tTbe journal of ftbe /Ibueic Hcabem^ tffoa&ras. A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC. Vol. U] THE 1ST QUARTER, 1931. [No.-I Vb THE JOURNAL COMMITTEE. Editor. Mr. T. V. Subba Row, b.a., b.l. Editorial Committee. „ Vidwan T iger Varadachariar. ■ „ M. S. Ramaswamy Aiyar. „ P. S. Sundaram Aiyar. „ Pandit S. Subramanya Sastri. „ T. L. Venkatarama Aiyar, b.a., b.l. Manager. „ K. S. Viswanatha Sastri, b.a., b.l. Published by THE MUSIC ACADEMY, MADRAS. 323, Thambu Chetty St, G. T. Madras. Annual Subscription:— Inland: Rs. 4 ; Foreign: 8 sh. Single Copy Re 1 -4-0 ; Post paid. NOTICE All editorial correspondence should be addressed to the Editor. All business correspondence should be addressed to the Manager. Articles on musical subjects are accepted for publication on the understanding that bey are contributed solely to the Journal of the Music Academy. 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COVER PAGES: (back) Outside Rs. 25 (front) Inside 20 Rs. 11 (back) Do „ 20 ft 11 INSIDE PAGES: 1st page (after cover) 18 1» 10 Other pages (each) 16 t9 9 Preference will be given to advertisers of musical instruments and books and other artistic wares. Special positions and special rates on application. 5% discount for cash u-ith order. THE 1ST QUARTER, 1931 Contents. Page. Editorial ... ... ... 1 The Flute and its Theory.—By M.R.Ry. V. Appa Rao Pantulu Garu, m.a .l.t., Madras. 2 Folk Song in the Ussr,—contributed from Moscow ... 7 Srutis in Carnatic Music and the Technique of V iolin P lay.—By Mr. C. Subrah- manya Ayyar ... 10 T he Soul of South Indian Music—R aga Bhava.—By Mr. G. V. Narayanaswamy Iyer, B.A., L.T., Madras ... 15 T he A rt of Sri Tyagaraja Swami.—By Sangeeta Bhushana Brahmasri Nemam Nataraja Bhagavatar 18 V enkatamakhim and his twelve notes.—By Pandit S. Subrahmanya Sastri, Tanjore... 82 Svaramelakalanidhi, (Coned.)—By Mr. M. S. Ramaswami Aiyar, B.A.B.L., L.T. Madura. 29 Sangita Sudha.—Sanskrit (continued) 34 P urandaradas.—(in Tamil). By Brahmasri Bhagavatar Soundararaja Aiyangar ... 45 H arikeertana V imarsa.—(in Tamil), By Gayana Patu, Eeertana Patu, Srimati C. Saraswati Bai 30 T he Late Govindaswamy Pillai of T richy.—A Great South Indian Violinist Appreciations : (In English, Tamil and Telugu) 58 The Madras Music Conference 1930 67 Papers read at the Madras Music Conference, 1930 ... 73 Books Received ^ Foreign Periodicals » Indian Periodicals ., Reviews ,= In Memoriam. 75 Notes and Comments. 77 Members of the Advisory Expert Committee 1931 79 Patrons and Members of the Executive Committee 1931 80 Xlst of portraits. Facing Page, The Madras Music Conference 1930. H.H. The Junior Maharanee of Travancore on the opening day. 1 The V iolin Competition.—Miss. V.N. Tulasi Bai. 10 The V eena Competition.—Miss. Bhavani Swaminathan, M.A.L.T. 28 The Late Govindaswamy Pillai of Trichy 58 The Madras Music Conference 1930. The President, Vidwans and Officebearers of the Academy. 67 XLhc Journal Of Ube /Ibustc Hcabemip /Ibabras. A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC. VOL. II.] THE FIRST QUARTER 1931. [NO. 1. £Mtorial N entering upon the second year of Regarding the nature of the subjects I our career we offer our hearty good dealt with in the Journal, our endea­ wishes to all our readers. We cannot vour will always be, as it has always help saying on this occasion, that the been, not only to concentrate upon topics support which has so far been accorded which are eminently practical, but also to us, is anything but encouraging. to bring to light the treasures of the Though we are proud to note that there classic literature of the past, in the'full are a few distinguished persons and belief that a study thereof, will purify institutions on the list of our subscribers, and enrich the living music of the pre­ the total number of subscribers is far sent. It is, indeed, not for us to short ot our expectations. No venture speak of our achievements. There is at can be carried on for any considerable any rate, no other periodical with the length of time, if there is no prospect of same scope and. aims. If our readers, its becoming self supporting. This as­ then, are convinced that we have a pur­ pect looks a little tragic particularly pose to serve and a mission to fulfill, it is when most of the work except printing up