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J i t a i r a s

A Q U A R T E R L YDEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC

VOLS- 1935-1937 VI-VIII

T H E JOURNAL C O M M IT T E E

Editcr-it}-cl?argeMr. T. V. Sl BiU RaO

E d ito ria l C onjrp itteeVidvan T iger K .Varadachariar Mr. T. L. VenkataRama aiyar Rroe. P. Samramurti

M apagipg E d ito rD r . V. R aghavan

Published by

Tl?e Music Acadenjy, Madras6, P h ilip s S tre e t , G. T , M adras.

Annual Subscription:—Inland: Rs. 4; Foreign: 8 shs. Post paid.

I THE TEACHERS’ COLLEGE OF MUSIC JM U SIC A C A D EM Y , M A D R A S

In response to numerous requests from the public in general;: upon the ! i£ insistent representations from authorities in charge of the various Educational • Institutions in the country and in realisation of a long cherished ideal,^: T Music Academy, Madras, opened a Training • College of Music for Teachers. v

The College - is called The Teachers' College of Music, Madias.':

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. ; ^ Tj|e trained pupils will be competent to teach at least the School Final Class, v

The training class is of the duration of one year of three terms and, for the present, is confined to Vocal Music, only. The working horirs of the Cdtlege ^ ^ : are between 11 a.m. & 4 p .m. - - 'h

':»»• J . yThe fee for the whole course is Rs 50—i f paid in atlvnucp—ror -R ^ S fo r ' A

each o f the nine months comprising the whole course. . -

At the end of the course an Examination will .be held and^diplom as^-l awarded to successful candidates. The first in rank ’will also get thc Biajah*, Annamalai Gold Medal.

Persons of both sexes are eligible for admission. .-o-v: ■5: 5 i' . _ .. • *rt V' ' • * s- N

Only those candidates whose proficiency in hiusic is up- to 'the. Inter- , mediate Standard of the Madras University, are ordinarily admitted! J ^ e f ^ ;:4 ence is however given to those who are already employed as music teachers. , i

Applications for admission shall be in the prescribed form.' , 7; , v; ..

The final selection of candidates for admission will be made ;cy aV committee before whom the candidates shall present themselves on such-day as may be notified. ^ v :

A copy of the prospectus and syllabus will be sent on receipt..of postage stamp for the value of four annas. . .. 2 ;.ir

For forms o f admission and other particulars, apply. with postage ipThe Correspondent, The Teachers ’ College of Mnaio, The Music Academy,. Madras.

N O T i e e

All editorial correspondence should be addressed to the Managing Editor.

Articles on musical subjects are accepted for publication on the understanding tb-.t iey are contributed solely to the Journal of the Music Academy.

All manuscripts should be legibly written or preferably type-written (double - paced—on one side of the paper only) and should be signed by the w riter (giving his ddress in full).

. All articles and communications intended for publication should reach the office t least one month before the date of publication (ordinarily the 15th of the 1st month 1 each quarter).

The Editor or the Academy is not reponsible for the views expressed by idividual contributors.

All advertisements intended for publication should reach the office not later than te 1st of the first month of each quarter.

All moneys and cheques due to and intended for the Journal should be sent to te Managing Editor.

ADVERTISEMENT CHARGES

Per issue

COVER PAGES : Full page. Half page.

Back (outside) Front (inside) Back (Do.)

. . Rs. 25„ 20

20Rs. 11 „ 11

IN SID E PAGES:

1st page (after cover) Other pages (each)

„ 10 „ 9

Preference will be given to advertisers of musical inslru ments and books and other artistic wares.

Special positions and special rates on application.

5% discount fo r cash with order

CONTENTS

P acks

Editorial

Sangita Sudha of King Raghunalha

Abhinaya Sara Samputa (Concluded)

The Chronology of the Works of Pundarika Vitthala of Karnataka—P. K.Gode ... 119— 126

Ragas in S. I. Music—Origin and Evolution— Prof. P. Sambamurli 127—132

News and Notes 133— 140

Book Reviews 141 —1+3

Tyiigaraja's Life in Sanskrit

Mr. T. Lakshmana Pillai’s Songs in Tamil

S. I. Music Series—Book III

Tyagaraja's Songs in English

Conference Proceedings 149— 180

1934

1935

1936 r

S rimati VARALAKSHMIThe brilliant dancer of Kumbhakonam who passed away in November, 1937.

® J j£ J i m n t a l

J t t n s i i ; ^ r a i t e n t g h a b e a s

A QUARTERLYD EV O TED TO TH E ADVANCEMENT OF T H E SCIENCE AND ART OF MUSIC

VOLS. 1935— 1937 VI— VIII

EDITORIAL

WE have great pleasure in having been able to bring our Journal up-

to-date with this combined volume for the years 1935— 1937. The Tamil Natya hand-book called Abhinaya sara samputa which was taken up for serial publication in the pages of this Journal in 1932, has been completed in this volume. Trie text will soon be issued as a separate book.

We hope that there will be no difficulty in future in the Tegular publication of this Journal. From the next number, the Journal will appear in a new format and with a greater variety in the contributions. The Sanskrit Music Text, the Sangita Sudha, will no longer appear serially;

the whole o f the remaining portion of the text will be printed completely and sent along with the Journal.

The proceedings of the annual conference of the Academy for 1937 will appear in the next number.

No apology is needed for brining out the past issues of the Journal in such a combined volume or with such delay. The difficulties in running a cultural journal printing technical matter in three different languages and scripts can well be realised by the public. It may be worthwhile to emphasise, again and again, that ours is the only Journal of its kind in all India and deserves the warm support of the music-loving public.

® I )t J f m t n t a l

® I j * i H t t a t c J U a t o m g J i t a i i r a s

A QUARTERLYDEVOTED TO T H E ADVANCEMENT OF T H E SCIENCE AND ART OF MUSIC

VOLS. 1935— 1937 VI-VIII.

II II

II ii

(Continued from Vol. V, p. 7 7.)

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THE JOURNAL OK THE MUSIC ACADEMY

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SANGITA SUDHA 3

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‘i THE JOURNAL OK THE MUSIC ACADEMY

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SANGITA SUDHA 5

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6 THE JOUKNAL OF THE MUSIC ACADEMY

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SANGITA 3UDHA ;

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8 THE JOURNAL OF THE MUSIC ACADEMY

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SANGITA SUDHA 9

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SANGITA SUDHA 11

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SANGITA SUDHA 13

— ii T F i ^ f r ii —a r r e s t f t *T*m^TTW ^T^TRTmaiTT^rq; i3TT rfR TTr% ^ rR T S fa * lt i? T = R R T d t^ II ?.°V< IIrtr* g # w f ^ 1

— 11 11 —a w n n 0<^ ||

arr ?rrRn^«jjT^!sfafrt£te*T ^ ^r% r%iti% î^ 1rrat f^RTlTRft rT R R ^ ?TCRT ft^ l€ r Rg<JT £ r t J>T II ?o< ^ ||

— II II —a i s f r s ^ s ^ r f t ^ ^tjtrvt k ^ rrrârrr'Tsa^rr^ 1 a n ita ‘rrrt # 1 gtar 11 11

— 11 R ^rcR pft 11 —*3TR*ta R^3TtR 5 3 R R f 5TRRWI Is r R f ^ T ' ^ r ^ Ronif ^ o r r <j ;r ^ rr»^ 11 11S T c^^rf *FJT TS«r rTPFi; 5R5T dR; 5P7R I

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— 11 R ^n?n?fr 11 —3TRVR ^TTTRRdM^HIdMI dRRSSTTR fadT^d^q; I rTRP^. 3»T: STRg =R R R d JR W R R sBROT II ?o < ^ IIjffRr 5^ r ^ r cirr^ . 3# ^ r%%?% i

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— i i f ^ r f t n —arerr f t «r ?«i n 11 R 4 » r^ i5 ^ rT 3 ^ R B ifar i

— n R fa r e R n f r n —N ^ s r f« 3 ? « iT f tn € r ^ T R : 3 r c r > R R ? * R H f t u ? ? ? o n*3RT RRT RTRRTftRTRTSFRRRR 3 f t f R RRTg I rwr r *r r t r Rft^sgSR 3*ft rrrl ii n n il R ^ ^ ^ ^ a R T ^ ^ T r d r i ^ ^ r f t f t^ R R R i 3TR Tf3tJtIR ^d^R RTRftfR 5F?5T 3RRRR. II M ? R II 3n.<*iN^JitR^ r r 5^53. w ra g w ft ^rsrft r^ t r i

— II RgR R i^i ii —

RRTRRT3 rsbrr: s r^ t r RreftRRRt t o r r : *r*t r IM m II Rft^rR RR ^R rftS ldS 'R R tS R ^R l I

= R 3 t ^ R 3*ft RfRR H R fR R T O R R II H ? tf II

— ii ftR R R pft ii —R R $R R T aR ft« ftR 3 S R R *FR RRT3RRT3 R ^T R I RRRRFRT: gJR RfaT RTRTRRT 3 ^ 3 ^ 9 3 II U II R9fajR%3> f f t tfe R l^ lil^ J R iftl& d R R 3 R R i R3&TT£rR 3 « f t R«RRR3 f tg # S R R W S R T 3 : II V<r<$ II

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sm rT i^nrr firrfa jrm ^m g^r ?ra: u 11 h a w osaf TR r srfrnrr^iT^: in ta rc ^ r «»rw i f * r^ s irrs # j® firr g s a ft fife ^ * r r s ^ n m ? 11

— II 3TT%fH^T II —

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rrr?T%«T C 5T ^^SF*TfSRT*RS*T I

— II *RRRjft II —

^ r?«RT^qTRTS«RrfIT T I « w i^ r i r5 tq g W rI . II W * A II 3TRH ^R U R T iN dF dg jR d H ig fad ^j*N gg |f w ? f l « ? T T W i ^ r <r <t r t R i r c r i i r< ? ? v n

— ll R ir fr ii —si*p»r r r t d K ^ f ^ K i ^ w <rani ia m rrR rn ^ m fs ^ fr tttr r ii ? ?v-\ iig s r a <r d^R R 'd^rnr rrfeii^f it r g *: g f # T %s*i ^ fs rp ^ R w m R H R : ii m 5 ll

SANGITA SUDHA 17

— II *Tf5n3TT*fr II —

a*K*q q ijr^ fa q q ? R w rc f q q iq ^ F q r : Iq q rq q rq u q R rc ^ R rq^qqqT qfo qqR q n nN <i4 * q ^ q q Jr5Rq%^KTRfr<?II I3TT^^Riwrq?:i^iq »faqr gqsk^r qrqqqR n '<\ \ c n<Rrew9TVTq^3T qq q q^q*qrrqqqrqqrq : i

