this: after all, these shows are not intended purely for us ; personally, we do not get any I am very glad, gentlemen, that this Con­ ference has passed a resolution that the art of benefit. When these artistes are requested to dancing should be revived and encouraged. give performances, they begin to think that Although some of us have long been of the they are obliging the President or some other opinion that the art should be encouraged, member of the Academy. Even those men who we did not want to give expression to our are enjoying a top position in the profession, views until the Conference has had its say on begin to think like that and public criticism the matter. I may now assure you, and sometimes is so great that the members of the through you, the public, that the Music executive Committee, some of whom are in­ Academy will do its best in this direction. 146 THE JOURNAL OF THE MUSiC ACADEMY

The success of this Conference is entirely proper attention at your hands at future con­ due to our young volunteers headed by ferences. Mr. Seshagiri and Mr. Kalyanam. It must Similarly, in regard to broad-casting, the** be said that the arrangements this year, have Madras Corporation takes some care in been much better than last year; especially choosing people for singing at the Radio. No on the day when sister Sri Bai doubt formerly, the artistes were not up to performed a Kalakshepatn, there was an the standard, but since we began to co-ope­ unprecedented crowd of ladies, who had to rate with them, in selecting the proper meti, be accommodated in practically two-thirds of the broadcasting service has improved to a the pandal, while the men had to be crowded great extent. If all the Vidvans here would into a very small space. Apart from atten­ only co-operate with us in this matter also, I ding to the huge crowd, the volunteers had am sure the service will be still further im­ on that day another responsibility also, that proved. It is generally admitted that this of taking care of the children and they Corporation broadcasting service is educating discharged that duty very well. To that the public in music to a great extent, and it extent, our young friends have devoted them­ is due, in a large measure, to the help we have selves heart and soul at great inconvenience. received at the hands of the Vidvans. Some of them might have been anxious also, Another important matter that I want to while on duty, to hear music; but yet they bring to your notice is this : we have passed were at their posts without grumbling and a number of resolutions up to now. One of made no complaint. them is that the harmonium should not be I must not also forget to mention the en­ used during the performances; but yet I see ormous interest taken by our friend Mr. T. L. only a few musicians have discarded it. I. Venkatarama Ayyar. He was, so to say, the request you all to see that the resolutions Private Secretary to our President. I must which you yourself pass, are given effect to thank also our two friends, Mr. Sripada by your colleagues in the line. Ramamurti Pantulu and his colleague The Music Academy has recently opened Mr- G. Rangachari, who have been repor­ music schools in different parts of the city ting the proceedings daily. I may also say, but the music teachers available are however that, but for them, the newspapers would not few. The Music Academy has a Teachers’ at all have been in a position to publish even College of its own, and the teachers under­ summaries of our proceedings. going training there, are engaged for taking I want to refer also to the question of re­ classes in these music schools. This is only a cording music. At present, we all know, there drop in the ocean. I am anxious that all the is no system by which the gramophone com­ Vidvans, when they go back to their places, panies record the songs of musicians. They should start schools where music will be make no choice in the matter and anybody taught scientifically. who goes to them and wants his song to be I once more appeal to you, to induce the recorded, has the thing done. We are all Vidvan artistes to co operate with us in a anxious that bad music should not be broad* greater degree, to help us in every possible way, casted. So far as the Music Academy is con­ in arranging performances, in fixing their cerned, we won’t encourage the recording of remuneration in time, in sending their pro­ bad music. I therefore bring this point to grammes well early and helping us in many your notice, so that this subject may receive other respects On behalf of «tbe Music THE MADRAS MUSIC CONFERENCE, WM P ¥ T

Academy, I again thank you for all the help we take a good deal of interest in the art. you have rendered us. Although we are aged people, we would like Before closing, I should not forget to men­ still to learn something from others. I would tion that the Corporation authorities have therefore appeal to all those V id va n s, to attend been very kind to us. They have given us the meetings of the Conference regularly and this site free of any tax and they have placed to give us the benefit of their expert views their Park Superintendent, practically at our on all matters coming up for discussion. disposal. He has rendered us yeoman service. Mr. Jayarama Ayyar (V io lin ist) was present We must therefore be thankful to them." here, I think, On two days, and our special thanks are due to him. Mr. L. Muthiah B hag —“ Ladies When an artiste has consented to give a per­ and gentlemen : As usual, we owe this Con­ formance on a particular day, he must see that ference to the enthusiasm of the members of he sticks to it; but, if by chance, by force of the Music Academy and it has been a great circumstances beyond his control, he is unable success. I should think that it has achieved to come, I request the Music Academy to greater success this year, than in previous excuse him. Of course, I do realise that the years; we found this year, greater co-operation audience will be disappointed ; but that is a among the V idvana. It is not a small thing, matter which cannot be helped. that a ragam like D esya T o d i was discussed and that some decision was arrived at. In Many V id va n s have come here at great connection with the discussion on that ragam , inconvenience from long distances and taken I had to change my own opinion as a result of great interest in the discussion on ragas. the convincing arguments advanced by the They are our guests; it is they, who are respon­ other V idvana. It is a matter for gratifica­ sible for the many decisions we have come to. tion, that similar decisions were arrived at, Many of them also gave performances on after full and frank discussion, on several certain days. To one and all of them, our other ragaa. I am glad to say, that during thanks are due. the discussions, although there were acute We all know that Dr. Rama Rau, the differences of opinion, there was complete co­ President of the Academy, has taken the huge operation among the V idvan a and much res­ responsibility of organizing the Music Confe­ pect for honest differences of opinion, which rence. Let us examine why he should take so is so essential to the smooth working of a great much interest in this Academy and this Con­ institution like this Music Academy. ference. Surely, he is not going to be bene- Gentlemen, there arc occasions when one fitted by this. Because he knows that music is has to find fault with oneself. I am deeply the jeeva tm a that keeps the jeevan going, he grieved to say that the great V idvan s, who takes so much interest. As everybody knows, gave performances in this hall all these days, he has placed at the disposal of the Academy, did not attend the meetings of the Con­ a big building and he has helped the Academy ference which were held daily. So far in many ways. I do not know what we can as I know, Mr. Sanjeevi Rao was in do for him in return; let us all pray that, in our midst one day. Some of us are old the next J a n m a , we should be born as his people and cannot, for reasons of health, children and do what we can to make him afford to stop here for long hours; but, if in happy. spite of inconvenience, we have attended the There are two great responsibilities which meetin gs every day, it is due to the fact that the Academy has undertaken. One is the 148 THE JOURNAL OF TH E MUSIC ACADEMY

conduct of the Journal and the other is the with the kind consent of the Corporation maintenance of the College. We are not authorities, to erect, a pucca building in this flushed with finances; I therefore take this very place, where we can hold our annual. opportunity to appeal to all rich people, Conferences and performances. Until we interested in the art of music, to help us with are in a position to do that, Dr. Rama Rau liberal donations. will have to lend his “ Gana Mandir ” to us. • Let me also join Mr. Rama Rau in con­ But for his energising influence, I am sure no veying our appreciation of the unselfish servi­ conference would have been held—it would ces of our President Mr. Tiger Varada not have been possible at all. He is the Chariar. He is a great man, not only in mighty man behind the screen. There is learning but also in patience. Such patience another gentleman also, Mr. T. V. Subba is very rare. His name itself is Tiger; I Rao, who is the very life of the Music thought he was a tiger in everything, not in Academy. The very fact that he is a mem­ music alone. I am now* in a position to say, ber of the Academy brings us a good name.- that he is just the reverse in temperament, he He is an expert in music; he is very well is the very embodiment of patience itself. versed in the theory of it. It is he who edits He has given us this opportunity to come the Journal for us and brings the great into close contact with his great qualities, reputation which the Academy already and we should congratulate ourselves that we enjoys. Another friend who is here, Mr. were able to get him as our President this T. L. Venkatarama Ayyar, is not only ah year. He conducted the proceedings of this expert Advocate, he is also an expert in Conference with such great ability that I have music. There is also Dr. Srinivasa Ragha- begun to wish that he should be our Presi­ van and there are other experts. That all dent year after year. Similarly, Mr. C. R. these gentlemen are members of the Academy Srinivasa Ayyangar, who acted as our is a sufficient indication that the Music President on two days, when our President Academy will attain a higher status as the could not attend, displayed great tact and years go by. ability, and I would even go to the extent of In regard to the model performances con­ requesting you all to elect him as our Presi­ ducted under the auspices of the Academy, it dent for the next year. The success of this is usual for us to take the opinions of the Vid* Conference is due not a little to the efforts vans. We did so this year; and some of Dr. Rama Rau. Let us pray to God of the Vidvans are oi opinion that unless Almighty that he should be blessed with long the sahityam is well brought out, the ordi­ life and prosperity and continue to cherish nary layman may not be able to appreciate the same love for the art of music as he has the songs. The beauty of the song lies in been doing ail these years.” (Cheers) bringing out the sahityam. I trust this will Mr. T. S. Rajagopala Ayyar—“ Gentle­ be borne in mind by the artistes. men, permit me to make a few remarks on Gentlemen, before concluding, I must this occasion. I, as Joint Secretary of the thank you all for taking so much trouble in Academy, personally know what great servi­ travelling long distances and attending this ces our President Dr. Rama Rau has done Conference, at great inconvenience. On and is doing for the Academy. As you heard behalf of the Music Academy, I extend my just now, the building in which the Music cordial thanks to one and all of you for your Academy is located is bis. Our intention is, whole hearted co-operation.” • THE MADRAS MUSIC CONFERENCE, 1932 149 Mr. T. S. Tiru venkata Chariar (In and a minority; but once the decision is come Tamil)—"Before the Conference adjourns, to, we, as members who are responsible for Mr. President, with your permission, I wish such a decision and as forming part of the to say a few words: Conference, should adhere to it. I refer to Generally, our Annual Conference lasts for this because, I was grieved to hear the other about ten days and during those days, we all day, that a gentleman who voted for a parti­ of us come into close contact with one another cular decision one day, was telling his friends only for about thirty hours. 1 have noted that he was not a party to it etc. However that many gentlemen come late—of course expert a gentleman may be, he must certainly I speak of those who care to attend our be inferior to a body consisting of himself meetings—and that many others come day and many others like him. I am sure, there­ after day, without the necessary material for fore, you will all agree with me, when I say any discussion they might wish to carry on that such a propaganda is very uncharitable any subject, with the result that the sub­ to the Conference itself. (Applause) ject has to be postponed. This only shows Although this year the amount of work lack of sufficient interest; I appeal to the done during the thirty hours’ sittings is quite Vidvans to take greater interest in the pro­ satisfactory, as compared with the work done ceedings. during the previous years, I should still ap­ Another small point I wish to refer to is peal to you to see, when you all assemble this : Our Conference takes up, for detailed here by this time next year, that more subs­ consideration, certain ragas on each day and tantial work is turned out.” after full and frank discussion, comes to a Gayanapatu Keertanapatu Srimati C. certain decision on them. No doubt, in Sarasvati Bai then sang a Mangala regard to every decision, there is a majority Slokatn, after which the Conference dispersed.

