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Flf Tlje Music Acaderpy, Madras jo u r n a l AOYAR I.IPRARY EASTERN^CTIOM flf ftn u i NjyR, 7 - C / iltnsir Jtratenm J H a i i r a s A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC VOL. V. 1934 NOS. 1 TO 4 THE JOURNAL COMMITTEE Editor~in-cl)ar$e Mr. T. V. S ubba Row Editorial Con?n?ittee Vidvan T iger K. Varadachariar M r. T. L. Venkatarama Aiyar P rof. P. Sambamurti Mai?agit?g Editor Dr. V. Raghavan Published by Tlje Music Acaderpy, Madras 8, Philips Street, G. T , Madras. Annual Subscription:— Inland: Rs. 4; Foreign: 8 sks. Post paid. THE TEACHERS’ COLLEGE OF MUSIC-r MUSIC ACADEMY. MADRAS In response to numerous requests from the public m generar, »p©n the insistent representations from authorities in charge of the varioqsEdttcational Institutions in the country and in realisation of a long cherished idea), The Music Academy, Madras, opened a Training College of Music for Teachers. The College is called The Teachers' College of Music, Madras, and in the charge of Vidvan OSndikrmdan Sahhapati Aiyar. Instruction is imparted to pupils not only in the theory and practice of ' Indian Music, but also in the correct and approved methods of teaching music. The trained pupils will be competent to teach at least the School Final Class. The training class is of the duration of one year of three terms and, for the present, is confined to Vocal MuioyMily. The working hours of tbe College are between 11 a . m . &. 4 p .m . ? The fee for the whole course is Rs. 59—if paid in advance—or Rs. 6-fo r , each of the nine months comprising the whole course* At the end of the coarse an Examination will be held and diplomas awarded to successful candidates. The first in rank will also get the Bajak Annamalai Gold Medal. Persons of both sexes are eligible for admission. Only those candidates whose proficiency in mnsic is np to. the Inter­ mediate Standard of the Madras University;. are ordinarily admitted. Prefer- . ence is however given to those who are already employed as music teachers. Applications for admission shall be in the prescribed form. The final selection of candidates for admission will be made by a committee before whom the candidates shall present themselves on such day as,, may be notified. A copy of the prospectus and syllabus will be sent on receipt of postage stamp for the value of four annas. For forms of admission and other particulars, apply with postage to The Correspondent, The Teachers'College of Music, The Music Acadj^y, MadrteaC NOTICE All editorial correspondence should be addressed to the Managing Editor. Articles on musical subjects are accepted tor publication on the understanding that :y are contributed solely to the Journal of the Music Academy. All manuscripts should be legibly written or preferably type-written (double iced—on one side of the paper only) and should be signed by the writer (giving his dress in full). All articles and communications intended for publication should reach the office least one month before the date of publication (ordinarily the 15th of the 1st month each quarter). The Editor or the Academy is not responsible for the views expressed by ■ dividual contributors. All advertisements intended for publication should reach the office not later than s 1st of the first month of each quarter. All moneys and cheques due to and intended for the Journal should be sent to e Managing Editor. ADVERTISEMENT CHARGES Per issue. COVER PAGES: Full page. Half p Back (outside) .. Rs. 25 Front (inside) .. 20 Rs. 11 Back (Do.) 20 „ 11 INSIDE PAGES: 1st page (after cover) .. 18 .. io Other pages (each) .. 16 .. 9 Preference will be given to advertisers of musical instru­ ments and books and other artistic wares. Special positions and special rates on application 5% discount for cash with order CONTENTS Late Abdul Karim Khan—In Memoriam—K.V. Ramachandran Editorial j Sama Gana—M. S. Ramaswami Aiyar, b.a., b.l., l.t. 2 Sangita Sudha of Raghunatha ^ Abhinaya Sara Samputa 73 Sanskrit Music Manuscripts in the Bhandarkar Oriental Research Institute, P°ona—V. Raghavan .. 89 The Maharana of Dharampur on Indian Music 91 Proceedings of the Madras Music Academy Music Conference, 1933 .. 94 Ghanam Krishna Aiyar, Gopalakrishna Bharati and Maha Vaidyanatha Aiyar —K. V. Ramachandran .. 