— ii <nawqiq^ ii —j r a « r q « q ftq q q * a q strt q r R R q g q q : r u q n w w ii

r r i ^ q R r a g d q $ q t qfcqT R iF T F q T T q ^ q sR R i

— II q w w w pft II —3TqRq% JTB?Rq*qq*q O T qqf qbWT«qJTrrT II IIV3qq ^qqiRRTR^qqFqTRqf j k i q q§f*nfa Iq^Tq q R R ^ R T q f s r q q R 55R q sq ftq q q sq q sq n ? ? \ \ n

— 11 11 —t m ^ q q q sq q q ^ jP R q qrc*q qsqftqqqfsrqrql' 1 arr qR qf^rkf q R*r: fg^qr g^qrq qg^rq 11 u \ R ll qq rq q R R qjfafqq. qq?H 3 # q f%q^Rr H ^qq^q 1

— 11 qqq 'r 11 —

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— II ?qr*r: ll —<fR:g#ff§qqi qq g qqqqf 5^ R f% q RSqg I

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— 11 swajrtor 11 —a n r e j f R ^ T ^ n r ^ l s R T : stisr q R T R q q s q q r^ 11 m < s 113TRRRqTRqTSqWI^3.^^TRHR*TfRJl. ITTRT3i 3RT 3 ^ 3 5R R R R q qR fsqqq^q »R II H V U I

— 11 ^R qqqr 11 —STT ^[*Tq$RR^q^SR 5TRR TIRT|?Rq3£PT ^ |3ttw ^ r r m r ^ rt q sq R q ^ q rq fa q rq ^ ir 11 n y ° 11iftr^T ^ 5TRT3. ^ R fe n trq q rq R ? q ^ tTRftqq q ^ q q q 1

— 11 f^ n fr 11 —arsm f«iqT^N*r q<JRR: q ^ q sr k w t § *TR*TT5n 11 ^ ? v ? ll 3TT <TRR. n?RT f% W T^q STIR^ST I

— 11 *inq&fr 11 —a R tR ^ S R lf a ^ SR qq^qrSR qRf^qqTTRTT STfqj l| '{W R II 3TRH =qR R R qR R *n^R ^q§5r rqqsr§OT R [r£ 1 5R R JTRT ^ f r r T ^ ? T R r q R S q q T I R f t q q q f q q q || I I 3TRT r%?RT qq*R ^Rq^rRSS^iRTTTR qajq |

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SANGITA SUDHA

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— i i q ^ R s r n fT ll —srb*9 *T «^r?re^5m r|r ^ 3 ^ R T R N ^ s re jR a r : i 3t r M rt^ r tt?5i^ %Î5^5TT^ r% 5 <th ^ r . ii H ^ 5RTR rfR tiffgd 1

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— II w t r t : ll —

t r t r ^ ?nRRRrRRnR ir r r * « ir *t<rphrt r r i a n n ^ n p n ^ R T ? T r s ^ w R i f ^ a R R ^ r R ^ m p T R i i 3^0 n SRTR <TRR +ldM<t IRT^T 5T3IR HRR^'RfST <R 1

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— n h ^r ^r t i i —^ r *m*4Rwsfi*RTSRr srn?*r r r rn R ^ ^ n T T f r il ??*<? nST iiw i RTJpHnTK HIRT R R r ^ g*WrRjm^5T tR I

— II R ^ t II —area r ^ t c f r ^ r : sttc>r n ? W u3 rn p sm r« rn :iR rs^w r t w ^ R rcH N K aH a^ i

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— n a ^ R o r a r a —arrcvq ^ rH R ^ ^ jn rr^ i^ T T w a rR R R ^ R ^ F ^ r: l sTR^H^^RTTn^rr R « j # ^ ^ R r s r ^ a ??<£= ll ^ I r T R I H R S fH 'fR ^ r ^ O R P a R H f O R Ir T R i^ 3 ^ g R ? r n r g i f r R T r r <i g ^ H r r v m ^ r ir n * a

— a n rs rrc H T F fr n —HR**FTRK<*<i: RI-WJ-Rd H R JR I

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SANUITA SUDHA 23

h r h th : *3: rrh tsr rrt <j5FTBft?mR =Rg$N i r h h : TRT%RRf«nrc R?Ri?Rt^sirtrqn: # r g # R 11 11

— II R^5H«TT?fr II —HH8?Rrf ^RFt RSRR^jRRpfT HHK*R g RKRRfH^ Ia rw re i^ R ft t o r r f%Rr Hrcn hr hrfh rrr 11 v<*$ 11 ’JRTOHTH'R HRR. HHRTOR H K R ^ I

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— II ?rth: II —srth*§ h h h i g n r^^rRRrft% RT3fRft> h r : i rh R7t«r: gR^R HH: HRt^H H%$HR 3 HIRL II \ r<X\ II

— («R) ll s r hthhtcr : II —H R R ^ P T H S c fk R T R : H H E =R H H R =R <58j o R |RSHHTRr RWTHRSRr =R 3^IR*faHR^RRr ST II ? \\r> || RTRr HHHT HRfW§ R^HHrHK'tJRIRRmRR: I h rrrjht^ HRforRn?: htrht^ h : rrrr: r % % : 11 ? 11

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— 11 arrnjf^RT 11 —

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— 11 q f^R trpft 11 —

q^SRq =q *qjsqq q«qq?q R R R q q sq q q fS R : SfR || ||a rew q^arrafa 35^ tficWT qq: *m qqrfq q r * R i qsq*qqi% qqg s r a i n ^ q R qqR qq qqm : 11 11

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SANGITA SUDHA 25

— II II —

q q I

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Rajqmfc s f r <r 3 : 93 a w 11 11a r g * q ?P 7t q r ^ a j R g - r i r t r ^ s r t s r r r p ? q q i

<J 3£r a>r«RT: RSRRqT^rT *R R J| 11

— ll anfijfinPT ii —

a tfa jm ^ r q^q«r d iiqqai i w q w qfj& rqfa =qrqw i

arrw FrTF^rFF^tTFd dR R , RTRRRfR R 5FTR II ||dq»J H'3I%4|tii F T R R ^ R f I

— II ^FTWR«ft II —

dFr^TdRTSR^RI^ d re f tR iq W d R q rfa w II ?*ovs ||R K q m isrrq fa r t r w tfiRr qq i

— ll faq tfr ii —

arcqr faqrfr <qq ?rreqiarFR«q*qq^jrrqfa qrqqsr ii iianw dKr^d^RRFd ifcqr RsrdRRq^q qq i

— II *FTRR5fr ii —

R q? n R R lf t R 4IRqq?q*qr fr?K f R g*Tqqq II ?qo<U|

— ii Rfarwnft ii —r r u r ^ s h i Ri^vq drcftqqqfsrR T^ i

q g ^R T R R qT q^FdT R qT II ?q?o II4

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5n3^d?n s rq ^ i it 11 W c 11

SANGITA SUDHA 27

3TT§Rfar? ^ %T5i5R ^ r r irr^ i ^ t t w : R>RRTf* w r a * § r^ sstsw vir^ T sst: ii II

— ii amajTRW n —aTrfajm^f rtw ^ r a w rt^ r r n ^ w r g 'jp j r ^ ; i

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— II R R R R R T II —R T R R R R S R T R R H ^ S R I T R R r e V R R * R T R f t i H « l « i l < l RTq> II M3T T R ?T R T R T R T R I f R T R R « R ^ R R ^ R T R T R R T R R 3 T IR T R f R , r R r R R I R ^ f r T R R R T<R T « R R R R S R T S R R R R R R R II II

— II ftRTtf II —

S R R T R f r T R I R R I R R R T ^ R R « R R T R R T R R T ^ Irttw RTRRRqr^RTRr rkrr^ rt r w rtrtr. ii 1kV\ ii

SANGITA SUDHA 29

tflRr R R 3 R . rTRF?Trr^3T R I®f^r r> f^rr3^xB < irl: II II

— i i ^ r w p f T n —

q f s r R g w ifoR U R R W R rcw i ^ d ^ -ra q i^ m p fr i ^HTN ^ cT R T ^I^T ^r. $ ^ ^ % ^ ^ T R ^ r q ; II II

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— ii ?T^RTFn€r ii —r p ^ r ^JTirqt;>nR?i r r **t i^*m*TrRww <rq n H v ? ll w r * g q rrr?n^q*TRcTr: q^q>frl>q>qRRqqTq i

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SANGITA SUDHA 33

R R W rTRR*R^35T 1R P in t R>^ 5lK*l^aUq_ Ijpaj^«r?rT t n m R w 3Rr?«Rit^TrRR 11 n *TTRr ^ rTRR ^ R T T l f a ^ R f ! i m ?TRR?RR¥;jT tR I

— ih ii —

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— 11 11 —

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— II 3T R R R T II —

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3 5R?r rTR^RR. R R W * P * m «R rTTRR I

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— II r r t : II —

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SANGITA SUDHA 35

^ 3 J if^ lO T aftsi II IIJ R rTRTi^U ? # l S T ^ q s q v m r^ S ^ I^ . I

— ii ^t r r r 't ii —3T^W Rir% Rf JRRT *J«R»T!TTT**T<mRTr: II ? W II^ 3 ifo<R/i?rr: *g«far gd^fR 3 1* 3 W tR R R WRV?R, 3 ? N *TRTO <R rlf^R: II II

— 11 q^srorpft 11 —

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— ii s ira: ii —r w 3 *r r qq t qqm t fl«qr1«r^r3 q ^ f R r s q w i *t>!R*rT^ ^ ?Rrsftret|3 . ^rot qrcr?*Rfl«q*rTRg. n H V * li jfiR r =q ?t r r ^ q f a f i f q q R . r r w a re rR rR fa r qq i SfR 3 *TTSq H W 5RR: SRtsRf t f t P R S R ^ II II

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— ii ?m «r^fr ii —a s rn s f ^ f a 'f r ^ i s s T frr?:^WTTRR^r^r??iq: i

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— II wfpfl' II —

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— II q^T R R T l| —

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SANGTTA SUDHA 3 7

— ii ' r a r c w t f t n —

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— n < f^ rc « rp f t r r j * n —^sirlr ^ J ^ r ^ n f r *R K *q g i

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— 11 srrrajfk^r 11 —

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SANGITA SUDHA

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R ?*F F T F ^F R F ^ 3?F: 3 * 5 5 * 5 P R 5 F q r R F q ^ « T ? F ^ T IR F 3 W R F r F F R F c R F * R F < 4 R R I R ^ F : ^ R cFF: s p ^ O F II H \ II