“ Music is no place for a democracy. Let us have a few dictators." Sir Henry Wood

20 j u u u m l Ul' IflH. MUblL A^AiJftWl THE SCALE OF NOTES FOR SAMA GANA fa ro m * ) by Mr. S. SAN KARAN ARAY AN AN, Superintendent, Accountant General's Office, Madras. **t*?%^ 3 ^spriftr ^nroir =^rft3 ?mr i

ET ^TTCtrli ^f> rT | (jtpjt) — stotcfst i TO («rft*n$) f t As regards the svaras in corresponding to the ^TTJT^^s, there are (**) two views;— The important feature in the above (a) in his Bhashya on SFHT- scale is that it is not in the regular descen­ says “ ^ ^TH- ding order but has got a «l»h«ifrt as 3 *T ft ?F *3 f t 3- It would also appear that SHUT is srftracr: ?r enter taken as the highest and eTCHT as the lowest in Softer I cRTOT—aft te n * : *f W r : the scale, as the number also indicates, but this SHW5, wyn! fSTrfhr:, JTWTJT^Irft?F:, TTT?VFTT- order does not appear to be the intention as *(ft)«rm *¥5Ttsf?T¥rT$: is defined as having the highest pitch — I ” elsewhere. Thus the seven svaras in ernT»FT*T are *£*ft ^ ft$t sraft Jmn^r 3 1 stated to correspond toftreFtriFTrfter and also aF3£e*ftrft W lf: in and so on). But the ” is confirmed of a sama noted in page 1. The 3rd is in another connection also. noted only for “ qT^ftRri g itt^ rs sjrnrer^Rrt i Thus, for svaras other than *>£ and «Rrfoq>RT T fsrg g ^rets 11 no specific srutis are indicated. qis^reg ftrwrlr^ n The following details are given in the In this connection, it deserves special for srutis. mention that when P R is sung by Hi*Rs> “ ^HHMI4RPRT I reference to the correct svara intended for qt fe$rqp: ?r p r p r n each in the PT*T, is even now indi­ %cf^r p qpg$ Era* p i cated by the fingers in the hand (vide slokas in the *rn.q& W quoted above) as arfeRqR: gEffa p g n the svaras are actually pronounced and this $ERtSRT %EfrTPT qgqwTRETrPESETT: i practice is intended to preserve the correct Errprqfq g qsRTfa ppoTTfa ii position of the svaras• u f'Nl'Jin aTT^TTc^ g I *RTO!T ^RT- *sr m tw c t g ETEpqfcR q p R q g h fir?rfa fqr?rr tn g q ^ i qsrrsrr I ” — ^ ht ett g fesrnfang qq*r * i j i ’EPjeh u Though this practice has been preserved in tact in WJH1H by the ftiaHI g Pg^T qp^T I it is very unfortunate that the pronunciation ETPT *T^ PTp I r PPPRl II ” of the svaras vocally has got so much The first of the above is this:— deteriorated that the svaras indicated by He who cannot distinguish between the the hand do not at all agree with the actual different viz., pfrfTTj P FTiff, qTMfl, pitch of the svaras sung. and ITRJT is not called an So far as the seven main svaras are concerned? to enable one to sing the Five svaras viz., fsTETtq, EJEftP, p g q , correct svaras, one must know the relativity ($ p p ) and qfcTPR take the sruti or the intervals between the svaras. This r \ 5^H| i J p takes qRUTT- is found from the particular each Note : (a) Though the text does not specify svara takes. Here again, the idea is not any sruti for the commentary defintely explained. states “ P^RT ^PPPr ^EP, PPPR In the books published, quoting P F R p e p r p qRorr ’ ’ as authority, the following indication is (6) Some say that the term “ q p g £ ” given for the following Sjf^Ts. should be interpreted as q q q and 1 1 u = 3T* In that case, the §rfp of firfT^r, q«R 2 A = WJUldKiC and Pgq is ^tflr and that of arfERPRi 3 * = an* outfit: EJeftp and P*P is The 1st is seldom marked in the The svara fedtar takes also other srutis text. The 2nd is marked when the fSipfalPR viz., JP=P and under certain is followed by the gEfaj

When the 2nd is followed by the 3rd, the begins with or when it is followed sruti of 2 is When the 2nd is follo­ by (5th) or when the ^TW ends in wed by the 4th or 1st the sruti of 2 is fftdlqC'TT) the S jft of the 2nd is ^ When the 2nd is followed by 2, the The following table shows the different sruti of 2 is TT«TT- WIH^Ts with the corresponding When the (a in Sama Gana is so ?qTs and ?jfts according to the different called) ends in the 2nd svara and the next views above described. w r e r c ......

STWT snr^ftrsrr 5TPTR per Note (a) As per Note (b) s s ^iTT S rft is accepted for according to the standard Sjfts and fix the both by and ^TWT. If ^WT svaras and g fe s in the «1*HI[»T scale with is accepted as corresponding to reference to the old standard works on will be appropriate. If f t is taken as equiva- music or ^ g q ror. INDIAN DANCE * By S r i R a g in i D e v i Dance had been one of the chief forms of and technique of the living exponents and religious expression in India for many cen­ teachers were utilised and compared with the turies. The Hindu dance was conceived in Natya Sastra and other authorities and a the past as an expression of spiritual energy careful study was made of the sculptured on the earth-plane through the senses and dance-postures on the walls of their temples. intellect. Lord Siva as Sri Nataraja, was the But it seemed to me that the original signi­ greatest exponent of the divine art. His was ficances of the gestures had been forgotten an infinite and eternal expression, in an and some research might be made in that ecstasy of motion, of the great cosmic acti­ direction by educated ladies and gentlemen vities of creation, preservation and destruc­ with a view to bring back the original inter­ tion. It was the greatest dance of all time. pretation of the gestures. When they realised that India had given them Some of the fundamental gestures! used in a supremely beautiful and divinely inspired Indian dances and especially in South India interpretation of the meaning of life in the may be mentioned. The Pataka dedicated to conception of Sri Nataraja as the cosmic Brahma indicating divine grace and assu­ dancer and when they considered that it had rance, the Ardha-Chandra dedicated to always been the sacramental view of life that Varutta indicating consecration used in the had guided and inspired the greatest creators dance of Sri Nataraja, the Tripataka indicat­ and exponents of Indian art, it was all the ing invocation, the Alapadma or full-blown more regrettable that to-day one of the no­ lotus dedicated to Surya indicating beauty of blest of Arts, dance in particular, had lost its form, and the Hamsasya dedicated to high status and was condemned and dis­ Brahma indicating purity and meditation, couraged by the respectable community. The were some of the fundamental gestures. art was generally practised now by a class of There were several examples of the Tri­ women for gain alone and therefore lacked pataka gesture. The Hamsasya gesture was even that spark of genius which could lift it also named as Mudrakhya by the Kathakali from the monotony of an uninspired technical experts. performance to a higher place where the divine in man and in life could be revealed It was when I came to South India that to the fortunate beholder under the inspired I had been much attracted by the dance of guidance of the artist. the Tanjore women. Though I found the During my sojourn in India, I had seen the performances sometimes mechanical in their dances rendered by the best-trained profes­ precision and often monotonous because of sionals and also by village folk who danced certain exaggerated mannerisms and repeti­ for the sheer joy of it. I had very often tions, yet there was great beauty in the found much of value in the style and techni­ Tanjore style and a truly brilliant technique, que of the various dances and I was quite which was reminiscent of the sculptured hopeful that the Hindu dance could be re­ beauty of the dance figures that ornament the established as a vital art if the knowledge silent walls of South Indian temples. * From a lecture delivered under the auspices ol the Academy, f The lecturer gave demonstrations of these. 154 THE JOURNAL OF THE MUSIC ACADEMY

The Kathakali Art its divine grace and eloquence, to weave for I then visited Malabar and was enchanted us, in impassioned splendour of supple beauty, by the virile and dynamic dramatic panto­ hero epics, old and new, to the throb of drunL, mime or ‘ Abhinayam ’ known as Kathakali, and the clash of cymbols and the plaintive which is flourishing in the villages of lilt of the flute and the Veena. Malabar even to-day. The Kathakali art is Dancing had a tremendous effect on the essentially masculine in style. Even the parts theatre of the future. The dancer had so of women acted by men were too masculine much expression in his body and in the drama in their postures and gestures and lacked of the future, the art of gestures will take its gentleness, though the portrayals were excel­ proper place. lent. The Tandava style of the Malabar actors was magnificient and reminded one at Folk Dances times of the grace of Sri Nataraja. The folk dances which are prevalent all over If I were to recreate the classic Nrtta India are the spontaneous dances of festivals dance with Abhinaya, I would use as a basis, and seasonal joy with rhythmic gestures and the Kathakali art of Malabar with its superb movements, full of natural freedom and grace, technique of facial expression and its flowing attuned to and descriptive of the rural life continuity of arm and hand movements, that and activities, and narrating the folk legends bind fluent gestures into poetical nuances of and religious moods of the people. I find movement and with this art, I would com­ common forms of folk-dancing existing all bine the superior grace of the Tanjore dance over India and have reason to believe that at with its more refined foot-work and vivid one time India was closely knit together in patterned beauty of movement. Out of the her culture and art. The circular dance union of the Kathakali and the Tanjore arts, ‘ Kummi', and the dance with sticks, a new Katya Sastra might be written and out ‘ Kolattam are seen all over the country. oi the femenine grace and suppleness of the In conclusion, I am optimistic of the future one, combined with the masculine vigour and and appeal to associations like the Madras elegance of the other, we might recreate once Music Academy to bestow as much attention more the sculptured beauty of the past, in all on the art of dancing as upon music.

THE MECHANIZATION OF SOUTH INDIAN MUSIC * By Mr. G. V. N arayanaswami A iy a r , Member, Expert Committee, The Music Academy, Madras. When I think of the state of our music to­ but mechanical, though recogoisable, imita­ day, I am reminded of the lines in the Rhyme tions of the same. I am apt to be mistaken of the Ancient Mariner. for a squeamish and fastidious critic for " Water, water, everywhere And not a drop to drink". making this observation. But my close No doubt we have a great abundance of acquaintance with South Indian Music for music but there is very little worth listening the last three decades and more has led me to to ; for what we hear now, is not real music this conclusion. ♦From a lecture delivered by the author under the auspices of the Madras Library Association. THE MACHANIZATION OF SOUTH INDIAN MUSIC r n

Id this connection, it will be worth our much of good business but bad music. The while to consider the state of our music organisers of rare concerts are adepts in during the last generation. There was not bringing to the platform all kinds of such a great demand for music then as monstrous combinations of unmusical now. The supply 'hlso was correspondingly instruments to attract large crowds and the limited. The quality of music was of a very hall is filled with noise. The principal per­ high order, though the quantity was not formers, who, unlike those of the last genera­ much. The artistes were endowed with great tion, are at the mercy of their accompani­ creative imagination, trained under the old ments, chiefly a drummer or a kanjeera player, gurttkula system. So they were able to have, in their despair, to resort to all kinds bewitch big audiences with their entrancing of unmusical, gymnastic feats in rhythm, music and were not in need of any extra­ and the unequal contest between a principal neous help in the shape of unnatural, un­ performer and the drummer, which more musical instruments like the Kanjeera, Dolak, often than not, brings no credit to the chief, Morsingh etc. Their devotion to the art of furnishes ample amusement to the audience music was not one of financial expediency. longing for something emotional and exciting. They led pure and contented lives and loved The applause fiend is very active and the the art for its own sake. So it was no wonder hall becomes a pandemonium. These per­ that they were able to produce excellent formances are now as attractive as the music characterised by originality and gladiatorial shows in ancient Rome. The classical purity. They never broke the tradi­ artistes care only for the good income they tions of the past, but made use of the same make and are prepared to submit to any fora fuller self-expression. What was the indignities. Even institutions that have been attitude of the public then ? They were not recently started and patronised by rich men, so musically educated then as now. They with the avowed purpose of removing many had a great respect for the Vidvans and of the existing evils, are carried-along the the standard set up by them. They maintain­ current, being unable to stem the tide of the ed an honourable neutrality and never took popular craze for sensation, excitement and part in estimating the merits of a musical amusement in a concert hall. The public are performance. The herd tastes did not pre­ not to blame. Their taste has been vitiated dominate and the musical performance was by their being made to listen to all kinds of entirely free from restlessness and disturbance the so-called music provided by the of any kind. harmonium, radio and gramophone. Let us now come to a close examination of The mechanization of our music began the present condition of things. The music with the advent of the harmonium, was we now hear, is as mechanical as the life we continued by the gramophone and has been lead, characterised by a shattering of old completed by the broadcasting apparatus. time-honoured traditions, a craze for thrills Let me first consider the evil wrought by and amusements rather than enjoyment. The the harmonium. It is the worst enemy of advertisement of a musical performance our music. It has got its own limitations comes rightly under the heading of ‘ amuse­ which can never be got over. Any amount ments’ in newspapers. Why? The great of skill gained in handling the instrument is creative art has lost all its sacredness, but a sheer waste of labour. It is not worthy of lias become an article of trade. We have our admiration, as the instrument can never 156 THE JOURNAL OF THE MUSIC ACADEMY

do justice to the genius of our music. The music being recorded and handed down to other day a performance was arranged by a posterity. concert-agent with a harmonium alone as an I am keenly alive to the advantages -gf accompaniment, in place of the time-honoured gramophone music, provided it is used with violin. Soon after, however, a violin also great care. Records of masterpieces rendered was tacked on, probably owing to a protest by eminent first rate musicians are very useful from the music-loving public. This protest for reference. For example, if the music of from music-lovers deserves our admiration. Maha Vaidyanatha Aiyar, Sarabha Sas- But, unfortunately, every house owns a triar, Patnam Subramania Aiyar, Tiruk- harmonium and every girl is taught to handle kodikaval Krishna Aiyar and other .eminent the instrument. At all hours of the day the artistes of the last generation had been neighbours are bored with the noise of the recorded, one could now clearly know the instrument. Even as a drone, its use must deterioration of the art in quality, in pro­ be discarded. portion to the increase in quantity. Again, it is urged, that, when one hears gramophone What about the gramophone ? It gives us music, one is free from the unpleasantness of mechanical but recognisable imitations of looking at the contortions of artistes which real music. This scientific toy has enthralled are too well-known to require mention here. the attention of the masses. It has already proved a Pandora’s box. Every restaurant As regards the music of the radio, the owns a machine, which is, active from morn quality of the music we hear is of a very low to midnight, boring the people passing through order. In these days of unemployment an the street. This has become a regular nuis- offer of Rs. 5 now and then is a good tempta­ sance. In the interest of the art, I should tion to many a youth, who learns a few songs like to suggest, that the City Fathers here from a book or a gramophone plate, rushes to should bring this under the Public Nuisance the radio and inflicts his bad music on the Act, curbing the activity of the gramophone beach audience. The great demand for at least between 12 o’clock and 3 o’clock in artistes is met by the running of Summer the day. Too much of anything is good for Schools which manufacture musicians in six nothing. The evils of surfeit are far greater weeks. With a view to popularising this than those of want. Besides, gramophone movement, demonstrations are arranged music has its own drawbacks and difficulties. occasionally, which are presided over by It is after all a mechanical reproduction of an highly placed Englishmen, who are as much artiste’s music. Much depends on the artiste’s acquainted with our music as a frog with mood. If his bad music is recorded, the taste politics. The organiser is congratulated and of the hearer is spoiled. Children are adepts praised. The disservice done to our music by at imitation and they will copy the bad things of this kind is too obvious to be dwelt music too faithfully. The time-limit and upon at length. The public taste is hope­ other restrictions imposed on the artiste give lessly spoiled.- rise to hurry and flurry, which affects the Well, in the face of these dangers and quality of the music recorded. Besides, a difficulties, I am not pessimistic about the want of sense of proportion on the part of the future of our music. A reaction will soon set artiste spoils his music, not to speak of other in. The craze for light music and folk-songs, defects in his pronunciation and utterance of for which the gramophone is more responsible the sahitya. So there is every chance of bad than anything else, will gradually die away. e x t r a c t s f r o m periodicals — h o w t o s in g 137

I am glad to- observe that the gramophone and bad music can never last for all time. companies have already begun to record the Imitation diamonds have not lowered the classical music of good artistes. The tide is value of and the demand for real ones. So turning in pur favour. The music for all also imitation music can never lower the value time will eventually take the place of ephemeral music. Good music will never die— of real music.