131 I LATE ABDUL KARIM KHAN IN MEMORIAM K. V. RAMACHANDRAN ! By (he sad and sudden demise of Sangita Ratna Abdul Karim Khan, the j world of Indian Music has lost a remarkable, and forceful personality and a j brilliant exponent of classical Hindustani Music. The void left by him is net | likely to be filled again as even in the north, there is a dearth of first rate niuSi- | cians. When Abdul Karim first visited Madras 20 years ago, Pyari Shaib, the ! famous Calcutta tenor was at the height of his season; however impoverished his music, Pyari Sahib's voice had a cloying, intoxicating sweetness that compelled 1 admiration. If Pyari Sahib was all voice, Abdul Karim was all music and his expositions coming so closely in the wake of the former, were a revelation as to what treasures of art Hindustani music comprehended. Here was a man who conceived music as a form of architecture in sound and who finished just the facade and portico of the palace called Kalyanai through a livelong evening and who had barely time to plan the Torana of Bhairavi in an entire night. One could never get at a comprehensive view of Abdul Karim's range, because he sang always in fragments; but what delicious, what magnificent fragments they were! Even the fragments were the work of a Titan. Abdul Karim never satiated, he left one yearning for more. Abdul Karim belonged to that limited band of devotees who see no difference between the music of the north and the south and view both as facets of the same eternal Truth. The unity and homogeneity of Indian music was one of his cherished convictions and he delighted in emphasising the similarity, not to say identity, of the Ragas of the north and south. Goharjan’s approach of Carnatic music was flippant; Inayat Khan’s was serious; the one perpetrated a cartoon and the other a musical curiosity; but Abdul Karim with his intellectual alertness and fine perception of note values and rhythm was able to give convincing renderings of Carnatic songs. Though an orthodox Mussalman, he had, like other great Mohamedan Musicians, many Hindu affinities and his admirers and disciples were preponderantly, if not wholly, Hindu. The writer’s most precious memory of Abdul Karim is his ‘ Lalit’ that he sang °nce, but could never duplicate. Not all the gold of the Indies could buy that Lalit. S—11—37. ® l J o u r n a l •i( ®ljt Jltnsu: ^.raiem g |®aiiraa A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC VOL. V. 1934 Nos. 1 to 4 EDITORIAL W E . are glad to announce that the cation of classical works and original publication of the Journal of the articles by experts will be the main Music Academy, Madras, is resumed. features. Standard compositions in Before the close of the current year, notation as rendered by approved ex­ four volumes, one for each of the years ponents will also be given in its pages. 1934 to 1937, will be issued. The Other topics of interest hitherto volume for 1938 will be published included will continue to be discussed. before the middle of that year and if The authoritative report of the pro­ the support of the public is assuring, it ceedings of the annual conferences of may consist of more parts than one. the Academy, will, of course, be found In any case, it is our earnest hope that only in the pages of this Journal. the improved finances of the Academy That the Journal fulfils a real need will avert the contingency of the dis­ will hardly be denied. It is the only continuance of the Journal. Journal of its kind in all India. We appeal to all lovers of art and culture There will be no substantial change to support the Journal and so ensure its in the policy of the Journal. Publi­ unbroken publication. SAMAGANA BY M . S. R a m a sw a m i A iy a r , b .a., b .l ., l .t . Sometime Research Fellow in Indian Music, University of Madras. (All Rights Reserved to the Author). J^ECITED are Rg and Yajur Vedas, but Vedas ",2 emphasising thereby that it is sung is the Sama Veda. As a matter better to hear the Vedas sung than merely of fact, Sama Veda is nothing but Rg recited.3 Veda set to music. Hence almost all the It is therefore in Sama Veda that the ancient Sanskrit writers on music pro­ modern student of Indian Music is vitally claimed: “ From Sama Veda Brahma interested. To Samagana, then, we shall got music Hence, again, Lord Krsna now turn our attention. declared: “ I am Sama Veda of all the The arrangement of the Sama Veda may first be tabulated:— Sama Veda.4 I Purvarcika Uttararcika (Later). (Earlier). I Gramageya. Aranyageya. tJha. tJhya. '—■ ■— — — 1 1 T Main chants sung 1 Separate *1 These sacerdotal school-books [_by three chanters. J _collections.J contain the melodies which the N. B. Uha + Rahasya pupils have to memorise. = Uhya. Samagana is generally divided into seven parts or Bhaktis as they are called, of which 2 to 6 are the more important ones.
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