R F R ^ R F q ^ R F J R R S F f t T g r F % *5 R R W R I ^ r n r % R ? ^ ^ T F F ^ 3 : R R r *f?t ^ R ^ v p r : 11 H ° 11

f f c r r e r F R g ^ r R ^ w r s k « j £ f K* f ? r : r f ?i q n ^ : *r p ? : 1 c F r H g m q S q R ^ F F R J T F ^ » - F F ^ r ^ % *T F*T *i> tfSP?l*Frrt II H? II

% s t r r f f : r w «^f r % p f a r F F : r f r o f i

tfRfNrFF ^ gffTl^F^RF W *?rW ^eF 3^ ^ 335 II H R ll

TFF?r § R F T ^ P r F r f ^ R : £ r | ^ R T R R i f t f T R ^ R e F I

% * R 5 * R R r R F 5T?fcFF: R R T F H ^ r f i r : ^ G R IF F S * II H I II

g p r r n * r a m iri m m w m m < £ f | < t o ® ?35f : 1=R 3 T F R R F R 3 ^ (? T J F R F 5 S R 5 F S ? R R R R : II H * II

3 R F R R 3 ^ 5 F 5 F 5 ? 3 5 F : R r ^ i F : s t r r f i r > F ^ ? r s R r : 1 3 F « F F 5 r e R r ^ m ? T f R t f m R R ^ F R : R f 5 J a j< J R II II

3 F $ F R ^ R S R R % R q ^ F f t R T R F M T R F ? R F 3 F % o R F : I

3 R F S 5 R fC f 5 F r< F R R R F S 5F F * F F r R * R T R R R F S ? W F | | H$ II

3 T 5 F P F P F R ? F ^ R T R ^ F ^ F : R *>F3FFF^FR ^ 3/? F R : I3 T W R R r t R R ^ R ^ R T T S R R F 1 IF R R t F R R q ^ R F R : II H * II

R R R 3FFRT5F ? g F 5 R F R R F R : R 5 F F R F R R ? F F ? R F S * F : Ir r r $j $ : r s s f t o r f r f r f ^ R ^ & R s r r R e m r r i i H e 11

R R R 3 R T S F R R > T F ^ F S 5 F f R 5 F F 5 R R F F q R R R R : R F r ^ I ? ! F i n % q R F R R q i F R R R ^ R F f S F ^ R R R > F R F R II W II

R a f S R R F R T R R ^ f t f t R F R R F <1 P F R R R ^ F ^ R : I

R I ^ q ? F < 5 | r r j # R R R r >f r r ^ K R F R R R R F S f l : II 11

SANGITA SUDIIA 55

wh*? ii *«>? n

^ r r i T i ^ E r s r r ^ T ^ r r n r ^ t s^ t ^ p f r c g ^ s R r s s n i n f t # *t o t f a s t a n i n r*r n

s r e f o r a s s r s s s T O R m r i r r i r c ^ iII Ro\ II

^ n e w % ? r f ^ ^ R ^ ^ t s 5 i : * r q w w r a ^ T f c T : * * r n i i a r o g r s u r * ^ n . s f a i t a i * * n R o y n

f e r ^ r i ? at * m r % r r f a ^ s i : iqrnfsrfetr: **<3 ^ irs rr: **trt R ^ r : ^ajafa u r <a ii

5 n m r ^ * * i R T S t q r R | f 3 $ R ii t w ? * T O R s r : R i q . R T * r e g ^ r s ^ r s w r r s w r F * r : n =05 u

T T R V R R q ^ S f R r R T S R frrT H I W T O K 3 r W * I T 5 ! * W 5 [ ( R ? R W T R H ^ * r f N ? T T S r II R o v » | |

T T R § ?K*TT f % R $ W T I* * n * n f a f ^ r * r % T R ^ R j r * t a i 3f t % r ^ f 5 ? r q ; 11 - o ^ h

i t r j t ? ° i r i w r o r R ^ r B r : ^ o r T f ^ T R 1H R r f ^ ^ r t f R g ^ f t r c r H : w p t r r r f a f a v r e ^ j p ^ r : 11 r ® s 11

* * j R g ^3 s f t n r a n R i f a 5 r r * § r r t : s r # r 1* T R W S R ^ P T O T U r T R r : W R T : R * T R f % r ^ 3 * q . II R'<o l |

w r w t t r s r r s i ^ i ^ r : s N r * r c ? i r ^ t 1 3 R f ^ m 8 T 5 W 3 5 3 I 5 ^ 3 R S F 3 > T f . 11 RU 11

R R t » s j f r * T R * R 3 R R r ^ I5R r t f t a r a a i g ^ F i r a f g T O r g r o f a ^ 11 *AR 11

i R m s m ^ r f r o ^ R T : 3* s r g m * R g : I q > R 3 R ° r r c « T r o * m M R m : R * « g ^ r r r a j f a p s s T F ' r : n r u n

r ^ r a f ? r s ^ t r r r f : i

3F*TFR tR *$Srir sra[F?F 3>F»»5F*?FT*FF fT% 11 R^V ||

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* ii?21 3JSI — 3? & £jj 4rfS >1 3i> U? va /M3 -a•=!5 At/Tl

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>®i ±j 31 ^*i= I

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i &3 ju ^ ilH IL>W JY3 '’ o'. -Ul'TJU? jy2? n

t i t&/y j]^3 ® $i 3 / i -33 , 24 6gfl ^(31 ^

?a 5? ^ 5 * 3 2 3 3-6flijils g?

(A t^Sjy _, u ^i 3 / >n3? ^= 3 a i2_ «

-dj 4 (35 a £x~ 34■a, 4 /3?n±jI a3 3 "

/ « ^^ pi■a ^■■ js* 3 ,3i>Sis 33?

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SANg ita s u d h a 57

^pwq^t R ^'m fq q R : i qq *q=qrq Ig-j-., ^^<r- w rt qq^ «rrq<Rnrqq: ll RR^ II

^ h ^*<r: R R : ^ iqq wr<fr?gra?a ^ r ,

q jf^ q ^ w rw r: ll R3 ° n

T ™ f » * W f i n i «*c: I* " i * a « ■ * * * ^ m w „ rfraH M W 1 |

! * " " M h n o r i n M t : iR^cq qq ?qni ,| ~,^ n

i k *i%'- w r a q b& ^ , Vr> _^ * ®rq> qRT qnjq^qrqi?: i** * ^ * 3 srqq sr^rq *rfacqq < iR v ^ rq n i. w R l l ii

*T f % q . I nr^qtsq *qR : Ran: £qfr 5B«qqs^ I

^M T ^ fcr: *T t?q ffcnRRqq: || R\X ||tfqfiqTqi y>g qf^® fx §_ -x . ^ ___^ v 3 T R ? q r qr M ^ « q ^ iiq5!T5q qf qjq r>T=5^ . .

^ ^ *qrqr qq?i w g^R Rqq: ii w H

* * * * * 3^ ^ ^ r ^ q p q .tqrq*§ qjpn^r i<fr?:qfcr n =35 n

R^faqr rq ^ q ^ rq ^ . q % ^ r; ,wrqr^qqRq^rqqq 5. . «

^R q^rqqqr qqrqiq. 11 * 3u> 11

qqpq 3is?r: 1*qrqr. *3 ^ ^ ^ ^ i^ q q p q q r JTRrqqr srrasr: 11 Rid 11

R r t : ,

SRI^fRRg q«q 3tqqp. R R r ^ r ujjpqanT^^r II =.3S II

*nq*3 q 5 ^ q m^ T ^ ,

W RR§ ^ra§^fq^r: qqf^qqqif^qrw II RVo ||

qri* w m f t * ^ q^qr qs*^ 1qqr=qqr q qqqqr*§ q ^ R R r ^ j-.r ^ - ^ r j ^ n ^ 11

^ **TS trq*q«q 1 fqqrq 3 W U (*qiqrPTM q) ^qqf^q q j^ qffcRq jWiqgqr SRPUT: II II

58 THE JOURNAL OK THE MUSIC ACADEMY

IWT% I

3t r *3 ^ ^r s r r r i : ^ s r r r f v f r t *RrR il RV3 II

**trt FRtfq<srR r% ^ n*R R r: i

|$ r sp| ^ 5Rsr% «i: **iRr *r : ^TTSSRzrrvRR: 11 RW u

qt lfN rTS3 l?^ ^ ^ JT ^ rUf*! R I?R 3 SRFcI I

a rr^ f^ i^ *?: ^ ^ *r*m *1*15*13 sr^ rr 11 ^ 11

w. g^stR5R5rre:vrr% ^rsqtq*T*rm im u r s : 1 W. f fW I T R W ra 3 ^ -TCgtfN r *TR: 11 11

?r stcs'tf *T3*«qR: r r . w r : *e*s r r r r *tts?r 1 ?r: r r ^ r g ^ ^ i w s t f r R R r *R 33T R *R nR R : 11 w 11

*Tr 3***: * R p m q . R rcrarcR rar g w ifa r r s ^ 1 ^ T F rc R q R * n 3*p*rswTR<i: r r <t »r <11*13 11 W 6 11

w r 3 JF5 s ir «nflr r s *i r h i *t% r r ?r if Tr : i

R R T 3 3 * ^ R R * R T ?F3 g^ R ITPRF^ ^ II ||

srift?R r s r * s<gqiRr ^ r *&?r^ r£R r 1 <ir* 3 *: 3msr*rer 53^ ^ % n ^ o h

q <sR fR l §;£+ll*«tR. ST*T5T35T?R m '3td? I

3^ r 3 r s r *r ;t f R r *r t «r: ^ ^ 3 3 r r 11 *v< 11

î r r ^ r : *r ®^ w. p r R R t u rn s# fcftrarfcrrs: 1$RT *RT IRRâjOT: R R R R T S H T R T R R R ^ II *<v* II

3*Rg srr*r*3<fa #% q: « ? i i% 5R?r: 1 « w w : *R*wr fa w r *1*3 ^ q i f f R r « n s^ n h

s r^ s^ T R ft^ m rsq r r t ft*PTT*<Ri *t <r : 1 ^R ÎS R *f gKRWTSRR 3 jJ*R*RI*T3^RfcT || \<\V 11