E jtracts from Ifreriobicals

HOW TO SING* In these days when all musical teachers of singing, for no doubt it keeps considerations are silenced with a away prospective pupils. volley of catch-word phrases about Why do musicians hold such divergent voice-production, muscular exercise views on this subject ? Is it purely a matter etc., etc., the following extract will of training ? Do the majority of teachers not be found refreshing reading : think for themselves, but blindly pass on what they themselves have been taught ? Almost There is no subject in the whole realm of every method produces some good results. music which causes so much discussion and The problem is to find not the good but the about which intelligent musicians hold such best. Is it possible to decide the matter by divergent views, as the production of the the application of ordinary commonsense ? human voice. One individual will explain fully his idea of a method, and another will Let us get to the foundation. What did disagree with everything the other has said. nature intend us to do when we sing ? We There are, of course, differences of opinion sing naturally in youth before our intelligence about all other musical subjects, but most is developed. Is our singing to be funda­ people agree, to some extent, about funda­ mentally different when we grow older and mentals. But in this case, there are differences our intelligence ripens ? Surely not. Then of opinion about the fundamentals them­ why try to make it so, to achieve conscious selves. According to one school of thought, control of the muscles ? For the moment I the conscious control of the muscles is the am not concerned with the pleasantness or essential basis; according to another, the con­ otherwise of singing before and after our trol of the muscles should be quite uncons­ intelligence is developed. I am talking only cious. And in between there are many other of fundamental production of sound. After “ methods ” which represent compromises. Is all, is not conscious control to any great ex­ it possible to clear up this confusion? It tent well-nigh impossible, particularly when would be difficult but, surely, not impossible. the muscles concerned are internal ? At the The present position cannot be otherwise than best, control can only be obtained after long bewildering to the lay public and harmful to and arduous practice. * Extracted from The Musical Standard 21 158 THE JOURNAL OF -THE MUSIC ACADEMY

If singing is a natural art, is it not extra­ his temperament are shown in the colour o£ ordinary that such a mystery is made of it ? his voice. Artificial production stifles the. Some of the books which are written on the singer’s personality. When the production is* subject, with their descriptions of muscular natural, only a small proportion of the action and their anatomical diagrams, are singer’s attention is required for the voice; enough to frighten the student into not most of his attention can be turned to- the singing at all. Looking into them, the man vital matter of interpretation. After all, the in the street would imagine that, in order to voice is only a means to an end, although, of learn to sing, it is first necessary to be some" course, the more beautiful the mean§, the thing of an anatomist. Surely if nature better. meant us to sing with natural control of the muscles, something must be sacrificed if we Again : with natural production the voice do not do so. Conscious control being un­ will last, and one will be able to sing till natural, the resultant singing must be ­ comparatively late in life. Why do so many ficial. professional singers retire when only in the What, then, is “natural control”? Natural forties]and fifties ? Simply because their pro­ control is what we exercise when we sing as duction is wrong, and, owing to the incessant we did!'before our intelligence was developed. unnatural tension, singing is a task and the The problem is to apply only natural control voice gives out. In speaking properly it- is while advancing gradually from the singing not necessary to know what the muscles are of simple music to the singing of the most doing. Why, then, is it necessary in singing! difficult. U nder such conditions we get per­ The same mechanism is doing both jobs, and fect ease in singing, and, because of that ease, the mind is doing the rest, "whether in speak-, the compass of the voice is much larger. ing or singing. Fundamentally, therefore, Singing should be easy all the time—and that perfect singing is the result of natural pro­ is only possible when the production is duction of the voice, together with its natural. counterpart, perfect articulation. Beauty One other point: the natural voice reveals comes through these to the extent that nature the personality of the singer. All shades of has given it to the individual voice.—j.A,j$.

TASTE * THAT INDEFINABLE AND INDESCRIBABLE SOMETHING BY J a c o b E is e n b e r g .Taste, that indefinable and indescribable hopeless groping for an answer. In the eager­ something with which inspired music is per­ ness to display the effulgence of one’s emo­ meated, and which characterises superbly tional soul, the average attempt usually endp artistic interpretations, is a quality with in a series of uncontrolled gesticulations. which music enthusiasts seem most eager to Arms flying in all directions, in short, seems appear abundantly possessed. Yet, when, one to be the best manner of answering—much inquires for a definition of this quality, ex­ like the definition of an accordion, or spiral pressed in specific terms, there seems to be a staircase. * Extracted from The Musical Standard Italics are ours EXTRACTS FROM PERIODICALS—TASTE 159

In discussing the definition of taste, nume­ prefer not to hear her. These, one may con­ rous points must be taken into consideration sider as being possessed of an inferior taste. before we can hope to arrive at any conclu­ But as we look further, we may discover sion. For example, there is the matter of that they prefer Gieseking or Backhaus viewpoint which is individual with each instead. Knowing this, it would necessarily personality. Then, though the principles be in order to change our opinions, for, are underlying the basis of good taste remain they not admirers of performances replete constant, there is the ever-present fact that with good taste? And do we not judge one’s the methods of expression are variable in taste by his preferences ? accord with the trend of the times, and with This divergence of opinion will assert itself the nature of each particular social circle. so long as man continues to appreciate that Finally, there is the problem of recognition which he will consider good music. How of the several stages in the gradual develop­ can it be otherwise when no two people are ment of the physical expression of one’s of the same tendencies and environment taste. and when even the mood of each individual In considering the matter of viewpoint in is ever changing! Some are cold, calcula­ the teacher-pupil relationship, we find that ting, mathematical or mechanical; while the pupil is commended as being imbued with others are endowed with a superabundance exceptional good taste when he is inclined to of emotional tendencies. Some are light­ appreciate the instructor's interpretations— hearted and gay; while others are spiritual or be the pupil's performance a mere imitation philosophic. Some have found life’s problems or be it a sincere expression of an enlighten­ simple of solution; while others have had ed emotional appreciation. On the other most profound problems with which to cope. hand, should that student find it necessary to Since one’s opinions vary in accord with his accept the guidance of a different mentor impressions as governed by his natural ten­ with whose views his performance fails to dencies and balanced by his experiences, it is coincide; then the same pupil’s performance is a simple matter to conclude that no two in­ discouraged as displaying a decidedly bad dividuals should be expected to be of an iden­ taste in need of complete remodelling. What tical opinion. ^tudent has been spared the sensations of a The next point to consider is the fact that like experience! methods of expression vary both with the Similar circumstances prevail in the artist- trend of the times and with the nature of audience relationship. Each artist has a host each particular social circle. Just as we do Of admirers. Yet, not one has succeeded in to-day, people, from time immemorial, en­ being considered “ the last word ’’ in artistry joyed or suffered emotional reactions in by all music enthusiasts. Nor does any artist accord with life’s experiences. Yet the even dare to hope for such universal accept­ manner of expression with each individual, in ance. In short, each has a host of admirers as each locality, through each period, differed well as some few defamers. Let us say Myra somewhat from the rest. Thus Bach, Beeth­ Hess plays to a crowded house. Immediately oven and Wagner, each experienced social we admire the good taste displayed by the conditions peculiar to his time and locality, audience, for do we not judge one’s taste by or social circle. Schumann, Chopin, Brahms his preference ?. However, there are those who and Tchaikovsky, too, endured conditions express a disapproval of her artistry and peculiar to themselves. It is thus natural that 160 THE JOURNAL OF THE MUSIC ACADEMY

each, in giving expression to his emotional is most difficult to measure even by a trained soul through music, should express himself in and analytically observant mind. It is not accord with the trend of his time as modified rare for a student to be possessed of a magni-"^ by his attitude toward his social circle whose ficent sense of proportion and balance; to pulse his genius penetrated. have acquired a wide working knowledge of Since it is the performer’s duty to interpret the various periods and their several social the thoughts as expressed by the composer, it customs, to have developed a prodigious is plain that to execute Bach, Beethoven or technical facility, and to react emotionally Wagner in the spirit of our present-day jazz, in direct proportion to the artistry and good would not be in good taste. taste as displayed by others—and at the same It is simple to differentiate between the time to display with his own performances spirit of the old classics and our present-day interpretations that are seemingly deficient jazz. The two are so far apart. By the same in good taste. reasoning, however, there is a variance in the Thus, with students of this genre, of whom spirit of each composer, though the difference there are legion, we must look for the may be far more subtle. However, it is this symptoms of good taste and observe their variance in the manner of emotional expres­ steady growth. We should appreciate each sion which sets each master, apart as an in­ stage in the gradual development in their dividual personality. ability physically to express their musical When a performing artist has penetrated thoughts in good taste. Thus we are the personality of the composer of each com­ dealing in potentialities which will eventually position as he plays it and has laid before his become realities when nourished by sufficient listeners the message contained therein from encouragement and supported by proper the viewpoint of the composer and has de­ guidance. picted the trend of the times of the composer, and conveyed the composer's attitude—then Reducing these observations to the form of will that performance have been in good a definition of taste in so far as music is taste. concerned, we may conclude that: Finally there is the problem of recognising Taste is the manifestation of one's emo­ and appreciating the several stages in the tional reactions as governed by an intellectual gradual development of the physical expres­ understanding of the profound message with sion of one’s taste. which inspired music is permeated, as This is one of the most difficult of all modified by his emotional appreciation of the phases in considering the qualities possessed intent of that message, and balanced, in turn, by good taste. In this we must deal almost by life’s experiences and ever changing entirely with potentialities, something which moods.

Extracted from The Muscial Standard. Italics are ours EXTRACTS FROM PERIODICALS—‘DOING IT BADLY’ 161

" DOING IT BADLY ” *

Under this heading Mr. Eric Blom preach* actual experience is worth hundredweights of ed a sermon in the “ Birmingham Post ” the other thing. which we should like to see printed in leaflet Wireless and gramophones have enormous form and distributed to every home where powers for good ; no one is fool enough to there is a wireless set or gramophone. deny that. Bu< between them they are do­ Mr. Blom’s text was Gustav Holst’s paradox ing terrible harm by discouraging the that “if a thing is worth doing at all, it is amateur musician. Even in that respect, we worth doing badly." Paradoxes are dan­ admit, they have not done unmitigated evil. gerous things, two-edged tools, and only an They have put an end to the worst manifes­ intelligent man knows what to make of one. tations of amateur incompetence in public. A fool will soon cut himself. Mr. Holst and That was always the bad side of amateur Mr. Blom are not, of course, taking super­ music-making. Not content with enjoying fluous pains to incite fellow-musicians to their music-making themselves (for whom botch their work. What they mean is, sim­ alone it had value—but great value), incom­ ply and solely, that making one’s own music petent people used to insist on inflicting it on is so immensely worth while that it is worth others, to whom it was only a nuisance. doing even if you can’t do it very well. In Amateurs, in the true sense, are those who love its way, quite as worth while as passively music for its own sake, not for the sake of listening to other people doing it superbly. the opportunities for self-display it offers them. Sing together by all means, for the One of the most serious blights on the fun of singing and the joy of trying to sing modern world is this spirit of “spectatorism,” more beautifully. But for Heaven’s sake the antithesis of “amateurism.” We look on don't give a solemn concert of bad music at football matches, instead of kicking balls badly sung in consequence—and pester your for ourselves. It is all very well to watch the friends to pay away good money to go and star players, to see how well it can be done. hear you. That isn’t love of art. And we They give us a standard to judge ourselves by may be thankful that such dismal entertain­ and an ideal to strive toward. But we can­ ments are on their last legs. Make a mess of not even know how well they are doing the the ‘‘Forty-eight” for your own private joy, thing unless we fumble at it ourselves some­ by all means. It is an invaluable experience. times. Knowledge based on observation You know nothing of Bach if you’ve never alone is worth very little in either football or done it. Only don’t do it publicly. But music. An ounce of knowledge based on still—go on making a mess of it!