to them to co-operate with us in is all done for love. The Academy in obtaining a larger support. the years to come, with its programme Our sincere thanks are due to the of extended activities may not find it Vidwans who were good enough to easy to render financial aid to the Jour­ contribute articles to the Journal. To nal. In the absence of adequate public single out names were invidious. We support, the task therefore of con­ trust that others who have till now stood tinuing the Journal, keeping up at the aloof, will join hands with us for the bet­ same time the level of its tone as hereto­ terment of an art which has done not a fore, will become increasingly difficult. little to sooth and elevate mankind. THE FLUTE AND ITS THEORY.* BY M.R.Ry. V. APPA RAO P a NTULU G a RU, M.A., L.T. Additional Professor of Physics, The Presidency College, Madras, | ’fff’TT^^RPrj; g h -w<k 3TtfTTP4g<{t^^ mfr: II Music is the most soul-stirring of the Madras public by the daily broad-casting arts. It has an irresistible charm for all of music at the Triplicane Beach. Music beings high or low. In India, in particular, has been introduced into the curricula of it has been,for time immemorial, associat­ studies of the University of Madras and ed with religion and religious devotion or thus it has more than re-gained its lost Bhakti. It had formed and still continues position. to form, to a smaller degree, a part of the Musical instruments may be broadly daily routine of life. divided into three different groups:—(1) Music was very much patronised by the String instruments, (2) Wind instruments, aristocracy of the land till very recently, and (3) Percussion instruments—Tata, Su- and there has been a lull. Interest in Mu­ shira, Avanaddha and Ghana. In India sic has now been very much revived by the all the three varieties have been developed effort of the public at large. Music Aca­ to perfection and the outstanding instru­ demies and Sabhas have been formed and ments of the three groups in order, are the I take this opportunity of expressing, on Veena, the Flute and the Mridanga. All behalf of the public, our thankfulness to the these instruments in some form or other Music Academy, which has been giving a were known from very ancient times. strong impetus towards the advancement History records their existence from 2700 of Indian Music. Standing behind the B.C. the time of the first Dynasty of the Ripon buildings, I feel it my duty to Emperors of Egypt. Coming to India, the acknowledge the help rendered in this direc­ earliest reference to Yeenaisto be found tion by the Corporation and the immense in Yajurveda Brahmana and the Flute is benefit that is being conferred on the mentioned in the Puranas. These instru- 'From a Lecture delivered by the author at the i. The ancient Egyptian paintings in the Cairo Music Conference of 1930—held under the auspices Museum. Musical concert with harp, flute and dan­ of the Music Academy—on the day of its opening by cers. 2850 B.C. (2700 B.C.) H. H. The Junior Maharani of Travanoore. ii. Sarabha Sastri’s Flute. The lecturer prof usely illustrated his remarks by iii. Illustration of sound waves. throwing a number o f slides on the screen among iv. Progressive waves—Stationary waves. which, mention may be made of the following :— y. Closed and open pipes, THE FLUTE AND ITS THEORY 3 meats have been very much improved from ment will be explained below. This pecu- time to time. The introduction of “ Jivali” sliar quality of the flute-note gives the flute into the Veena is one of the marvellous an expression of its own. “ The poignant achievements in practical music. The rich­ expressiveness of the stringed instruments ness of the sound is by that means very much is in great contrast to the gentleness of the improved as the suppression of notes having flute-note” . Berlioz says, " If it were re­ the plucked point as a node, is avoided. quired to give a sad air, an accent of deso- The flute was known to India chiefly as an lation and of humility and resignation at accompaniment to music but it was brought the same time, the feeble sounds of the flute’s recently into the fore-front by that great middle register would certainly produce the Master-artist the late lamented Sarabha desired effect.” On the other hand, on Sastrigal of Kumbakonam.