IRT JR PSa j’JlfasraR RST <R: R R 3 5 rg * lR I

ffiJ' ?prt®ra5?FIsn^ Rr*n *r i jt r ^ s r r r n *v a u

qfT^qr TOftffif&RT r r t : *R R r: qf*¥rR<irR i

JIRlfiRR*! *1 fa«Wi?T: gV T O q* q frm ^ T R || ^ ||

SANOITA SUDHA 59

sm rfa %qrr R ®8j<jt r w s r r irm^r^Tm: i

qq*** r r =q^ r r ^qTroRr R R g q R *Nq. i \ \ * il

s t r srf r *RqJTPRRT wnr?:^ R ra fe r s r t *n i

wr^rsfa^t q: ^ *r r ?**«t r ?r?r*Rr st <r : il V-\* n

W RTfg ^ srajowiwRTsreir fa sR R R %\b s r r t : i

<TRq fa s rR R R II n

R R RgrBR R 'TR ^ ' ^T^reSR^SqRSrtfR I

3R lfRR53?RR> R: R R T vR?r?7 R R ^ R : II II

3 R : *?c$ qJRRJR R R R *TR?^RRWaTR r r I

^Rrf^T fo ifR JR R 9 R R II II

w. ^Rq^ irqr <R!f?ra R R rs fa q R ^ g R ^ R i

rRT^T ^ffcw jjb fff: R R 5JrTR R S W R II K$R 11

g d f^ r qrfcre<TR*R *r. r r t t r *$t r : 3*r r i

<RRR^5*RT ^RRwPR T R g^ flR SRfR II II

q fR R as«r *r. r r 5 3fR*$TRR*RTg: 1q faR re ite rr f$rc<TR#r £1 q g ’?wrg: *$rRr5<rre*R. 11 *A* 11

R q R jfR R q r^ sq r r r r r r gqnR qR R sa r. 1 3TW <RRW R W R q R W R fa g R q iRR3J II II

« R : 3=t: r r h r r j r 3r t r it q sfcR ^ R R jl: l

*R faftrer: fTcs: g rra: Rr^nreraR r r «R?r II ^5$ 11

r r w j # fTSRar § s r jjr *« jR R R R irr: 1 #r srfta ta rfc 'n^ ^feiqRrTRq ?r M g:w «rq 11 ^ 11

<r ^TRHrsrflrfTglriTipR g sm'RqrarsR'rorr: 1 qr%R*rr fiRKigFSRr ^r r r i p r r *rtt?<r 11 11

qRTTRff gTR itig f^ <T SR8R TfrrT TR TRT: I

q f^ RRFr*RH TRH r R ^ FRRR § R ?R R^fcrT II II

fT ^TRRRTRRg^TTfqf^ 3 *RRq?*5Tgtf °TT: I

* f« R R qRRq>TRR R H R « R R%tR< R II -vso ||


wraragSfrnwrcg ^ F^T^rfe^rrûrR ^ruff n il

<r t ^R^rFR ^ r o t r : i

^F^n%cT5T[%rTJ5^rf^T!!TT S T ^ F fiR T F R <R II ^ II

r r t s r 8r t r *t 'Tg^ririrTffri^r i ^ r r ^f r i

*RTfe*r: PTTra^q^srRTr^F^rR^rs^r =? s r r r s t t n ii

3n% R R f R r a j £ER%^*r r s ?*j: i

*R ftfasr: s r r s *t csrt *R^r5 WR: ^rcTRRR: ii ii

e^rR?TF-ilktd€r ^ sts r : 8Rr%tfRfr*RSJR: i

wra: srf^s: 8>*r t r ^r s ^t t ir r rtt% r «t ?r ii ii

f^ R R rT R ^ ^ 5R«TF SRTSgiTR =5T *TR 8 5^1 I

JW?T SjfolR rTR 3RT5 R|Jfi| rfR TB Tr : II II

$i r r s r r t o *r ^r t o i r vRriRsr: 1

R R ^ FR r AiR^rf^r setss r r qîT'rdsfq n 11

# i r sr^rs^ w%5 ??Tr *e3r i

R rs R iy R K K ^ €r j t r r r sfarT%R *rt iI r r : ii

f^RSTTrTR ^*RS*T 5fr8pTF*R ffl^TR R^3 R ciR I

f^TSCR: 3R 5R ? R RFFTTSIRT^fa *TR?TRR II 11

<R3RRTORR S R R *R3 R?ER *E25H ^ F ^ R R I

R R R 5T R R N % r « ^ R * 3 R R R I T I r T1RR II *X° II

RTrTrf^RrFRgRRSR: R R RTRgP?*T =R?5TR8 R I

*T ^SIRgST rFR*R ?ra: IR8R 5^?TR5T R R II RC? II

agiF R R sir’ih tj# *r t r t a R l t e i ^ r a I

qgajgqR'treR R irm s^T^ s r s t r s r ii r <cr ii

SRTcURHRR ^RFRTtR : 3 R 3 :*RWTi^r I

3PRR frR R R ^ R R R ^ R R ^ r R c R n r F ta II RC$ II

^TRRÊt »R ^fRrSR^RW SR3R R R RE^C I

5R ^ 8RJT T33R R R R SFR f% 3 RjJ^PR II R<TV II

SANGITA SUDHA 6 1

srg^r. fares? i

WT^VfrR3fas<Rrf*R*?: *jaRF3*faj* <re%<T3J II R d^ II

r ^ f a R s j f a i v ? q ^ r ^?rsr i

f a iR * F ^ s f a t w s ^ r t : r r t : f a s F U R fa^ n ssh II ll

— II ausfa: II —

SfTTTSEr ®niTW fa*wr !?fa SBjqR: I

*rerw sw rfr fasT|*JsrH*i»T tfR^srsRfar: n R ^ n

arrsfifaii rsfasr i ?r 35t 3 rer i i

3TTOR, 5R?«TT^3R OTT3&*m<l T O H ^ g ^ fa n : II •<£<£ II

1 3 RT *RT*R5R R R PTRW <T RTRTR *TR: I

^«rro«?R3 *Rf*Rr aR cwre^^t «orfar n rcr ii

s r r i\ RR^reifiR **rrfa*srei*rfa *faf<ffa: i 3 r??jr rRT 3*: 3^4 i rere>Rr g^^Rtrrf: ll R\o u

arre«f § wirjrt 'jHRr r: RTRRfa qfafar i

TSRrefa? rr^r^far RWRsrei § p r : <k % n rw ii

apfare 3 5 ^ ^ rh RRT?reRr% ^^n*<fRg i

^ rrerereRgjRrg r. r **§ *Ttsr fegonrereR: ii «V> ii

apfocpsq f ^ j r R T R P ^ f a R P ^ i r : *re? ««re?Rr: i

3T§R>3 STRVRT cTTT?R13f%<l?T% iftRrq; II 'S 3 II

1 ". *«TTRR RRR*R g?R RWJPRfe SRrRRg I

35r3R:RS*Rr^s*R jtr ii: wrfifi fa i ll RW ll

R^R^Tr^ ^PR i t R '4R^§Rfg *RP5RT 11 I

*TTTR RS/fa*! RgRiR r o r ^ r p r r : II xVA II

^RR*5 faglR*n?TF,fa: sre #g*rr<jtf%: i

w ^ r t r : qrefo§ w fa s q s R w rc P fa fa f tB T II RR$ Ii


— ii ^qq>rsra: II —

s r ^ q q rrs rfo q sr jr sso t rrra* s s r N s r m i

sr =q fgTTr r srqsr i qq qrrnR<RnirsqT qftqr ii ii

sr qsrsr qrq sq rs^Tqr sfassfaqR: i

RsiRg^rq 3*q qqRrqqqrsRi: n R V ii

st ir <rcj5r sq fgrftqr qr s rifr st rsfqqrq qsr i

WRrftsr s^Rs^jpfr sq<t q s ^ r s ir q ii W u

tqrqR sr siriq^Hqqsq *r r qqRqqr m qR i

Siq?g ff«iq^TrroTTSRrf qT SRq qq S*q^ II II

q^r s r s qqr qfjqRqqFqqr ^qqsrq sq*x i

sqR s qq R’pfaqr sT55msPsr?q s fltr% ii 3°? ii

sTism^T rfs % sr g qqrs^K-Rqi ss%r s t s : i

sr^TSRSfr R ^ q q q q q R R S t q q t q TSTT II \ ° R II

arTSrHqSRTSqqTR TqSTqRfqS qa*TS S qpi^q: I

SST R qRJT T RT T fRT SIR STRT r ft gqfiqT SIR II \ ° \ II

SIR ST8JTT sqqq^r q 3# fa^TWfq I

ssrlfar sr q>f2rsr ssrsrsrsfs sr qrgrqqrqfqgr n ^ » n

g ssi qrsrqrq srss*q q^sssn: q>rqqr qiNq; i

— II fR sa jo rq : n —

assesses qrsqni qqq i r ^RRRRjs^Rqji 11

q^raj qrqqJSR rqf fqqpq i r s°RrrqqrqR i

tq qq?R gqqrni q ?qFS«qs %q qq: q>RBq il 3°5 il

q fs R sq^ R ^ i^ fr q g sq rsrq rfr s s s r s t s i i

?qr5rq%rq^ q ^ s s t i w r q s rs^^r n ^ov» n

srq%qqqf q w W ^ «kq sgq q q q f R * i

q^qinsrRs: s*qs r r i r q sajs q$q n \ ° 6 il

SANGITA SUDHA 6 3

WMht § g ^ w m *reg: W RPrcT^ I rR : t T r a f tv m a W f f ^ II II

s r ^ ^ R S I^ 1a s ra ^ fii^ fa fimr *pfoggll ^ !« 11

^Tmrg^ ^ g ^ ^ =qr«iT: WTTRu W i*n t% ^ s m ^rrcrar sr v i r t it o n \ m n

W 5H^r^r%^r ^ *ra w n : gqqR ft^T 3q< ^: I^ <w ^ntfip^t n *? * 11

» FT ^ J R IR ff ^ srqqrft^HU: iI*5? ?R 9T: ^5515® !^ ^»*RS*T f ^ q II \ 1 \ ||

f5% q^grW^TSf^^TSra^ ft«Rr TTrqHTTTRI T?IT: Ii^ g ^ T ^ R r <ra*g i ? jp T n ^^m : n ? v 11

g w g fr% : qqqr g w c p e ^ q *TP*i fe fR : i g s w nrg£qm^qn?T3ir%?7:sr*g ?pre3?fhi: u W - \ ii

q?;m?q g r ^ r qi%qfoi gfrc: i9TR^q5?iN^rgfT *qr^ sr q ^ s frT n m r^ q 11 3? 5 n