*ExtraCted/rom The Musical Standard Italics are ours 162 THE JOURNAL OF THE MUSIC ACADEMV

HEARING INWARDLY*

By Mrs. Hugh A. Clarke

So fne times we try to think of a familiar If, for instance, we are listening for the key­ melody. Presently it comes to us, and note of a melody, we must not try to do aiiy« we may sing it or hum it, or we may just thing. We must just keep very still and think of it without making any sound. In the listen. By and by we shall hear the sound of last case we are hearing inwardly. the keynote. Hearing inwardly is the basis of all modern methods of teaching music. Whether we are trying to hear the keynote or to follow the rise and fall of a melody we We could not recognise a friend on the shall find that any hurry or violent effort street if we did not have a mental picture of results simply in wasted energy and defeats him. And when we say that the music we our purpose. It is like learning how to swim. are listening to is “Home, Sweet Home," we At first one makes violent efforts to keep up are able to name it because we have a mental in the water, but finds oneself instead going picture of it. under. Then one discovers that a long slow -Of course, to hear a melody inwardly stroke keeps the body up with almost no includes a complete mental picture of it. It is effort. And if one has ever learned to ride more than a mere auditory picture composed the bicycle, one doubtless has had a similar of sound images. True hearing inwardly is experience. The more one grits one’s teeth mental. It includes the rhythm of the the more determined to fall over does that melody, the consciousness of its keynote, the perverse steed become. But, with the reali. knowledge of the interval between the notes sat ion that an easy, regular motion on the .that compose it, and the recognition of the pedals is all that is needed, comes the ability chords that harmonise it. The lady who was to stand almost still on the bicycle without asked to play “Home, Sweet Home,” and losing one’s balance. replied that she did not have her notes and did not know it by heart, had not been taught When we train ourselves to hear inwardly to hear .inwardly. An accomplished musician, we learn, first, to feel the rhythm of the able to read any music set before her, she yet melody, second, to be conscious of its key­ was unable to do what many children can do note, third, to recognise the intervals between today. its notes, and, last, to be able to hear inwardly In order to hear inwardly one must become the chords that harmonise it.—Form “The very quiet and listen to what is in the mind. Etude.”

^Extracted from The Musical Standard Italics are ours ©fittuary. THE LATE BAVA RAJU BHAYYA MORGAMfrAR OF GWALIOR Mr. P. 5. Sundaram Aiyar, Tanjore, the modern style. His tutor was Rao w ritea:— Saheb Masurkar of Gwalior. He was pat­ It is with extreme regret that we have to ronised by Srimant Balwant Rau Bhayya record the sudden and untimely passing away Sahib Shinde of Gwalior whose songs of Bava Raju Bhayya of Gwalior. His were popularised at Taniore. loss to the Hindustani Music world is one A great void has now been caused in the that cannot be replaced. The exquisite M usical world by his demise which is not easy Gavayi style of North Indian Music expres­ to fill. We deeply mourn his loss and send sed with his sonorous voice for the last our condolences to his poor widow and his twenty-five years in Tanjore and in Septem­ young son of seven years. ber of last year at Madras, cannot be easily for-gotten. The Late T. S. Rajagopala Aiyar He was a hereditary grant-holder (Rs. 100 It is with great sorrow that we have to per mensem) in the State of Gwalior. record the untimely death of T. S. Raja­ His grandfather, Saint Ramachandra Bava gopala Iyer very early during the year under Morgamkar of Keertan fame—who establi­ report. As a J t. Secretary of the Academy shed the Gwalior, Tanjore and Mayavaram and an ardent Life member thereof, his ser­ Mutts—is known by his at Tanjore. vices were of great hlep and our thoughts are It was his son, the late Vishnu Bava of charged with happy memories of his good equal reputation in this field, whom the last self. We convey our sympathies to the generation of Tanjore and Pudukotah so well members of his bereaved family. knew. It was from this Bava that the late Krishna Bhagavatar of Tanjore drew his direct inspiration. The Tanjore Ranees THE LATE SOUNDARA RAJA and the public were the actual patrons of this BHAGAVATAR OF DEVAKOTAH divine art. The last generation knows very We have further to painfully record the well that Vishnu Bava, Ram Bava of passing away of Soundararaja Bhagavatar, Gwalior and the late Bavuswami of Tanjore one of the staunchest members of the Aca­ and others were the Saint’s direct disciples, demy’s Expert Committee. In his death the the last being his pet student. Journal has lost an able contributor and the Music, whose style is undergoing vast Academy an illustrious savant who bad, in changes under the influence of the stage, diverse ways, rendered unstinted services in found in the late Raju Bhayya a combina­ several of the activities of the Academy. tion of the old standard Gwalior Music and We pay our humble tribute to his memory. IRevtews MAHARAJAH’S MUSIC COLLEGE, VIZIANAGARAM. FOURTEENTH ANNIVERSARY CELEBRATION The fourteenth anniversary of the local Narayana Doss, the Principal, entertained Maharajah’s Music College was celebrated the gathering with a Pallavi of Pancha Muk- in the premises of the institution under the hesvara Tala or the fine varities (combined) presidentship of Mr. S. Y. Krishnaswami of Eka Tala, which was begun and finished Aiyar, M. a ., I. c. s., Sub-Collector. simultaneously by five instruments in fifteen After prayer, Mr. Adibhotta Narayana different tunes, consisting of 16 different Doas, Principal of the Music College, read svaras, thrice recited 'as Tana Pallavi, the annual report, wherein it was stated that and with Sabda Muktayi. The performance the institution was established in 1919 by the drew loud applause as being a wonderful late revered father of the present Maharajah, musical feat- for imparting instruction both in the theory and practice of music, which included Rig In the course of a brief speech, Mr. Krish­ Veda, Vocal and instrumental music on naswami observed that it was a matter of Veena, Violin and Mriddnga. There were 50 satisfaction to find the Vizianagaram Samas- scholars on the rolls, most of whom were free- thanam maintaining for many years a con­ boarders. servatoire, such as the one of which they After Sonayi and Dhol music, Rig Vedic had celebrated the anniversary. Having hymns set in Svara and Tala with Telugu been in the South, he could state that music and Sanskrit renderings were chanted by the was not as enthusiastically patronised by students of the college. There was a vocal landlords as it was done here. There could music performance accompanied by mri- hardly be any doubt that the public were dangam. About half a dozen pupils played beholden to the Samasthanam for the up­ on the Veena simultaneously. Mr. Dwaram keep of a Music College where instruction.in Venkataswami Naidu regaled the audi­ the theory and practice of Carnatic music ence with exquisite instrumental music. Mr. was imparted to the students.

FESTIVAL OF INDIAN MUSIC VARIETY PERFORMANCES AT LUCKNOW BY M r . A. V a ik u n t r a m P a n d it , Bombay. Reviewing the recent Music Carnival held On the whole, the week’s performance was at the Marris College of Hindustani Music a success. Its important contributors wer& Lucknow, organised in connection with its the Balls of Dariyabad, the custodians of the Convocation week, Mr. Vaikuntram Pandit best traditions of Indian art in the provin­ of Bombay who attended the function, writes ces of Northern India, the U.P., the C.P., and as follows:— Bengal, Principal Sri Kissen Ratanjankar REVIEWS TOT and Principal Asit Kumar Haidar, the num­ Indore (the-son of Alabande, and the nephew erous Ustads wljo came from all parts of of the Great Zakaruddin and the grand Northern India, the students of Viavabha- son of Bairam Khan of hallowed memory) rati and above all, the student volunteers of was the doyen among vocalists. One the college. There was a hearty co-operation afternoon, he gave his famous Alap in between the different elements, a fact which ‘Multani' ‘Pilu, ‘Maroari and ‘ Sri Rag.’ is worthy of note in these days. There was With hiifa the tradition of alap will die, for no distinction between the high and the low, there is no future for the epic style either in the Hindu and the Muslim, the Hindustani music or in literature. The impatience of and the rest in this feast of music. The the audience—and it was Lucknow audience spirit that prevailed was one of healthy emu­ too !—amply proved it, if proof were needed. lation as to who could give more joy, as to Naziruddin himself realised it when on the who could sacrifice more. This experience receipt of a note from somebody in the audi­ was in tune with many previous ones, and ence he passed on from an alap in 'Pilu,' a conclusively proved that lack of cultural fare Ragini for such a purpose, to its Tumti opportunities for creative spiritual effort, re­ so familar to all alike though not without a presses our energies, side-tracks them, makes proud protest. It was tragic. for dispersal, and hence for discord. Musical Value Crown of tradition Anyhow it is a fact that in the minds of The contribution, like the contributors was those who appreciated his protest and secretly varied. All the arts cognate to music were wanted him to go on with alap, a historical represented. Vocal and instrumental music, sense was mixed up with musical values. Now dancing, tableaus, dramas operas: no side it is not difficult to disentangle the latter escaped the attention of the organisers. It from the former. At some interval and parti­ was only fitting that the new school of music, cularly after hearing him at private recitals dance and drama initiated by Tagore did in his room, where, before a select audience, have a separate niche in the temple of classi­ he poured himself out in unpremeditated cal music. One could almost say that it was ease, it can be boldly asserted that he is really the “ Sikhara" itself, for creation is the a first-rate musician. With the exception of crown of tradition. The best of folk art, at one or two artistes, nobody in India, now least that portion of it which has been or is living, can be put in his rank by any likely to be organically related to living stretch of admiration either in the matter traditions of classical art, was articulated of production of “ Srutis" i. e. pure through Tumri, which had a status equal to notes or in the development of the that of liheyal and the performance of theme. His voice is sweet and deep, his the Santi Niketan artistes was highly intonation perfect, his note production appreciated. the surest. Time and again he would come back and dwell on any note he Doyen among Vocalists would. There was no hesitation in his home-coming for it was that of the master. It is not possible to write about all the His combination of the notes to express the activities. Let me direct myself to music melody is excellent; his execution is dignified only. Sangit Ratan Naziruddin Khan of and severe, almost ascetically austere. 22 166 THE JOURNAL OF THE MUSIC ACADEMY

Like Veena play undesirable in so far as it assures variety and Yet he is an ‘ alapiya' whose voice-produc­ individuality. But, it may just as well add to tion reminds us of Veena play. He is not a the difficulties of the learner by confusion. A- singer of songs. The one song that he sang, student of 1 Kheyal' may miss the nuance of of course it was a Dhrupad composition, did a delicate note, in taking a fast ‘tan’— not come up to the standard of execution that particularly in ‘ arohan' and then woe betide he had himself set up in ‘ alap ’. All his him. qualities were there, yet there was something A Bombay performer missing. Was it the lack of that humility, The other vocalist of eminence coming sraddha, which makes a supreme artiste obey from outside was Vilayat Hussain Khan of the dictates of the composer, transcend the Bombay, the son of Nathan Khan. He is limits by recognising them and establish a a “ Kheyalia” with a lovely voice who knows completed structure by the inner rapport how to develop a melody without sacrificing between form and content, words and notes ? the beauty of the composition. His style is For the wholeness thus created, forges the easy and graceful, and as such, he quickly bond between the artiste and his public. There established points of contact with the public. was certainly a dose of over-confidence in His ' boltans, or ‘tans' which work hand and Nasiruddin’s singing which looked suspi­ glove with the words of the song were exceed­ ciously like an aggressive search of compensa­ ingly well-done. They reminded us of Fyaz tion for what he, in opposition to the public, Khan of Baroda and his disciple, Principal considered to be irrelevant—viz., the support Srikissen. One would think that they of verbal framework. Purity in art, like belonged to the same school, for the affinities Puritanism in ethics, must be kept up by were unmistakable. After a ‘ Deshi Todi', pride. Nasiruddin Khan’s personality in which he sang indifferently with two ‘ Dhai- style, cannot be explained merely by the fact of his being the last of the giants. Of course, bats’, Vilayat Khan gave a beautiful 'Basant' a giant he is. His ‘ rishhab ’ in ‘ Sri ' was a which earned him a great applause. Next evening the Bombay Ustad sang a Purvi and marvel in accuracy. His ‘ alap' in ‘ Multani' was like the majestic movement of an elephant a Jayant, which was probably ‘ Jayant-Sri’, conscious of his role as the leader of a Durbar for the Sn-element was very conspicuous. procession. And this is what an ‘ alap’ at His ‘ ChancharHoli’ was not very successful, for the Lucknow standard in Chanchar is least ought to be. very high indeed. The Lucknow public Regnant Note demand the expressiveness of ‘ Tumri' from One point in his rendering of ‘ Maroan a singer, and it is difficult for anyone was interesting to the trained section of the other than Chandan Chaube to satisfy this audience. In the Marris College, this demand. In any case the impression made particular Raga is sung with a slightly high by Vilayat Hussain improved tremendously ‘ Dhaibat’. In fact, the regnant note of the the moment he ceased to sing with the Rag [s'Dhaibat’ which distinguishes it from harmonium, which is admittedly a kill-joy 1 Puriya’ in which ‘Nishad’ is prominent. in music. Nasiruddin deliberately used ‘ Dhaibat' at a Other vocal artistes of second .magnitude slightly different shade- It is well-known that also demonstrated their skill. Chand Khan every musician’s family in India has got its and Usman Khan of Patiala sang, among personal style. Probably this is not wholly others, a rare Raga in ‘ Bhakhara ’ with REVIEWS '16/

Komal 'Rt and ‘ Stiddha Dhaibat ’ as ‘ badi ’ the same and succeeded in arousing the same, with ‘ Panchama ' as ‘ anubadi ’ It was akin if not a greater enthusiam among a public to ‘ Jogiya The writer has heard probably that believes in Bhairabi. It was no mean another variety of ‘Bhakhara’ which is closer accompolishment. Enayet Khan played to ‘Lalit-Pancham.’ The style of th ^ two twice, one ‘alap’ in 1Jaunpuri on the model brothers from Patiala was already very good. of his father and a few ‘gats’ in ‘Bhairabi’ Gurmukh Singh of Gujranwalla sang - and ‘ Pilti with Siair Sobhan Bhatta- pad in ‘Barat, Suhla Bilawal’ and ‘ Bara- charya’s accompaniment in Tabla. He had Hans' to the accompaniment of Pakhwaj fcy never played better, which is, as everybody Pandit Sakharam of the Marris College who has heard him will admit, saying a great who lent Dhrupad its proper dignity by his deal. He fell ill along with his disciple, play. Bhombal, the young twelve-year nephew of the famous Sarodiya, Timir Biran Bhatta- But it was the instrumentalists who carried charya who is now touring in the Continent the day. Among them, special mention must with Udaya-Shankar. Enayet and his party be made of three, Hafiz Khan, the Sarodiya left Lucknow in a hurry and deprived us of of Gwalior lately of Calcutta. Enayet many more treats. Khan, the Sitariya of Gauripur Bengal, (the worthy son of the late Emdad Khan, and the maternal uncle of Professor Hamid The Jaipur school Khan of Lucknow), and Ustad Fazi Khan Fazi Khan is a Sitari whose performance the Sitariya of Sakhid near Gwalior. in “Bhimpalash" has been recorded. His Hafiz is the greatest artist in Sarod now name may be new to many, hence a few living. The manipulation of his finger tips remarks about this fine player will not be out is accurate, his control over notes is marvel­ of place. He belongs to the ‘Senya’ school lous, his economy is thrilling. He played of Jaipur who claim to be descendants of morning, noon-tide and evening Ragas, he Mian Tansen and as such to have preserved played heavy and light tunes, on slow and the traditions in their pristine purity. Their dancing rhythms, and whatever he touched, play is different from that of Emdad Khan he adorned; whenever he played he led the and his school. The present generation is audience captive. familiar with the latter through their repre­ sentative Enayet Khan. The difference Spirit of raga probably started from the fact that the late Hafiz Ali is not a pedant, he avoids Emdad Khan had played on the 'Sarangi' virtuosity like poison, he does not show off in his younger days and introduced some what can merely be acquired by long of the decorations adequate to the Sarangi, practice. He is not mechanical. He enters an invariable accompaniment to songs of into the spirit of the Raga straightaway, lighter variety into his Sitar-play and by and then inveigles it out before the audience force of genius created a new personal style very tenderly, by the minimum of dexterous altogether. The musical difference between strokes and the most delicate handling. An the ‘Senya’ and the ‘Emdadi styles lies in the instrument like Sarod is not supposed to be greater use by the former of those ‘alankars a conveyor of delicate nuances. Yet he came which are associated with and are peculiar to after Enayet Khan who had enraptured his Sittar e.g., ‘Jorh’ ‘Tholt (strokas), ‘Larhi, audience by an inimitable Bhairabi, played Larhguthai' etc. Musical Value musical value is one uniform throughout and It is not suggested that they are absent, say, a derivative of vocal qualities Enayet’s appeal in Enayet Khan’s performance or that would be greater. For pluralists, who would nothing else is present in Fazl. Both played look to the character of each instrumerlT'for “Bhairabi”. The former left the impression its own type of musical expression Fazl of a beautiful song rendered by a great Khan’s appeal of every Seniya would be vocal artiste of the female persuasion, the superior indeed. Yet, one is not very sure latter that of a purely instrumental piece. about this, for there are many things which Enayet was more true to his sense of music, are common, e.g., the control over notes and Fazl to his instrument from which he would ragas. Regarding Fazl Khan’s play one evoke music. For those who believe that can have no doubt whatsoever.

THE MADRAS CORPORATION BROAD CASTING SERVICE

Annual Report of 1932- ’33 dency Radio Club ” with His Excellency the “The Scotch Crofter in his lonely hut among then Governor of Madras as its Patron. the hills, and the lighthouse-keeper on his During the first year, the Club used a small solitary rock, may now listen to the glories 20 watt Transmitter lent by Mr. Roscher of of Roman, Milanese, and Parisian opera. The the Indian States and Eastern Agency. genius of wireless, at a finger’s gesture, will During the Second Year, the Club purchased fill the lowliest chamber with the wizardry a 100 watt Transmitter, which it was using of the 'Rhine Gold,’ th e ’ Magic Flute,’ or until October 1927. The Club was then wound the ‘ Blue Bird.’ ” up by reason of the fact that the Govern­ Not only this; it ‘plays a great part in en­ ment of India stopped giving proportionate abling a civic community to provide license fees to the various Radio Clubs in opportunities for the citizen to attain, to India in consequence of the formation of the possess, and to seek the very best that man Indian Broadcasting Company and the Club could not pull on without financial help from is fit for—not merely in the physical wel­ Government. The Club presented the Trans­ fare—but in things and objects which inten­ mitter to the Madras Corporation on condi­ sify fellowship and give men happiness such tion that they took up Broadcasting Service. as beauty of environment and the opportunity The Corporation of Madras accepted the gift to enjoy the best that the creative artistes in and after a great deal of correspondence a the past have produced.’ That is how it can broadcasting license was obtained from the justify its existence ; that is how one gets the sense of belonging to a city. Government of India in May 1929. Necessary materials for maintaining a regular Broad­ We are glad that the Madras Broadcasting casting Service were then obtained from Service is well on its way to achieve such an England. Aerials etc. were erefted and an end. efficient Studio was built. Regular Broad­ It now enters on the fourth year of its casting Service was commenced on the 1st career. The following history of its service April 1930 with the Studio in an outhouse in is well worth noting: the compound of the Municipal Office and the “It may be recalled that a Club was formed Aerials located on the top of the Municipal on 31st July 1924 called “ The Madras Presi­ Office itself (Ripon Buildings).” TJU'I'ky AND COMMENTS

The year under report is one of increasing rana, Kambhoji, Bhairavi, - activity. Music, school service, lectures, and Kharaharapriya, Surati, , Pan- advertisements form the chief heads of utility. tuvarali, and Kapi comemext in order. The The service is as usual receiving the co« development of broadcasting has undoubtedly operation of the Music AcadeAy, Madras in been one of the factors which have created the matter of selecting the artistes and a somewhat difficult economic condition in we are happy to note that there is a steady the profession of the musician. We grant improvement in the tone of the musical that, ‘to these conditions, the profession itself output. There has been ' direction of a must react but, at the same time, the broad­ proper kind ’ as already suggested by us casting authorities should recognise their and the results obtained are commendable. full responsibility to the profession of music, As usual the statistics of the musical pro­ upon which they are dependent for so much gramme present very interesting reading. Of expert assistance and it is not unreasonable the ragas popular at the broadcasting station, that we should look to them to restore the Todi tops the list; Kalyani, Sankarabfuz- equilibrium.’ We wish the service all success.

Botes anb Comments The Raja Sir Annamalai Endowment Music, Madras, who shows the greatest profi­ The New Year brought in very good cheer ciency in music in the year. indeed to the Music Academy Madras, which With kind regards, commenced its activities with great zest. Yours sincerely, A n n a m a l a i C h e t t ia r This was due, in no small measure, to the en­ couragement it received at the hands of one * * * The executive committe cannot adequately of its foremost patrons, Dr. Raja Sir Anna­ give expression to their feelings of gratitude malai Chettiar—The Raja of Chettinad— at this gracious act of the Raja Sahib, whose who, in inaugurating the proceedings of the memory will forever be green in the annals Seventh Annual Session of the Madras Music of the Academy’s institution. Conference of 1932, signalised the event by a kindly endowment, made in favour of The Dikshitar Day the Academy’s Teachers' College of Music, This was celebrated on the 8th January, the terms of which are contained in the '33, when Mr. T. L. Venkatarama Iyer, deliv­ following letter. ered an interesting and instructive lecture,

rajah 'C hettinad House' interspersed with musical renderings of select Sir Annamalai C hettiar. Adyar, Madras, pieces of the great composer, on the “ Life of chettinad. 27th December, 1932, and work of Sri Muthuswamy Dikshitar.” My dear Doctor Rama Rau, Vidwan Tiger K. Varadachariar presided on I am enclosing herewith a cheque on the the occasion. Imperial Bank of India for Rs. 500 in your favour. This will serve as an endowment The Tyagaraja Day and I request you to kindly arrange to have This was celebrated on the 9th January a gold medal made out of the interest from '33 when Gayaka Sikhamani L. Muthiah the amount and awarded annually to that Bhagavatar gave an interesting discourse pupil teacher of the Teachers’ College of on the life and teachings of Sri Tyaga- T7Q t h e J o u r n a l u f t h e m u s ic a c a d em y

raja and sang a few typical Ilritis that to regard their appearance on the platform, stand as landmarks in the saint's career. in the nature of an award of a ‘ musical blue.’ Sri Purandara Das Padam Competition There was a good display, of quite aiis This was held on the 23rd February, appetising collection of Dasar tunes. The ’33. The were 19 entries, of whom 10 only padams of Sri Purandara are as old as. the presented for the contest, consisting of 4 gen­ hills though, alas!, they are now falling out of tlemen and 6 ladies. The competition was memory. We trust that A cadem y’s efforts judged by Messrs. Vidvan Tiger K. Varada* in this direction will be taken up by other chariar, Gayakasikhamani, L. Muthiah institutions and Sri Purandara, the father Bhagavatar and T. V. Subba Row. The of Carnatic music, be enabled to regain the Academy thanks the judges for their services. wide popularity he had in the good days of old. The prizes (gold medals) were distributed on * * * the 4th of August at a function convened for Results of the competition the award of L. T. Mus. Diplomas to the suc­ cessful students of the Teachers' College 1st Prize Ch. S. Rajam of Music, by Kumararajah M. A. Muthiah find Prize Miss Lalitangi Chettiar, the Mayor of Madras. Highly commended These competitions have a peculiar value. 1. Mrs. S. Nagaswamy Iyer They not only impart the necessary impetus 2. Mr. S. Subbukrishnayya, M.A., Mysore to the votariesof music, in learning these beau­ 3. Mr: T. K. Padmanabha Rao tiful melodies, but they lead the competitors 4. Sri. S. Jayalakshmi

THE MADRAS TEACHERS’ COLLEGE OF MUSIC

The Award of Diplomas On the evening of Friday the 4th August, to become good musicians. The Academy 1933 at ‘ Gana Mandir,’ Thambu Chetti had already trained some; and, so long as Street, G. T , Kumararajah M. A. Muthiah there was demand, the Academy would con­ Chettiar, Mayor of Madras, gave away the tinue to supply the demand. The Academy diplomas to the successful students of the had further made the Madras University to Teachers’ College of Music. institute a Diploma course in music. In welcoming the Mayor, Mr. S. - He stated that the Academy intended murti said that he, the Mayor, was well-known to open classes in Bharata Natya. Mr. Uda- as belonging to the great community which yasankar and Sri Ragini Devi were greatly had helped to keep alive the great Indian arts appreciated in the West. He believed that of sculpture, architecture and music. The Bharata Natya had a great future and he Music Academy, he said, existed for the rai­ hoped that with the help of discriminating sing of the general level of South Indian patrons, they would be able very early to music and for making music not only the open a school for Bharata Natya, from which privilege of a few rich persons, but the pos­ Would go forth respectable ladies who would session of the poorest in the land. For that have honourable means of livelihood and reason, they wanted to train teachers of incidentally, make pleasant the otherwise drab Indian music who could teach boys and girls life of the people of India. NOTF.S AND COMMENTS T7T