srs^T ^ **g goi a ftgoj iS^r fJ^T^r r w ^ r f a i*? n

f^ ffW ^ T R R r ^ *rrsq spfiRreg $a* i <r r %^: |i?PTTS^q®^raw n n

ri%5j gri : $qq?g *R ^T^nrarsq qrqftq^g ia w ft^raqR T € i«it g a ^ w a T a w a r n \\

aar r^rafr g fanfaft =a wrsssjqfr m ^ 5 ff^ r^T ^ 1 w g r a a rw r a^^TTy+i ‘a w r f%?rfr arfq a a r ^ f>gf 11 3 0 h

aa: fqapsr WRfjpaCT w *355 ^ 1a^ rfjfo rw r ■a a*te ^° it a*n ag^raasrR qa>: 11 3^? ii

aT^nwr^ g aR r a R ^ fta R rg 1 dai^%Rf a q ftgft a: q fa fis a ajfaar gsfN|: 11 ^ n


qqsqq; qg qrcq rs* q^nq^r qTqqjqrfrqjra i

q?q>f5®T3Fqq>qr?q>aj i; ^ 11

q«TiTRiRrasRja* q Hrqrcqf: r r ^ q q ^ m R i

arRgg’l fqq qqajq qqqj r qrqraqisr g^q: li u

arm g qm qoicrerat w rr; q*qq sqjr i

qt*§r q sgrfq q sq ^ r q ?ra: q* RT^q^gSN n 11

q§R qrRr w r g fw sgr qq: rt^ r qqiRr i

3qqR*?qT qqRsr *§rr qqr §iq?r ffqrfqqrRr n n

r :r r «^t ftqcfr q^q rttf^ Riqq qpqsr q i

qqjg q>*r3T5R 5§q;T3q qqRrr^qR: r%Rr%r?qj q n n

q?qqr?i gq*TR qw qsnrsRi' =q ^ q q ^ q i 3fTJT5 ri5 §qq q # q qrssjR qe?q $qq qjqor n ^<: h

qsng Rrcrsgqrrercr q n ^ n

qqg siR^rqqrmq^qriF^r^g fqqaj^a? i gm^RT^q^Rqqrsi r r fqqq q n 33° n

qsTtrR^R^Tqqsr qrRST qsj: fqqtsq qj%: I

<r r qm ®qqqqR i *k RwrofqfRqr g^F?: i

qqrT%RqNRqq?q^Ri^qq?: $qqfRqTqg n 33? 11

II f f ^ ^5^T «njqrf% rT T ^T ^ f h r g g n r t

< ic f a i 5 T ^ r ^ T « ? n T : w m i n

^3«lf5«Tra:

R ^ q g ^ q i

am rnRTW R q^iaj ^r^rr ^ i ^ i ^ i r r ^ ^ r : w m q j i ? n

5TFR: ^ ’TFSTR ^ q ;« rs ^ % RWU^Trsi q q m rq r : i

g n a j qiqr: ^ g r f r w v i R r ^ w R ^ ^ r R ^ r : n * u

R^g> s r q i^ n T S R 3 q f ^ S ^ r : I

^RFsFNTw gt f ip ^ w g T riF ffa ti^ g ^ rK F T : il \ n

^ R R <rsi 3 t w i n ttrsisfv* ^ H ^ayotsfw ^ i

W R t^ R s g ^ f: tra ip ra 'P T O fr s rR R f^ : srr^ Il V II

sR;qnRrarr%5re?ajf 5FiwtqwRRr% srr^ i

s n F t^ q s ^ J R =q qaiTgF»t?I^RRR^ 3<nqR: ii 'a ii

ara: g f R ^ i ^ s ^ r ^ F i r : i

*ra: sf ts^f ^ TiFrRqRqaj h r sf?w r ^ r i * n 5 n

are ^ r o iR g ^ s r ^ t qr ;pRR*r<T jf r t it r ^ i

sirs *q^8Fm «q f%55 q ^ R q ; n « n

3T5T: w i o i r s ^ ^ # r s p r q?r <f<t i

3ran^% cRq r^ rq o iR s q r ^ ^ f s ^ * ? ^ r R rq . ii ^ ii

^ ^ rhf^ h f t m p i r f t f t q f ^ s ’Fq; i

P r a i r p p ^ R P 5* Rrai * * w i 3 cfsrft 11 ^ 11

«r% =q *w <jit RF^fq q ftq sq q . 1 ^ R W ts^ rm f tq R o rr^ m q o r q ^ R F T S ^ q 11 ?o 11


^ h r ttf'r j t Ni f o a »TR»F*ni i

f o s h r u r s r r :? ^ sjorr n r< ||

f o g ^ R T r ^ T O f t * ^ W 3 T 3 R lF ? r % : Inp^ffriri ^ t*r gwtrrsR for?R-r srraq^nr: u IIgtfr^FRTR =*r 3 8R 3 tt> ^ i R ^ R g f o f o r ^ i

asrroraF’ifiritafor snr^t *RRrq; u ?3 11

— ii ?TR^f: il —

w if ir t%t%*r *t r ter fo ^ fo r f ?re: il ?tf u

ER fR^ 3FWSRRT R S *RT^5 ST q [sf^ : I

^ i r f o R s f o g r r : *uw m ga ^ ^ il u

rrrarg^'j sF rw rnR srT^ R ^ p fcw FR fo r iITR fo?TR> R^ ^ 3^ ?TfoR?RiT R^forT ^ II f<$ ||

sq^ RT 5«ra5<7 rr^crargirfo^ q n ^ s s fo i

w ra fo lrw r ^ w t r f r s rn fo ssR n r<v» n

stts ot ?t p r g^ ^ *t r ter ^ 3^r jrg srnR R q ; i

ert st t r ^ n \c u

R^H^ir ter <t?;ett ^f«R ^ R iq ; i

l^RRVI^ r STT^ ^ Ef^folTR^^f^H ^ || f<9, ||

RT^ RRSSTg< T ^ fo?STT5HR i

stttM f r n ^ : s**R ’SiFTfolR ^ T * R II II

fNFSTUPT^ Tf3® R R ^ p j W IR*FTRJ^ I

q|: q fR fa q fo i^ : s r t M II r? n

3® g^ RTCSR TR RHT^R R R . «Tft5 T H R ^ I

ijSrfoqR: ETqTRRTRtfST[Tfo*1R<TR’R g ^ : II ** II

q g ^ g ^ R F I R ^ R F T p R I

# a i 5TI3R% iW T R^OT §J3R ^ qw for II ^ II

SANGITA SUDHA 6 7

q^qrFFR: *ft t R q q <reqr: wRprr%#r«R =q n *» il

arrRa^ H 'TT^ ^ tfr i

3T*g5RtSTR*RFqq q q iRgre RF?Fq ?FFr5qf|: II \'A II

* a j $ r w r % iv ^ t RF^faq q rsqqrw F F qq i

TM S R R r iiff *fRFF?F ITT^TR^R^Ff R II II

*TR <Fqq fe R q RRT^ Rq^ RP RRq^ RR r^ I

*RfvirRTRRsr^JT q ra rto q R T^ s*n f: 11 u

qqjTF53F?qtfq «tt§ ^ | : rtt^st gq R^ sq; 1 ^ TRTO q>faa g^RrT5R^q#q R W : II R<? II

srf r'qq^R *rfct en r q q 1q p R siff q fR srgF%Ri%TF*RrFqF% qFsf^q: II II

r r f * ^ ir ifg ^ r: ^ ^ r^ iT T R q ^ R fa qsrfar r f r , i

5 R R R ^ [ 5tIrqR%*r^Urnt^: II 0 II

qgpfaqFrq q q [§ fira s r w r s^ P t i

qq nq?tn^ 3frr# rT 5ri^5%c5if^ggrs r ^ f: 11 11

nrqrR R ^r'Toi^r ^ r h r r w r ^ q w ^ F f : 1qq r tb: r%« ^rg5i»?r qqrf*?«rrqiR fqnRq 11 11

T qq qr®: ftc5 qi§5F5??§qJR?qmqFR^rqF I

qgfqqF qrift^ qq?q fgqqrtrirarqqRir^r i f 11 \ \ 11

g q ?rfrq RgqrsqrR r f r r i f : q tfq^ gfR : 13TFq: qq?Rqqq: RFgTRFSqRT W 9 F 5 ^ 1 : II II

qq<l s R s g R ^ flsftq r q^iqq>: ^q^RsfiR®: i

wq: qq^ R qq^ qN : ^rqsrqjR Rqqr qqrsq^ u 3'a ii

sr^qgqfsFgsi^ fcF RFRqRFqFqirg gq>?F: i

sFFgsj§R% qra g R§qr iR R ^ r^ q rsrq q qrg^q; 11 n

qq q q%fq tr tifr q>q qgqfq r r ^ r i

^ q qiR^q'fR q srqrgqFqF ^ qq qrg: il \* il


ithhh srra n tjsJ rrH ^r% sreftHg ITW r^HTgrHHHr h h t ht ^ r r f R r f ^ t r ^ g : il ^ ll

w s f r ^ i ^ R H?rr s t h r fj$ JT r^ g’R T : r%3 v i t h h r i H rjjR ^q qjsRrm sRTHrg^HHr ^TRr'Trq'HRR. N ^ n

3? rm r? % *r r g R ? R H r g q q R m f e : i^ g q r ^ r c : 5 3 ? ^ % ! # r%® q r * ^ : n n

^ q g ire r ^ h ^ n rH R q rH H JT rfH w rR h h : s h r : 1* R iq q > R q r 5 5 ^ t s h ih : 11 y ? 11

r s f w h R H n r H H rsgH W H Tr«H R * « r *r ht§ : 1 HH: H H R R WTTfiRWrr^ * w i rT JT T ^gfK ^f^I II VR II

’ 3h r =Hrwnr%HRHr n r R rtfm H rH TH gsrRH *r h : 1 ^ 5* ir f5w s ^ : r % l q s g ^ i 'R r q m *r q r * ^ r : h m

q R S R R s f q *r 3 % ^ r ^ r g f p T f g ’s^r R H H r: s t h r t . i n r R j R R R q n r ^ H H m R iT O ^ rq q R n iR H r 11 y v 11

g n : j r r r j t h h t f s ^ r g ^ R r ^ T T i s j n H 3% H R : 1 * m i H r § R r ^ H s r R R R R q>r*R g * F t : 11 V'a 11

s r r h r h : g * q R h r qajr?^ q ^ f f R r ^ r r : 1 3?[3f: w . R r r g H ? r s H fa q q <i h r f% ® h s t t o j ii 11