Mr. K. S. Viswanatha Sastri, Hon. Joint ' had thus, temporarily at the beginning of the Secretary, presented the following report of year under report, to be in charge of Mr. the Teachers’ College of Music. Rajagopal Sarma, a disciple of Namakkal Narasimha Iyengar and one of its brilliant Kumarajah of Chettinad, Ladies and Gentlemen, students during the year previous. Soon In begging leave to submit the report of however, the Academy found its pro­ the Teachers’ College of Music for ’32-’33, per Principal in the person of I may, on this memorable occasion, be per­ Gayaka Sikhamani Muthiah Bhaga- mitted to hark back a little to the beginnings vatar the renowned Palace Vidvan of this instituition. The Music Academy, of Mysore, who took charge very early Madras, urged by a great zeal to achieve one in the year. The Academy owes a deep debt of its long-cherished objects, took advantage of gratitude to the Mysore for the of the sympathetic attitude of the authori­ kind permission given to utilize the servi­ ties towards the claims of Music and its in­ ces of its musician. During the year clusion in the curricula of studies, thus enab­ under report, there were ten students and ling boys of musical talents to have the same they went through a regular course of opportunities of obtaining examination credit studies under the guidance of Muthiah for their talent, as a boy whoisspecially clever Bhagavatar assisted by his able Assistant in languages, mathematics or science and of Mr. Appa Iyer. Special lectures on the consequent growing demand for teachers acoustics were delivered by Mr. V. Appa of the right type, drew up a detailed syllabus Row Additional Prof, of Physics, Presidency for a year’s course and started this Teachers’ College, Madras and a special coaching, in College of Music, in October, 1931, on the the singing of Dasar Padams, was given by Vijayadaaami Day. The College was for­ Mr. Dasa Row. The students underwent a tunate in securing the able services of Vidvan final examination (L.T. Mus.) at the end of Tiger Varadachariar as its first Principal. the year in theory and practice. The Board of Examiners consisted of Messrs. To his great musicianship and undoubted Tiger Varadachariar, Mr. T. V. Subba abilities as a teacher, the College owes its Row, and Ponnayya Pillai of the Anna- success during the first year. The little malai College of Music. As a result* of these flock of students whom the great Tiger shep- examinations 2 passed out in the first class, herded, in such kindly and wise manner, 2 in the second class and 4 in the third class. have already come out full-fledged and found And these have now assembled here to berths as teachers of music both in the city receive their respective diplomas from your and the moffussil. The year 1932, saw the in­ esteemed hands. stitution of a new Diploma Course in Indian music under the auspices of the University I take this opportunity of congratulating of Madras. All music lovers must be sincere­ them on their success on behalf of the ly proud of this acheivement of the Univer­ Academy. The Diplomas that they are going sity. The Academy’s Teachers’ College of to receive have been won hard at the exami­ Music had soon to forego the services of its nation. We, of the Music Academy, whose great Principal, who now found favour with duty it is to see that the public discriminate the University to act as the Chief Professor between examinations which are valuable of its new Diploma course. The institution means of education and those which are of no * See page 180 worth—an obligation fully recognized by us— its ventures. In the starting of the Teachers’ well know that this Diploma, ‘which is to be College of Music and its subsequent nurture— regarded as a word of dignity, represents many a kindly hand has helped the Academy. a certificate of real musical value.’ During The Academy had the benefit of the abler- the year under report, the Academy has been guidance of Mr. T. V. Subba Row, was able to start the necessary adjuncts to every the recipient of donations by way of scholar­ institution for training teachers viz., Model ships from its enthusiastic President Dr. U. Schools of Music. In doing so, the Academy Rama Rau, and similar ones during the purported to achieve not only the object of year, from persons like Mr. T. Rangachariar, securing material for the students of its and Mr. S. Doraiswami Iyer and last, but Teachers’ College of Music to get facilities not least, received munificent help from the in practical teaching, but also to provide hands of your illustrious father Dr. Raja Sir jobs to the students that pass successful Annamalai Chettiar, who generously out their institution. Several schools were endowed a Gold Medal, to be given to the started in the City and placed in charge best student of the year, that passes out of this of the students. Special mention must be institution, the importance of which no words made of the Model Girls’ School at can tell. Mylapore, which is being very ably conducted Mr. President, we trust that this Teachers' by Srimati Brahadambal an ex-student of College of Music will soon pass through its ten* our College. The Academy had already star­ der years, reach full adolescence and attain ted two schools this year, one of which is locat­ that reputation and popularity which is its ed in this very Hall under the management of just due. With these few words, I join in the Miaa. Rajeawari, one of the students now request to you, Sir, to proceed to confer waiting to take her Diploma and another in Diplomas on the successful students of the Narayana Mudali Street. The Academy Teachers’ College of Music. hopes to multiply schools of this type and Kumararaja Muthiah Chettiar of Chet- thus provide musical instruction at very tinad then gave away the diplomas to the suc­ moderate cost. It is a matter of common cessful students of the college and prizes, in knowledge that people exercise far less care the shape of gold medals, to the winners in in the selection of a teacher of music for their the Purandara Das Padam Competition, He children than they do in the choice of a ‘ but­ congratulated the winners and said that the cher or a baker.’ It is with a view to impart Music Academy had produced a good number musical instruction, on correct lines, that the of musicians. He referred to the College of Academy has taken up the task of starting Music at Chidambaram, which now formed these Model Music Schools in several parts of part of the Annamalai University and the city, to enable the public to send their observed that students generally did not join young ones for musical equipment. The suc­ the music classes unless they were given sti­ cess attained so far is really encouraging. We pends. He wished that the Madras University are glad that this year we have begun the also considered giving stipends to such stu­ college very well indeed. The present strength dents. He wished the Academy all success. is very encouraging. There are now 28 stu­ The successful candidates then entertained dents and there is every prospect of more stu­ the audience with their music and the function dents coming in. The Academy looks forward terminated with the vote of thanks of Gayaka tp the unstinted help of benevolent patrons in Sikhamani L. Muthiah Rhagavatar. NOTES AND COMMENTS 173

H>» Holiness Sri Sankaracharya of propriate scenic back-ground. To do his bit Kamakoti Peetam. in this direction was one of the dreams which ■i y ^ e are t0 *earn that Messrs P. S. Sun- he cherished in his soul. While he danced daram Ayyar and Pandit 3?‘ Subrahmanya in the East and the West he did not see any Sastri were asked to deliver lectures in the limitations of race, caste, colour or creed. presence of His Holiness Sri Sankarachar­ It would be a complete debasement of the ya of Kamakoti Peetam, at Tanjore on 23rd artistic principle in human life were it to be August, '33 and were presented with shawls prostituted by narrowness of any kind. in recognition of their music erudition. In the matter of the technique of the feet His Holiness discussed several musical and the expression of certain moods, he said, topics with the above gentlemen. His sugges­ that the North had made magnificent strides tions with regard to ‘ Chaturdandi Prakasika' but it still lacked the full quality of what he —a work being published by the Academy— would call rhythmic dynamics, so wonderfully were very illuminating and were adopted. perceived in the South. May Swamiji’s Grace be upon the Academy ! The Kshetraya Day Celebration Bharata Natyam The Kshetraya Day was celebrated on In accordance with the resolutions passed Saturday the 16th Sept, at ‘ Gana Mandir.’ during the last Conference, the Academy Vidvan Tiger K. Varadachariar delivered succeeded in popularising the art. A an interesting lecture on Sri Kshetraya. lecture on Indian Dance was arranged Sri Jayammal, daughter of Sri Veena for and delivered by Sri Ragini Devi* Dhanam, sang a number of Kshetraya and performances therein were held both Padams to the delight of all. during the year and in the Conference The learned lecturer opened his address—a Session. These drew large audiences. Mr. synopsis of it is given below in Tamil—by Udayasankar, the famous Indian Dancer, paying a tribute to the glorious services was one of the distinguished visitors at the rendered to Music by the galaxy of bards like performance held on 26-8-33. He greatly Sri Jayadeva, Teerthanarayana, Puran- admired the exposition of the art by Sri dara Das, Bhadrachala Ramadas etc., and Balaaaraswati. At his instance, a special per­ touched upon the important pioneering work formance was arranged for, for himself and done by the hierarchy of Bharatachars his party. Mr. Udayasankar paid a tribute beginning from Brahma down to King Bhoja. to the excellence of th e artiste and took some film poses for his own personal use with the Born in Muvapuri Village, in the Kistna artiste’s permission. H e observed he had not District, Kshetraya, already a renowned seen the like of it anywhere and expressed Telugu Scholar, greatly enriched the field of his desire to spend some time in South music by his 10000 and odd Padams. He India to make an intensive study of the art. was the favourite at the Royal Courts of He believed th a t a t r u e renaissance in danc­ Madura, Tanjore, Golconda etc. Every one ing could take place if, by a stroke of creative of his Padams, bore his patent seal * Moova genius, it became possible to suck the quintes­ Gopala’ though on some of them the label sence of the d a n c in g system of the South "■Ranchi Varadan’ or * Sewanti Lingan’ and present it w ith suitable music and ap­ are to be found here and there. * See Page 153 23 174 THE JOURNAL OF THE MUSIC ACADEMY

Mr. Varadachariar, in his own inimitable of Kshetraya himself from his pilgrimage to way, interspersed with his eloquent renderings do up the work. of a few of the padams, described the glories of Kshetraya, with touching anecdotal refe­ The function came to a close with the sweet rences to his bring-up from very childhood. music performance by Sri Jayammal and The high-strung ' Nayika Nay aha ’ sentiment her daughter Sri Balasarasvati, who by which these Padams revel in, has given a virtue of their lineage and musical talents, a convenient handle for much adverse criti­ were eminently fit to play the role allotted to cism at the hands of those, unacquainted with them. Sri Jaya’s rendering of the Padams the genius of Hindu religion, particularly its really showed what peaks of musical perfec­ love-aspect, which is the peculium of all real tion they were. devotees in every great religion. Love in *uir£(T3n(TUJiT«6n:— jg)ciiQj«offiaij-*8wr am m 8 religion is a science. It is the natural out­ p pemp usr su&Q&ajpi, Ljjr&jSpp usrpir come of the human soul when it is freed from ^irifttjiraQeiresr eutpisi(Sjih tr,ei/nireSreeifieO (LpS impurities and cured of distractions. Like the songs of Solomon and the of Sufia S iulditilj, these padams of Kshetraya will stand out in t^rayn/o/r, uirLb&eiieir, all ages as an expression of-the enthusiastic aerr, usrpiTypiirsian^i isrsTpify QaiTfUDeoir^ rapturous love of the human soul for the Divine Godhead. iraiassrssr f &i6iiQeif.u-irf ^(ua/asr/f, eum yrtoanu, air&ajuir, usrpeurr&ir, Qarsir/Suiir^ As gems of melodic beauty, these padams a/6LnSlsL£i_./r, i30/bS, to^/B-s/r, p p ^ ’S0/f} puis stand unrivalled. The exquisitely delicate L/0 -j tvird^iueusodiuir, i9ir p/D&vu @Geirt phrasing of the tunes, the irresistible charm JfSiT/f, •^6ar,jy/fgg_»«8raar5 u>irp«tuirear Qpi^lusirifi Pancharatna padams at the Tanjore Court aissmBsrru Qujpi6>spp(8j a-Ljiruus Q&njpesiQt) and narrated to the audience the story as to a»c_iu jya/ pirsrQLoeirGp Q&ireo&ouQujpus how the bards of the court of King Vij'aya- yjf ggiu C£6Unr (LpiSiULcrresresiir. Jj)6v/f raghava, could not compose the unfinished «sy qf)G&&Q&£jp js/eteops portion of the third Charana of his Kambhoji pada commencing with the words ‘ Varada £161^1_L10 Qtueir&iLD Ssrisppfiei js/or&nu Gopala Pove ’ and had to await the return ussfit Qtuesrups Q&ireOetiirUiCoevGiu aflSsirit/tb. Synopsis of the Tamil lectnre n o t e s a n d c o m m e n t s 175

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@$)aiir «/r@)i_iLi> Q & re d e B t uretiiia^AQ apu « v -» u w rr 1O ,O O O ^,S /D 0 ^jpSPieati— tu QptSf-Geteu ast?teptriraeir jygu ^f^sLDiriL\eireir uprkaeifl^ed em ikSppettpu ir eu its (attest u-ili i-jpfB &rp]iriupBp Qmput

Q uretfippOir. UIT6U, J U S , £IT6fr®®6rflffl) y,/rpB QeFiuiL\utirjp aS^iugfiasu uSesfl 8 p k p i enunr, QenereduujuiriLfkrsr u p e s ta /_li QaCJBAQareaarurtr. «0« 6ifljBit—d r, uirutr pinr eaten Ljq^et^^as i9 t® 0 gfleh it (Sentpi iu rp p a » jr« 0 Q u r iu e O iL a|li, g§«u/r p m r eaten le r a ja ^ iL fiit eaten p p i t—nr. aeffispiriraseir p/iiaserral frearpeueatiruSed P f eat la p p i asQaraiarQ py ear ear tu u ra i peat piLfut A ir u t Q u t C S p p iu u r r p p t jSfpear aeati— Q i9irsirSlAs& Q a tu p e u ir . urspeatp i^irpB Q&£ieupp Qarsaargaa) §fieuir 8(V)ei}^sj) f$ededr&ed (Lp a iL jifl erearp Lbed ^q^utLfmaSsd &8irfypS3>QG&>!J e rfitiru BsrrutpfBed pir uretta+tied iBaetfut u n r p p ii Qmreamq-qFfiepi jjyeur etiiipi T7S THE JOURNAL OF THE MUSIC ACADEMY

Q&rrkp e^i_Qssr a v w S p di'&su-trsbrm&r «d5 petitors sang to the accompaniment of the «6rr (ysp e S lu j s u it s sir ^jsuesjjr irsunsruanShu Tambura Srttti, lditilis (Sft^k^sQsirsmQ iSiTsSseriS^usmi—iu Messrs. Keertanacharya C. R. Srinivasa sSm t— m lU S Q s l L s s j q s u gplppssr/r ; ^gi/u Iyengar, T. V. Subba Rau and T. L. Ven- Quir&l ^jLOLD&jnirssS katrama Iyer, acted as the judges of the competition and in them the Academy had. a — ir/rLD smu u? QinssfiQpir suirssfl (dld/tqp ,very efficient panel. The competition came as Sg~"i_SK(3«0(63) - Quurptq- QuirkQp&irjj)/— a fitting successor to the Sri Purandara Das Padam Competition held by the Academy in srsur upsstnp j^ir p !$ Qsiupssrir. April last which proved to be a great success. Experience has shown the utility of such jy«m ps (SslLi— seQsQird^i^irsar §$)6U(nj competitions beyond all doubt. They kindle mi_ili se8 <£>su p a n piLfii J)f ffissr jb/suibsit quite a keen interest in the music—loving jrirfi) sQGs&fi /iisSsrr u_f to (SslLQ ^surm jgi public, give the right impetus in resuscit­ m>ir

* See page 185 -I See pages 181 and 182 i t e THE JOURNAL OF THE MUSIC ACADEMY with the practical problem of the steps neces­ check so that the standards of the art may sary to maintain the standards and quality of be kept pure and high.” While tht pandits classical music and musical tradition. As and professors of music owe a great duty to J Raja Sir Annamalai Chettiar said, music the public in this respect and to the art that sabhas are, no doubt, very useful but the has elevated them, the public also by means sabhas should see that “music does not of their individual patronage and through degenerate and only the very best musical music sabhas owe a responsibility to the art fare is provided for the public” and that “the from which they derive pleasure and happi­ interest of music should not be subordinated ness. They should see that the art is not to the temptation to supply music at popular allowed to deteriorate by the growth of evils prices. The inevitable results of excessive to some of which attention was drawn in the popularisation of music should be kept in addresses delivered yesterday.—The Hindu.

THE MUSIC ACADEMY, MADRAS THE TEACHERS' COLLEGE OF MUSIC Principal Brahmasri Gayakasikhamani L. Muthiah Bhagavatar Assistant Mr. A. Appah Iyer Correspondent Mr. S. Rajagopalacbari, b.a., b.l. Students of the College 1933-’34

L a d ie s 1. Ammani Ammal, T. A. 13. Rajalakshmi, G. 2. Chandrammal, N. 14. Rajeswari, A. R. 3. Chinnaramal, A. S. 15. Rajalakshmi Ammal, R. 4. Chinnaponnu Ammal, J. 16. Rukmini Venkatrama Sarma 5. Dhanabhagyam, D. 17. Saradambal, N. 6. Kanakadurgambal. 18. Sarasvati, K. 7. Meenakshi Ammal, V. 19. Sumitra, K. 8. Muniratnammal, N. 20. Sundari, M. K. 9. Nagaratnammal, N. 21. Sundari, N. 10. Neelayatakshi, T. K. 22. Tirumalammal, P. 11. Padmavati, R. 23. Triveni Ammal, S. 12. Parvatammal, P. 24. Vedavalli.jR. 25. Kamalam, P.

Gentlemen 26. Hariharan, M. S. 28. Lakshmana Sastri, K. R. 27. Krishna Rau, T. 29. Satyanarayanamurty, R. L. T. MUS. EXAMINATION 1933 1/Y Students of the College of 1932— ’33 who passed the L. T. Mus. Examination held in April 1933. 1st Class Illrd Class Mr. S. Subbukrishnayya, M.A. (Mysore) Sri K. Sarasvati Ammal B. Srinivasa Iyengar T. V. Rukmini Ammal Ilnd Class P. S. Sundari Ammal Mr. V. C Ramachandran A. R. Rajeswari Sri T. K. Nilayatakshi Animal

L. T. M as. Examination 1933 THEORY 12th April 33. 11 a. m. to 2 p. m. N. B.—Answer briefly to the point 6. Explain the varieties of grha with regard to tala. Illustrate your answer. 1. Draw up a detailed syllabus forv one year's course of elementary instruction in 7. Describe and illustrate the symbols music. used in Carnatic notation. 2. What are the practical steps you will 8. Give the lakshanas and illustrative adopt with regard to voice training. sancharas of the following ragas :— 3. Describe the essential features of good music, to which you will direct your pupil’s Mukhari, Begada, Anondabhairavi, Saur- attention, with a view to the creation pf cor­ ashtra, Saranga and Nilatnbari. rect taste in them. 9. Give a critical appreciation of any 4. Write what you know of sruti, sam- composition of Sri Syama Sastri or Subba- vadi, sthayi and murchana. raya Sastri studied by you. 5. Describe and illustrate the characteris­ 10. Describe the career of Sri Jeyadeva and tics of a vama. estimate his services to the cause of music.

(Tamil Translation) pa&eurr(njii) siSsa)L_«8srr 6i(Lppsiftjo

I. firoubffi p ^ m n u (ouirp3ssru9so gj0 S8Br/E7«Ssrr jysu/f«6nr aeussBx(^iiuiif-3 Q&tucffir 6U (T T )eL f.U U llf-L Jl9lfllU d)6UJTUiir6llr ^suSeoush)’ sserr • j^ansusQerriranQeuireirenpu upfltLfiir (Syllabus—sBa^iufl Q p ir^fl) eSsvit? f l O p q ^ p r s .

’■cmdaeu/rfl’ I I . &ir/PrruLitS p&axira erarrssr sresreur IV- (i) (ii) (iii) ldvpiru9’ (iv) ^(Lpir^Bssr’—j^aneuaQsrnreu jyuiBiuireni QpenpxZstr Mibasrr jy jg)dps).u QeuirssranpiLfLb (^rBflp) e-nhaicrpa^fl O p t9V« d r ; ji/eneuaSsrr dleuiflflQ pQ gpia, iflispensminBeti erQpps^un. III. emiaS pflfle o avSinirsBr srsmx^rr err flanp Ln/r*aar6u/f e_swri_rrxat fl V". suit sour fl fl sir soa^.sssriBx5srr flq^op pm an>xi3 pflflerr crisp crisp (LpaSip i^irisp ^ireninniii eBaifl flQpQgperjU), 1 8 a THE JOURNAL OF THE M.USIC ACADEMY

VI- i&nenplSeo ai(5|MD£,&/D0 ,a9i IX- l?/B«sir <5|®(f6l0«0Lb an/_ofl63r jysoso-^j- ew^u VII. s &viB$p ‘QfiirGhsip’siiFIsO UfflTtu dH6n>^!//7i?63r, lurrQpapiQmirQfj « 0 ^ ) (Notation—0 / ) ffl^®0 Lo 0 (a9«3arr enaJLjutbjB eBuiir&i^i (uifiPstiSsar Q&iD&l) (‘6tnSlul^Jel)s^u,—Symbols), (S0 ®^i_fl-«^s jy^air lo^ uodu (Critical appreciation) •SLtsiriu dieufipQpqgfleifUi. ^LLL^uuQpQjXQg'peyiit. VIII- tS6srsu0LO jr/r«/B«®r/?sar ed&npsssriB aSgrriquj,' Jt/iip jriramadsir 1 8 pirQ&(^u± {sru0 X- lq^ gguj(2jS6U/fiear p anutrtB’ ; c Qem

SRI PURANDARA DAS PADAM COMPETITION Rules of the Competition 1. The Competition is open to all without 4. Competitors shall sing to the accom­ restriction of age, sex or community. paniment of the Sruti of a Tambura. 5. The decision of the judges appointed by Each competitor shall send in a list of the Academy in this behalf will be final. not fewer than six compositions of Sri Puran- 6. In judging the competition, special dara Daa giving their respective and regard will be paid to the correct rendering Tala. of the piece, with respect to Sangita and Sahitya. 3. Each competitor will be required to sing 7. The Academy reserves to itself the right two or more out of the compositions submit­ to withhold the award of all or any of the ted'in the list. prizes, if the judges should so recommend.

THE ASHTAPADI COMPETITION 1933 Rules of the Competition 1. The competition is open to all without option of the competitor shall be deemed restriction of age, sex or community. sufficient compliance. 2. Each competitor shall send in a list of 4. The competitors shall sing to the accom­ not fewer than six Ashtapadis from Gita paniment of the Sruti of the Tambura only. Govinda of Sri Jayadeva with their 5. In all matters the decision of the judges respective Raga and Tala. appointed by the Academy in this behalf 3. Each competitor will be required to shall be final. sing two or more Ashtapadis out of the list 6. In judging the competition, special submitted, provided however, that with regard will be had to the correct and effective regard to each Ashtapadi, the singing of the rendering of the pieces with respect to PaUavi and any two of the Charanas at the Sangita and Sahitya. ROLES re ASHTAPADI AND CONFERENCE COMPETITIONS 181

7. The competitors should be prepared to 8. The Academy reserves to itself the submit themselves to a second and further right to withhold the award of all or any of test if necessary. the prizes if the judges should so recommend.

1933-in ai(56^^uj ewt&iffipu Q um lif. GuinlqLfflniua= &nfriKfi aS'^aeftireussr

(1) ^g)ij(3i.v/rLLjy.«0 «r®o(Sffl)/r0U) ^^JTira ( 5) £§)fj (SijitlL u). QtVLliUfk jSUUrGBT affaji ^ s w r , Qusssr, eviu&i, (ippdiuj iu/E7«(or5«0U) eB peup etosmuujirr (SiutjJ 7, ^/emeuaetfleZr epdiQevrrear t&gpi !L//r«ajii, uirQtst ^penLcsniutLfui eni—iLi fftiaii, 0(16010, (Lp&eduJ6>j penpiLjiit (LfiiStuunrtudaeuetiFluuirirdselr. ^jenpQtuiru. S®0 S3irupireneu jygnuuQujsmQLD. tq-pptrsir 'z%LL%%-°se&esr ^irLDfrearQptst s i p uQih. (3) jysveti/rjpi (^iBaauuiLQ efreir ^6l^L_ (7) QuirLLiy.&(3j «v0LJsi//f«ssrr, ^tL ^^eserr U^«6tP6U 2 -«0 « (^smpiuirineo uirt-J2eusm®u>. erpp&sr pismsii ^s

M USIC CONFERENCE 1933

From 22nd Doc. *33 to 2nd Jan. ’ 34 .

COMPETITIONS— Vocal, Violin and V eene. DAILY BETWEEN A.M. and 10 A.M. With a view to afford wide publicity and between 8 A. M. and 10 A. M. on all or such due recognition to deserving musicians, the days as may be convenient, during the Con­ Music Academy, Madras will hold four Music ference seasoni.e , from 23rd December, 1933 Competitions viz., to 2nd January, 1934, and will award two 1. Vocal Music for ladies gold medals one for the first and the other 2. Vocoi Music for gentlemen for the second prize in each of the 4 com­ 3. Violin for all and petitions. 4. Veena for all 24 W L' HL. A !•> c« m \

The rales of the competitions are : — na, Begada, Atana, 1. The competitions are open to all with­ and Poorvakalyani. out restriction of profession, age, sex or 3. Where any composition has a nujnber community except that the two vocal music of Charanas, the rendering of any two of competitions will be held, one for ladies, and them shall be deemed sufficient. another for gentlemen separately. 4. Each competitor will be required, at 2. Each competitor shall submit a list (4 the option of the judges, to sing at least 1 copies) containing:— Varna, 2 other compositions and 2 ragas out (a) 4 Varnas including 2 in Ata Tala, of the list submitted. (b) 20 compositions including at least 1 5. The competitors shall sing to the of each of the following composers ■accompaniment of the Sruti of the Tam bura viz., only. (6) In all matters the decision of the Judges Sri Jayadeva, Purandara Das, appointed by the Academy shall be final. Teerthanarayana and Kshetragna 7. In judging the competition special and regard will be had to the correct and effective at least 2 compositions of each of the rendering of the pieces with respect to San- following composers viz., gita and Sahitya and of the ragas with refe­ Sri Tyagaraja, Muthuswamy Dik- rence to their classic style. shitar and Syama Sastry. 8. The competitors should be prepared to (c) 15 ragas including 5 from :— submit themselves to a second and further (i) Todi, Mayamalavagoula, Bhairavi, test, if necessary, as well as to a preliminary Kharaharapriya, Katnbhoji, San- test. karabharana, Pantuvarali and 9. If, in any one of the competitions, the Kalyani. competitors are less than six in number, prizes (ii) and 5 from : — may not be awarded in that competition. , Saveri, Sourashtra, An 10. The Academy reserves to itself the andabhairavi, Mukhari, Madhya- right to withhold the award of all or any of mavati, Kedaragoula, Yadukula- the prizes, if the judges should so recom­ kambhoji, Surati, , Moha- mend.