R R l q ^ q : h r 3R U H T H R rerfat*R R q q r R q g g 1 S R ^ ^ R : g ^ H R H R q H ^ R R r R e R T S R R : II V * II

q q R ^ TH qfH # rH ^ R r%5r? q q ^ r a r R H R ^ R r r i . 1r t o w st h r st u r =h <jKqR 11 y c 11

g ^ q r o i r g R r i r ^ T ^ R q rcrP R iH sro cK g hth: 1 q^T R ^H rqR qR iirfqgH ^ ^ r t p r ^ r r : ii w ii

H T ii^rsR R ^s* nr ^ siefhhfh: gijqR qmr 1 H i^q fi sih r h r h : g^qR qrfr 11 11

H ? q ^ R H R ^ rqH rH r R U R q R r f t ^ h t sr h ^ i r * r ^ q s r * r h ^ H ST^ qq h r w ^ h iit : ii ii

SANGITA SUDHA 69

% ^ JRJRR^qiksq ;«K3i«4q|5qn I

anJT^fRrr^pTRî^r^? snjoir j%^ q q iR n ^ ii

3TRSTWSf^Î^’T5T5fr qT R^ tE: I

<R qH% H R R R fk ^ II \ \ II

fq^sqrqr rsRqrqqsrs^r H qR ^ rn^ R qrV s: i

RT^cS RW? ^TR H5TRHTHR H^R^TT*. II W II

STR^ r TRrgrTRR^ q i^ R I

(r r s f v js r Ijt qqrqrq§:rqHr% ^ % fqgsr: n v-\ II

tR R H q fc ra ro R fkqr q*frg;qq>i: ^ qq R rq i

fk T P R S S R ’TFR R ^ S q q q rg ^ rR q R q II <\$ II

s r qRqrjrqq qqR r R ^ q q rrg ^ rq fa*r: i

*HTRkomq HHF^ST q q rP R R q II II

%>R 5l5q RR3q:srqr I

«R«r 3 q*rc<q5 h^ r t fq * R q r f T R q R SFsqq 11 ^ 11

3R R * R ?RqJTHTR q R q *jqg qr fKWfftgffW I

rPRSRiqqsfq =q ^rkfPT h s r r%H q<qqq ii ^ ii

5*t fftsrrrq rqraqqsq §Hr?qqJTR?qqqfr<R;r 1 3R 3j H Rsfq =q q*qq*RRqqRsfq q qq^rc: 11 $° 11

arairq qR^RR^ m T^ nqqq Hq3Rsr% 5‘. l

g q w q w n g ^ rq q R e g sq R r q>R£?R 11 ^ 11

rq R ra q R q g q fc rR r qqq qqr WRqTT^HRrq 1 î^rrk^Rr r%H §?gnRr qrararTTur Rqqsg qr?: 11 ^ 11

=q 33TF%H^ WTHH T q R ^ q q qaR I

ar^rR q? s r r ^r q^RmqqnqrR^ q q q R : 11 53 11

qqg^gqq q <3 kfqqt R R R R q ;fr q^ W Rqqr# : 1 ‘qjjR*# : r%H qpRT RR^ qqSlq 5 qrqqr q 11 sy 11

h u r s t h^ hh gq>r H’jqrfqtRrri. R m ^ i: 1 HHFHqqrfa q h r q$q w n i h ^ r ths: ii ^ 11


W ^S#t'TT^rTT g R : *qTqgR q i^T qm t'. I5FTP? tfrsqrsfq q tf3pT*f ’TaT grfit f%3 TR^TR*! II S5 II

frqrfireffjft ^qRrq^qrqr^q^rqRfTRqriR i ^ f^ ^ ^ §^ ^ H q ^ 5rsr^TiT3»TOf?5i5T : ll S'* n

f c f n m # fkqq m ra R r qqq;ftqrw r*R r qqTq: i ^ q f q q W q ^ r i q w q t q ^ ^ r r f ^ ^ r a : ^ : n \ c u

qjRrcq ^q qrqqrqgsqr qfM Rq gqrqqwg i arrcsqqrpHq fqfosq qfqqrq q^qq q*R qrfa u S9* n

arrcsqftqRrqrqs^qqq# Rg;qrRqrarq r<JTT: i qf*qfq: qjafqfgqq qrfqqr: q^qqsRq ll v*o ll

qq q qgrfqqRRrqr: qq q rrR: ^ jfrfrR i i q?lq ^rsj&qjqqfq: *TR§q *Rr n v*? ll

qq qq?qsr qgTjfa#: sRrftqR *5*r g sttr: i 5TF%3? # E q q R W J R ^guqm ^TH ? R qq<n || v*H ||

qqr srr%sr qqqqr <$q qri'Riro: *qrg qjrqqRqqrfa: i n^ar qfj: rf rrr q q*g?:q f r ^ g q q i^ q*g: ll 11

qrTF5Rqrrfq R ^ q 5TTR frq « q q f^ q g* q ?rq : | qqqRgaRqr s r r : gqrsq fqgq> ?r fsrfrqq: 11 »tf 11

qq>rrqqwR*r qq qq?g3rrqqR*q q ssajoR 1 fsR r^q: * q R q q q q q ? q r ftgq> q q iq q q rq q q : 11 v* 11

gq: qq?*m%fqqr *r Tr *jgr*qqr srrfeHqrrsRnq 1 q fqq€rnr ffrf q q g q ^ q q ^ R . qr% qr?qw 11 ^S 11

— 11 ^ q q ^ q r : 11 —

qsrrqq : tq rg q>*®r tI r r i f f r gcTrq^qq qqqr § 1 qqqfrqrsq q fTFqsar s^qsj *r*r: gq^qrar 11 vsv* 11

qq ra>$rijfr qrqqrar *pr*RTrareqqTRq ft^qqm: 1 qoTeqT qorsrca* n?i %qRRSfrr?qqrftqr q 11 11

SANG1TA SUDHA 71

qjRtcR: R T ^ R ir^ ra r JR rf^ R r %q fr <r*ta iRRsEqraR^ 5rrt jr ?r sshaq^PRR: u il

<ra: r u r RRffstfr rT«rr n =q jtrt fsq«»R*N i« R R t r r RrrTRqjsrifq irrq ; u c° n

rtrt^ r w 5 =q r r q ^ R ’URRSR: israraksift jR ra ^ r qrarsRRSTRR «?f: u c\ u

^rfar«iR*i3 <r *r. Rr qrsfq =qrf u <r eir«r: i ^fRRrRn%sRrr*RT2q sfr? ^ fafear: wrbi: n n

qaRRf hrr f sr€ior'rs«frqp nTT r*r : *t qg i R f<5tfrT5|55R*§ «q fe<frJRRR3R: f%c5 t o r r : 11 II

qsRRRR^sr rW RqsjRjRrfq =q§«qCr iR R q ^ T SRg RTfRaj rT€T: T%55 RffeSRrfasrR: II CV II

<r : RafafaqRWRajgs^: RF?fq IRRSRRTSiq =q ^<$3* r is e r s qj^qRRVR: ii W\ ii

?r : v i w n i q j f a a r e R r ^ t^ q s n f q f s re R ^ s r i g^&rarfq *RctR*Tf: «fN§$r n 11

aa: qt r r ?* =q sr 'r r r ^RfaR q«2r =q i r *R r r r <raaj ^rcwRiFSRre ?r s r r : ii c* ii

<ra: q t r r r r r r r : R iR jfa a jr fq r r 1©rat srar «i#R>r =q ?rt q^fq^q RqqfRi: n 11

— II ^T38?<Rq; ii —

JS3PRRR r r r r : *{RrRR sajoRR *tr ^ iR R T RT*R S R R R R * <R RR <R R R : II 6*> II

<raraqr^ (r ^ ^ r r j q ^ H jjR srcR F R r % ij r =q R grsrrR T 3% R q R 3 $ j?i<§ r ^ r ^ 11 V 11

r isr q?§ ^iRfq r r ttr«fr q ig i r : i r r r ^tr r r q 3 iTR<R^RfnR; 11 s? 11


i r c : s r a i r o i q q T a j f r s f a r e f q q q j r q q % 3? g q > r iq*q fMq*q q^q qi?q 5 1 ^ sqRqgq^qqrsq: ll S5* ii

3R?qt qgqq|R: R[< q?qq qq gRftg i R R f e i q i R q T q ^ s q q R q ? i j q R j q q R n q q j i S 3 l l

q ^ q q q r q s w ? ^ q o i q ; p q f a q r q q f a r q q q f ? q i

q q q * R 3 q i a r a r a r q q g . q ^ q ^ g q r ? : l l S t f l l

q q n j q r q s f q « q £ q q i ? q ? r R q # q q * n q w < q i f s p E i r c a s r q ^ ? j ? i ? R i f * n ? q n i f l i r q q q ^ q r a q ; l l V\ ll

§ ? r i r ^ s i f o r a i r g q g s T R ^ f a q s * q I q i ^ q / f t q : q q q r ® r q q g ^ q i 3§ q r f s R R q q : l l S 3 n

* ? t * i5q ? q i s i q ? q q j q q q R e % q q g n R r q ia p % q ^ q r q g q g m q ? f q ^ q q ? F q * T F i i i S '* l l

q q g q j q q w q ; ? q q * q q q q : e r r : q q q n f q q . R i q . I ^ r : qq tira qq litfrq ^qqqR*q*?p*rqq^ ii <\c ii

q q T r ^ q ^ q ^ ^ q a ^ q ^ q i ' q r f r q q ^ 5 r q q ? i q q r q ^ r q r f q f q q T R q r q q R r a q q r f a r q q f q q s q ^ n s s u

i i g i q q y q s c g q i R g q f f f f q q r g q r £ r q $ T ^ q q R i q : i

qqqr^% qr§qpqrrq qqq?rR ii ?°° ii

q ? * T T f q q » r q ? r ^ q q R r q a r q % s r q s r % q > q q i 3R R t g gq^oqqR qqqq qq q q^qqRq || ?o? ||

q ^ q q q q g t r r t r t q R q q r q s q q q r q q ' r q q ; I qrqq *t r g fq^p-qqq ?gq*q q R ifw q ^rqq. n ?<>s ii

? q o q g q s f t f B r q q i R q q f q f a q q R q > « r q p q * r t : i

RRraqreq qqg fs iq qq^Trq ^gqmqqn ll n

q q g q r a g q q q j q T g R q t q t f r q r % ^ f q q q r g : i

a n q t n q i g w q q ^ q t R i s f R q ^ R : g q ^ q n ii

f q r g . ? q q i » J W q q r q q ? q q i * q 25 F F q R R f q q ^ q 1 anq^T^oq gq^qw g §T%qqf §R q t qqfcr ll ?oS ll

SANGITA SUDHA 73

feqTi: Tfr^rr a% is rq f tg : i srofore&r q ^ q q iir g H m rq q m : n ? o^ n

r: Rq^q qq^fr^SqiH M IdJ5 |faq q q re T w jir tfhr n r^ r 3^ Hreqc 11 ?ov# 11

^ HrsqHrffcraTHT H$sjqtsHTTraHTHHm: 1 qfazsr a re h u h n to r 3^ 11 ? od 11

spur H R^TS^TTRqFMl^q: Rifqqr g jfp ^ : Isrf^qRqRT host fesftq: rt th^ 11 11

HfTHHSGH HHprT <TTHI3T?qH; Rdfjq FT^TTH: IHusreqsre Himni *i 3 q g % 11 ? ? o n

3jh sh § q s p q q f M ^ r r a S R fH f^ sw ^ 1 <*$l<sk1l<!«g Hgftq: **Hr*3<fo H ST f%HH: HH3* II ? ?_? II

Hgf<fr 35^ 3 3jS i* tissT ^ 1|rT5H 3S5H Hr*. H ^ u S H fra ^TRKg: II ? M II

^ r [ HHif^^TsSHg HqPd I3HT: <R HH JJHSH f^qHTRHIf: II II

55^ ^ qfvTdT5$%sflHH. ’ fT fHHHSJ IFT2I H Sg: IHprr: II M V 11

W t f t a r : t%h % g ^ 3 r« ra i« re n $ ^ ftf f 3^ : 1

— II HHTWTT: II —

< ^ T H H ^ ^ r q : h h ^ t : h P s i$k 33 q q r r r a ^ q II m i l»

sgcqiTi^dt: srr^qr^nH: 1tr^pT 5I5^T H^?iq>T^BT^ ^^RTSfq H qotH^T: II ? ? 5 ||

t9TT^T5TH5FRHIf: R^M^cqmqTKHH Ig ^ r f i^ M s q =q ^HST ^ ^ T ^ R ^ o r a q t ^ r : *3: II m n

^HlfHH^Troq^T dPHH qqn^HT HT T?T55 ?ddT HTT? 1 HTT3qf^oft 'fc N t^ l^T ^p r qqHT HTHT. II ? \ C II

10

T H E J O U R N A L O F T H E M U S I C A C A D E M Y

ftrainrosTfro. §gdiR?TO frofftraprcr snft r ^&t iT^PUnfalllTO TO33TOI RRPJW1TTO § «TT3*TTr II W \ II

§ r3Irto to g Rftffi tot #r t r r h t o g Tirdfr ^ isrt § # w w n ? * R m w r fr i j ^ ^ t o r r * ^ : n ?^o n

Rift wtNiTftrrrairasR irrrii%qRi <r faf%?RT»R: im ^rrrfiiTii, r 5r t sir^g 11 w u

■ 'IlSft^+l'iWW §RRRF?T: TOtT^RT ^ R T ?5TRT* I to t: r^ r r r to r ^th stri^ tort to r o r r : ii 1 \R ll

arm: *r r t *rgd fs fr r: ^ r??^ ^ rs R « r sr r w ii: i dHsroahr ^RT^rs?^rs«frsRi^ 3 ^ : §^ n ^ rs« r 11 11

srcrercnirr wtot arRfR^rw t o r totsr i

sRorr 35ft w r ftft^iTO i^ftPrBS « % rtot: ii n v 11

RRT ft TOr^S R>sfr TOTO < % rtot: 1y w f^ re r% d %g^RT ftl> E R Rre^PCtrftq: 11 1R\ II

•%

5 R T 5 R R R ft ^ TO RR*TO: TOR fTO W JT I tot ft r r w tt o r w r t fs^Trw? sir t : q<?TO ii n

«ft faaid st t o r ir r t o r r r r r t o t i

=r shitotot^ srror: r r t t *r to to ii ?^v* ii

fg^RRT^mRTOT^T'^ ft^ ix ^ is rro r if f tB S ^ q^ 3 ^ ttottSt o r s* R TO ^ n t \ e n

riot: * t o * v g n f t r a R : R^rf^dtsR T O ^jR ^nronx I

TO^srrftRR 3 *to> to rtoi: i f t f t : T O ^w iT O irT n n ® u

fttfTTOP?TTOTOTO3 d«TT <ZrTRTO QRFRTTO: i 3M*JiitfM8 3 ^ TO& 3 tot d r a w ft r r iit o : ii ? 3 ? n

R IT O ^ 3 <T*fc ^0§5RTR%g TOTopTOTTOnx II II

!ITO T5?TR f tR SnftRTTTO II II

HTOTRSITO I

TOTOTftRR: 3 ^ TO RI0R5 rtkr:

S A N G I T A S U D H A 7

«tu*3 =q .f trc u n rntt *i^q> q frq : iuroiH;53rrq>r% s a j q w F ^ q rJ ig q q ; n ^33 n

q*qraj?TT% ^ ^ s i f ^ r r : srmr a*rcFf*raT*refcF i a n ^ n ff* ^ s r c ^ q q ^ r5<ftqqF^>-mF*FFF*r il n

*TT^n»Jfr^ =q q^ rF?N qroi: STFTTCF Tirf^TW5RR: i q : ^ n r r g isq q r «& r: jrF°Trs?qqr^r w u il

sr g ^ q r : gq<5q*FFqr q ^ r qrftqnqrq « * q ^ i ^ § 3 f3 i w t ittfr ^Rcq«q^*rm?FF'^T n n

?FHc«FtlHiq»i*iaqi^ *qt 3 ?FF»FPI 3^" Ia T T ^ ^ 'q q ^ q r s r q ^ q q r q r : * q^ong n ? V* il

w j g q : fq>faft£rfcrq*q ^ i^ i^ ift : ?qFrt i a r r o i t^ q r f r a q q r f f g f o q qFqqt: q g w ^ s f t n r< \c n

gn^Tr^siT «F*rF^*Fc!F^qF«r^F: qqfaq: qqqTCq *qig I snuusrfiq: q f tq f n ^ ts q *Tr?5FfaqtsHr rqrqsFsj?;: ?q r^ 11 ^ h

%qjq ^nTFqfaqr f$ qrqreqayqFFqqqgsFfcr qrar: i ar?q F%FrFT TT%FcF«Tm ^ q^ R ;q ^T > ^q ?n g g II ?«0 II

sft cf «n^r: 3?FT^TOF3nf^ft^ iqF% qi^q II rm II

r: q^ w qq rsn : i

qF>iFF9R^#Fr%qTi%Fs^ il w n

WTit q q ^ f ^ r ^nTTf^cr^rFri srrjrsg qJFcr: f%^5 qnfefqlsqg i a&Fcl?qqq?q q ^ F:R5fqSF^TFTFRr% TTFJT^r: II Il

q iq sq w F .g q q ^ ^ q F q fe tfF q r fqq rqgq jf iTTW q% q g^Fmrll RFOF: qqraq: gJRq F-rT: 11 m II

^T^HJFF^: «3^JFT^T q ^FH?FF$q Iq i^q q & g qqg ^°3gqT<q%g f tg % n m n

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ABH1NAYA SARA SAMPUTA 115

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( 18)

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ABHINAYA SARA SAMPUTA 1 1 7

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T H E CHRONOLOGY OF T H E WORKS O F PUNDARlKAVlTTHALA O FKARNATAK

By

P. K. Gode, m.a.Curator, Bhandarkar Oriental Research Institute, Poona.

I N a very interesting article1 on “Music under the Vijayanagar Empire” recently published, Mr. Hulugur Krishnacharya of Hubli gives us an estimate of Pundarika

Vifthala's contribution to musical science. According to this estimate Pundarika was the "father of (he system of Melas and Janyaragas”1 2. “Some who have evidently not studied the works of Pundarika assume that Ramamatya was the first to describe Ragas by the system of Sra' s or generic scales. This is not true as is clear from the very dates of the works of the respective authors.”

About the dates of the works referred to in the above remarks Mr. Krishnacharya observes3:—“ During this period in 1550 A.D. Ramaraj encouraged a Telugu Chieftain named Ramamatya (who was a chief of the Kondvidu estate near the east coast) to write a work on music. The work written by him is named as Svara-Mela-Kaldnidhi (which name is not proper unless the work mentions the prastara of Melas). Ramamatya states in his work that he was a grandson of Kallinatha. He also gives the date of his work as 1550 A.D. Now the dale of Pundarika Vitthala ranges from 1510 A.D. to 1560 A.D. he having written four works one after the other viz. Sadragacandrodaya, Rdgamafijari, Rdgamdld and Narlananirnaya. It is clear that Ramamatya and Pundarika were contemporaries. The first work of Pundarika was written between 1510 and 1525 as he mentions his patron Burhan Khan4 5 of Ahmadshfihi whose date must be the date of his work. The

1. Vijayanagar Sexcentenary Commemoration Volume, Dharwar, 1936, pp. 367-375.2. Ibid., p. 373. As against this statement compare the following statement made by Mr. Krishna-

cliarya elsewhere in the Journal of the Music Academy, Madras, Vol. IV, p. 9. “We should not forget that Ramamatya tried to introduce a new System of classification called the Mela Paddhati in place of the ancient Gramamurchanajati-paddhati." (My attention was drawn to this statement by Mr. Chandra Shekhar Pant of Lucknow).

3. Ibid., p . 372.4. Dr. V. Raghavan in his article on Later Sahgita Literature (Journal of the Madras Music

Academy) assigns the works of Puijdarika Vitthala to 1590 A. D. In the last verse of the Sadragacandrodaya the author tells us that he belonged to the village Sdtanurva near the hill called Sivagahga in the Karn&taka Country. He was a Brahmin of the Jdmadagnya gotra of the Karndfajati. Verses 2-6 at the commencement of the Sad. Rag. Can. tell us that Vitthala flourished at the Court of Mahomedan King Burhankhdn of the Pharaki family which ruled between 1370-1600 A.D. at a city called Anandavalli in Kandes in the South. The father and grandfather of this Burhankhdn are given as Tdjkhdn and Ahmad Khan.

5. Lane-Poole in his Mohammadan Dynasties assigns Kings of Khandesh to a period 1399 A.D .—1599 A.D. (p. 315). Kings who ruled Khandesh in the 16th Century are given by Lane-Poole as follow s:—

Ddwud Khdn 1503 Miran Mubarak II 1535Adil Khdn III 1510 Miran Mohammad / / 1566Mirdn Mohammad Shah I 1520 AH Khdn 1576

Bahadur Shah 1596

THE JOURNAL OF THE UUSIC ACADEMY

second work of his was written between 1525 and 1540; the third between 1540 and 1555 and the last between 1555 and 1565."