Conference Competitions—Results V o c a l —L a d ie s 1st Prize Sri. R. Brahadambal lln d Prize S. $anta Bai V o c a l —G e n t l e m e n 1st Prize Sangeeta Bhushana D. Sriramamurti llnd Prize 0Not awarded) V e e n a —ALL 1st Prize Sri. S. Subbammal (Mysore) llnd Prize Sri. Sarojini Devi (Guntur) V io l in — a l l 1st Prize Sri. V. N. Tulasi Bai llnd Prize (Not awarded) THE ANNUAL MEETING OF THE GENERAL BODY OF THE MUSIC ACADEMY, MADRAS.

The meeting of the General Body was held on Friday the 24th February, 1933 at Gana Mancfir, ’ 10, Thambu Chetty Street, George Town, Madras, under the presidency of Dr. LJ. Rama Rau. The following were elected as office-bearers for 1933.

President Dr. U. Rama Rau Vice Presidents Mrs. M. Venkatasubba Rao, Mr. N. Vijayaraghavan and Mr. S. Satyamurty Iyer. T rustees Mr. P. Rangaswamy Chetty and Mr. K. V. Krishnaswamy Iyer. Secretaries Mr. K. S. Viswanatha Sastri and Mr. T. S. Tiruvenkatachari Treasurer Mr. S. Rajagopalachari

OTHER MEMBERS OF THE EXECUTIVE COMMITTEE Mr. T. V. Subba Rao Mr. P. Sambamurty T. L. Venkatrama Iyer E. Krishna Iyer V. Appa Rao „ N. S. Mani A. Damodara Mudaliar* Miss Bhavani Swaminathan G. K. Seshagiri Mrs. Ramaswamy Sivan

ADVISORY EXPERT COMMITTEE 1933 Vidwan Swaminatha Iyer. (Utnayalpuram) Vidwan Tiger K. Varadachariar Gayaka Siromani P. R. Swaminatha Iyer T. S, Sabhesa Iyer (Pazhatnarneri) Gayakasikhamani L. Muthiah Bhagavatar. Sangeeta Sastra Ratna K. Vasudevachar Brahmasri Chidambara Bhagavatar (Mysore) Sangeeta Bhushana Nemam Nataraja (Mangudi) Bhagavatar. Brahma Sri Vaidyanata Bhagavatar Brahma Sri Muthuswamy Dikshitar. (Soolatnangalam)

* Co opted in the place of T. S. Rajagopala Aiyar since deceased. 184 THE JOURNAL OF THE MUSIC ACADEMY

Mr. Syama Sastri Mr. Dr. Srinivasaraghavachari Subbarama Iyer (Mazhavarayanendal) T. L. Venkatarama Iyer Vedanta Bhagavatar C. Subramania Iyer Sanjeevi Rau (Palladam) G. V. Narayanaswamy Iyer Ramanuja Iyengar (Ariyakudi) P. Sambamurty Iyer Subramania Iyer (Musiri) Piratla Sankarayya Brahma Sri Soundararaja Bhagavatar ! Harinagabhushanam (Masulipatam) P.G. Sundaresa Sastri Pantpalli Ramakrishna Pantulu C. R. Srinivasa Iyengar (Bezwada) Krishnachariar (Hulugur) Vinjamuri Varaha Narasimhacharlu Veena Venkataramana Doss (Coconada) (Vizianagaram) N. Ramakotayya A. Narayana Doss (Vizianagaram) T. Lakshmana Pillai (Trivandrum) D. Venkataswamy Naidu (Vizia­ T. A. Krishna Iyer (Ernakulam) nagaram) P, S. Krishnaswamy Iyer (Calicut) K. Ponnayya Pillai Shermadevi L. Subramania Sastri Jalatarangam S. Ramanayya Chetty M.S. Ramaswamy Iyer „ T. V. Subba Rao S. Sesha Iyengar Pandit S. Subramania Sastri Sri Veena Dhanam Mr. P. S. Sundaram Iyer Gayanapatu Kirtana Patu Sri Saraswati P. D. Krishnaswamy Iyer Bai

THE JOURNAL COMMITTEE Mr. T. V. Subba Row, B.A., B.L. (Editor) Mr. P. G. Sundaresa Sastri, B.A. K. S. Viswanatha Sastri, B.A., b .l . T. L. Venkatrama Iyer, B.A., b .l . (Manager) Sripada Ramamurty Pantulu Vidwan Tiger K. Varadachariar P. S. Sundaram Iyer, B.A., L.T. Pandit S. Subramania Sastri

Donors who helped the Academy during th e year Mr. N. V. Raghavan : Rs. 50-0-0 for a vocal performance by Mr. K. Rangachari. Dr. U. Rama Rau : 2 Gold medals of 14 Sov. & 1 Sov. weight, each, for Sri Purandara Das Padam Competition prizes. Mr. V. Appa Row Pantulu, M.A. L.T., Rs. 25-0-0 towards the medals Re—The Addl. Prof. Physics, Presidency College. Ashtapadi competition. Dewan Bahadur T. Rangachariar : One Consolation prize Re—The Ashtapadi Competition. Dewan Bahadur Rs. 35-0-0 towards the medals for the Con­ N. P’attabhirama R au: ference Competitions. t Since deceased Books anb IperioMcals IReceiveb Mention in this list does not mean nor preclude a review in any subsequent issue Foreign 1. The Musical Times—London. 3. Academic Des Beaux Arts—Paris. 2. A Music Journal 4. Music and Letters. 5. The Musical Quarterly. Indian 1. Bharati—(Telugu) Madras. 5. Ananda Vikatan 2. Hindu Nesan „ 6. Murugan Pugazh Pamalai {Tamil) by 3. The Magazine of the Hindu Theological T. R. Viswanatha Sastri High School, Madras. 7. The Bhagavat Bhajana Mandir, Myla- 4. Ranga Bhumi pore—3rd year’s issue

1932 Conference Concerts

23rd Dec. '32 Master Radhakrishnan Flute Conference Pandal Mr. Ernakulam Krishna Iyer Violin Trichur Sankara Menon Mridangam 24th Dec. ’32 Mr. Musiri Subramania Iyer Vocal Conference Pandal D. Venkataswamy Naidu Violin „ Tanjore Vaidyanatha Iyer Mridangam 25th Dec. ’32 Mr. Swaminatha Pillay Flute Conference Pandal Jayarama Iyer (Kumbakonam) Violin „ Kodandarama Iyer Mridangam 26th Dec. ’32 Gayaka Sikhamani Kalakshepam Conference Pandal Muthiah Bhagavatar (Seeta Kalyanam) 27th Dec. ’32 Mr. Palladam Sanjeeva Rao Flute Conference Pandal D. Venkataswami Naidu (Vizianagaram) Violin Mr. Dakshinamurty Pillai Mridangam 28th Dec. ’32 Gayana Patu Kirtana Patu Kalakshepam Conference Pandal Sri Saraswati Bai (Nandanar) 29th Dec. ’32 Mr. B. S. Raja Iyengar Vocal Conference Pandal Rajamanickam Pillai Violin ,, Dakshinamurty Pillay Mridangam 30th Dec. ’32 Vidwan Tiger Varadachariar Vocal Conference Pandal Mr. Papa (Venkatrama Iyer) Violin „ Mani (Palghat) Mridangam 31st Dec. ’32 „ Chetnbai Vaidyanatha Iyer Vocal Conference Pandal „ Erode Viswanatha Iyer Violin „ Palghat Mani Mridangam 1st Jan. ’33 Mr. Veeruswamy (Tiruvidamarudur) Nagaswaram (4-15—8 p.m.) with accompaniments Night 9-40 to 12 Kalyani Daughters Dance Conference Pan dal 2nd Jan. ’33 Mr. Chittoor Subram ania Pillai Vocal Conference Pandal Rajamanickam Pillai Violin Venu Naicker Mridangam Zhe Hcabem\>’$ Concerts 18th Feb. *33 Mr. Krovi Satyanarayana Murti Vocal Gana Mandir Varnasi Brahmayya Violin Ghantayya Mridangam 25th Mar. ’33 Mr. K. Rangachari (Annamalai Music) Gana Mandir College) Vocal Tirupparkadal Srinivasa Iyengar Violin Sankara Menon Mridangajm 13th April ’33 Gayaka Sarvabhauma Gana Mandir (Paruppalli) Rama Krishna~Pantulu Vocal Mr. Tirupparkadal Srinivasa Iyengar Violin Venu Naicker Mridangam 15th April '33 Prof. Sittar Hind Wahid Khan Hindustani Music on Gana Mandir Sittar (4 Kacchap Veena 16th April '33 Mr. Sattur Krishna Iyengar Vocal Gana Mandir Tirupparkadal Srinivasa Iyengar Violin Venu Naicker Mridangam 24th' April ’33 Competitions Vocal Gana Mandir Judges: Mr. Tiger Varadachariar Gayaka Sikhamani Muthiah Bhagavatar & Mr. T. V. Subba Row * 16th July '33 Gana Mandir Sri Veena Dhanammal Veena 4th August ’33 Gana Mandir Students of the College and Prize winners Vocal 26th August ’33 Sri Bala Saraswati Dance Gana Mandir Bharata Natyam 16th Sept. ’33 Sri Jayammal and Sri Bala Saraswati Vocal Gana Mandir (Padams of Kshetragna) 23rd Sept. ’33 Mr. Gopala Iyer of Tanjore Flute Gana Mandir Master Sankaran Violin Mr. Venu Naicker Mridangam 1933 CONFERENCE CONCERTS 187

29th Oct. ’33 Mr. Vocal Gana Mandir Parur Anantarama Iyer Violin Chidambaram Nataraja Iyer Mridangam 30th Oct. ’33 Mr. Narayana Iyer (Harikesanalltir) Gotu Vadyam Gana Mandir Venkatesvara Iyer Violin Appakutti Iyer Mridangam 11th Nov. ’33 Conference Pandal Competitors Vocal 22nd Dec. ’33 The Lady Students of the Teachers’ Conference Pandal College of Music Vocal Sri R. Brahadambal 1933 Conference Concerts 23rd Dec. ’33 Mr. Chembai Vaidyanatha Bhagavatar Vocal Conference Pandal D. Venkataswamy Naidu Violin Palghat Mani Mridangam 24th Dec. ’33 Sangita Ratna Prof. Abdul Kareem Khan Conference Pandal (Miraj) Vocal (Hindustani) 25th Dec. ’33 Mr. Palladam Sanjivi Rao Flute Conference Pandal D. Venkataswamy Naidu Violin Kodandarama Iyer Mridangam 26th Dec. '33 Vidwan Tiger K. Varadachariar Vocal Conference Pandal Mr. Papa alias Venkatrama Iyer Violin ,, Palghat Mani Mridangam 27th Dec. '33 Brahmaari Gayaka Sikhamani L. Muthiah Kalakshepam Conference Pandal Bhagavatar Akshaya Patra Mahima Prof. Ratanjankar (Principal, Marris Vocal College of Music, Lucknow) (Hindustani) 9 p.m. 28th Dec. ’33 Sri Varalakehmi and Sri Saranayaki Conference Pandal (Grand-daughters of Gowri, Kumbakonam) Double Dance 29th Dec. ’33 Mr. Veeruswamy Pillai (Tiruvidamarudur) Nagaswaram Conference Pandal Meenakshisundaram Pillai (Needamangalam) Dowl Muthu Veara Pillai 30th Dec. ’33 Mr. Musiri Subramanya Iyer Vocal Conference Pandal Semmangudy Narayanaswami Iyer Violin Rangu Iyengar (Kumbakonam) Mridangam 31st Dec. ’33 Gayana Patu Kirtana Patu Sri Saraswati Kalakshepam Conference Pandal Bai C hitrasenopakhyanam