I am not aware of (he authorities on which Mr. Krishnacharya assigns definite- periods of time to the different works of Pundarlka Vitthala viz.

(1) Date of Pundarlka Vitthala 1510— 1560 A. D.(2) Sadrdgacandrodaya1 1510—1525 A. D.(3) Rdgamanjarl1 2 1525—1540 A. D.(4) Ragamald3 1540—1555 A. D.(5) Narlananirnaya4 1555— 1565 A. D.

As against the above mentioned early dales for the works of Pundarlka Vitthala given by Mr. Krishnacharya the late Mr. V. N. Bhatkhande5 makes the following remarks about Pundarika's tim e:—

"Pundarlka was the contemporary of Akbar (1556-1605). It is possible when Khandesh was annexed about the year 1599, Pundarlka lost his appointment and took service at the capital of Madhava Singh".

It will thus be seen that while Mr. Bhatkhande assigns our author Pundarlka Vitthala to the 2nd half of the 16th century, Mr. Krishnacharya closes his career with A. D. 1565.

1. Edited by Ganesa Vajratarika of Benares and pub. by B. S. Sukthankar, Bombay, 1912, pp. 28. The genealogy of the “ 'PTCfo” Kings recorded in verses 2-7 is as follows : —

Son(4iR4iV)

Son

I In verse 6 is styled as where" § fT«T*3T«T ruled. In the colophon he is styled as

JPundarlka gives the name of his home and its topography in the last verse as fo llow s:—

^ r : >>The Imperial Gaza. (Vol. XIII, p. 41) mentions “Sivagangd" as a hill in Bangalore District, Mysore

State. Many religious associations are connected with this hill and its face is crowded with sacred buildings and inscriptions. In the list of_ Indian Post Offices we find the following entry:—“SATANUR’’, Mysore State, Kankanhalli, Bangalore.” Perhaps if may be possible to identify Pupdarika Vitthala's village situated near hill in with the village Satanur. This identification needs, however, a closerstudy of the detailed topography of the place.

2. Ed. by D. K. Joshi and pub. by B. S. Sukthankar, Bombay, 1918, pp. 22.3. Ed. by N. G. Ratanjankar and G. G. Barve. Pub. by B. S. Sukthankar, Bombay, 1914, pp. 26.4. No printed edition is available. Rajendralal Mitra has described a MS of the work ( Vide p. 31 of

Notices. Vol. VIII Calcutta 1886, No. 2580). This work was written to please Emperor Akbar as stated by the author at the close of his work (3T'i»«ivi4h-»4’5 tKWtfMin*!. I tticirnd etc."

5. Vide p. 9 of Sangita (Quarterly Journal of Hindustani Music) Vol. I, No. 4 (Sept. 1931) Pub. by Morris College of Hindustani Music, Lucknow (U. P.).

T H E WORKS OP PUNDARIKA VITTHALA 121

With a view to give some certainty to the chronology of Pundarlka's works we shall put the available data furnished by his works in a tabular form as follows:—

No. Title of work. Chronology. Chronological data available.

1 \Sadragacandrodaya.

Rdgamanjari. 1556-1605

Rdga mild.

Nartananirnaya*

A. D. 15761 ( M o n day, 30 th o f July).

1556-1605.

Written under the patronage of Burhatikhan Phdruki of Anandavalll.

Written under the patronage of Mdnasingh and Mddhavasingh, the feudatories of Akbar referred to in the work (Rdgamanjari is quoted by Bhavabhatta who wrote under King Anupasimha of Bikaner (1674-1709 A.D.).

This treatise deals with the northern system of music proper according to Mr. Bhat- khande2. “ Pundarika being a Southern Pandit may have read the Svara-Mela- Kaldnidhi of Ramamatya and the Rdga- vibodha of Somanatha.’’3 If the above statement is correct Ramamatya becomes a senior contemporary of Pundarika Vitthala because the Svaramelakalanidhi was composed in A. D. 1550 as stated in the work itself.

This work was composed to please Emperor Akbar as stated at the end of the work

fsrq .”

In the above conspectus of chronological material the exact date of composition of the Ragamdld given by the author and available in the only MS at the B. O. R. Institute, 1 2 3 4

1. Vide Annals of the Bbandarkar Institute, Vol. XIII, (1932), pp. 337-340. The date of the Rdga-mala has been given in the work—Saka 1498 (^ 5 , 3T»3t) $W|tfl5T,

j <4^41 sa Monday 30th July, 1S76 (Vide Indian Ephemeris, Vol. V, page 355). Vitthala calls

himself2. Sangita, Sept. 1931. p. 9.3. Ibid. p. 10.4. There is possibility of the JVartananirnayo being earlier than the Rdgamald (A. D. 1576). My

friend Mr. C. S. Pant of Lucknow informs me that the unique MS of the Rdgamdld (B. O. K. I.—No. 1026 of 1884-87) contains the following verse at the commencement of the work:—

“ fas&JT n g fp i arc i 1% # ” 11 R 11The printed edition of the Ragamdld as also the other B. O. R. I. MS of the work read “ ’’

for “ ’’ Mr. Pant is inclined to adopt the reading “ Iv ilP lV p n ^ ” as reasonable

in view of Mr. Bhatkande’s remark that "the Svara and Raga Chapters of that treatise (t. e. HtHPi^ ) are the same as in the Ragamdld" (Vide Sangita, Vol. I, No. 4, p. 1). If this view is correct the Ragamdld becomes the last of the known works of Puqdarlka Vitthala.

16

122 THE JOURNAL OF THE MUSIC ACADEMV

Poona viz., No. 1026 of 1884-87 is the only terra firm a to stand upon. In the year 1576 out of 49 years of Akbar’s reign (1556-1605) 20 years had already elapsed. In 1576 Akbar had become sovereign of the most valuable regions in India.1 From 1575 on?* wards he left the command of his armies to his officers like Man Singh2 and others. It appears, therefore, that Pundarika Vitthala’s association—first with iVIadhava Simha at whose instance the work Ragamanjarl was written and later through this patron feudatory with Em peror Akbar to please whom the work Nartananirnaya was written by him—is synchronous with the middle of Akbar’s reign. Mr. Krishnacharya assigns Ragamanjarl to a period 1525-1540. This work describes Emperor Akbar and his two feudatories as follows:—

s n w tf 31 JTR S rP TR faft II \ II ”Evidently the verse describes Akbar at the height of his imperial glory. We know

as a matter of historical fact that Akbar was born on 15th October, 15423 and succeeded his father Humayun on 14th February 1556 at the age of fourteen.4 If we now adopt the chronology of Mr. Krishnacharya for the composition of the Ragam anjarl viz., the period “ 1525-1540" we must conclude that Akbar reached the height of his imperial glory at least 2 years before his birth in A.D. 1542 1

The Ragamanjarl refers to Bhgavanladasa and his two sons Madhava Simha and Mana Simha® of the Jaypur dynasty In 1585 Raja Bhagavantadasa and hisson Mana Simha were sent by Akbar to Kabul to take charge of the province after the death

1. Oxford History, of India by V. Smith, p. 3S5.2. Raja Bhagavandas and his son Man Singh were sent to Kabul to take charge o f the province on*

16th July, 1585 (Vide p. 52 of Burgess: Chronology of Modern India 1913). Puijdarika Vifthala in his Riga-mahjari (verses 1-2) refers to and his two sons and as the two hands of

Krsva kavi in his Isvaravilisakivya (C. 1744-5 A.D.) describes Mana Simha as follow s:—

gfcure qgretT II ^ ? l l1. Burgess: Chronology of Modern India (1913), p. 28 “1542 (A .D .)—Oct. 15: Rajal 5, H. 949.

Akbar born at Amarkot in Sindh, where his father Humayun had taken refuge with Rana Prasad”.2. Ibid., p. 35—“Jan. 28 (1556) Rabi I. 15, H. 963 Humayun dies, the result of a fall on the palace

stairs. Feb. 14: Rabi ‘II 2, Akbar at the age of fourteen succeeds ; Bairam Khan exercising the regency”.3. Raja Mana Singh built at Benares a temple called Minamandira and a tank called Mina Sarovar

(Vide History of Benares by Dr. A. S. Altekar in the Journal af Benares Hindu University, Vol. I, (1937) p. 246).

Krsva kavi describes in his Isvaravilisakivya the doings of Mfina Singh in the following verses of Chapter I :—

THE WORKS OF PUNDARIKA VITTHALA 1 2 3

of Akbar’s brother Mirza Muhammad Hakim which took place on 16th July 1585.1 We further know that Bhagavantadasa died at Lahore in 15892 and Mana Simha was sent by Jahangir in 16053 to quell disturbances in Bihar. All these historical references to the sons of Bhagavantadasa show their relations with Emperor Akbar in the middle and the latter part of his reign rather than in the early part and consequently the contact of Pundarika Vitthala with the imperial court through these two sons viz. Mana Singh and Madhavasingh4 must be presumed to have taken place a few years earlier than A. D. 1576 in which year Pundarlka Vitthala’s Ragamala was composed. Mr. Krishnacharya’s chronology for the work R&gamala viz. “A.D. 1540-1555” is directly contradicted by the recorded dale of the work viz. 30th July, 1576 and hence needs no further refutation to prove its imaginary character.

It appears that our author Pundarika first got himself introduced to Madhava Simha and Mana Siriiha and through them to the Emperor Akbar. If this presumption is correct we can conclude that the work Nartananirnaya was composed last—an inference warranted by the statement of the author in the work itself to the effect that the work was composed to please Akbar Mr. Krishnacharya, however, assigns thiswork to the period A. D. 1555-1565 which corresponds to the period of Akbar’s life between theyears.13 and 23 but as he has put the Ragamala before the Nartananirnaya in point of time and as I have already proved the correct date of the R&gamala to be A. D. 1576 he will have to shift his chronology for the latter work to some date after A. D. 1576.

It will thus be seen that the chronology given by Mr. Krishnacharya for the three works of Pundarika Vitthala viz. the Ragamanjari, the Ragam&l& and the Nartananirnaya, is purely imaginary and has no foundation in fact.

fatHi cR a im f» l’i» i< ldlci«idl J i l P f

ftrew ft w n f i Rrft II ll1. Burgess: Chronology, p. 52.2. Ibid. p. 54.3. Ibid. p. 64.4. Madhava Simha has been styled as by Pundarika Vitthala in verse 4 at the beginning

of his RSgamanjarl, Sevai Jayasing (1699-1744 A.D.) of Amber, a descendant of Manasinh was a Vallabhaiteas stated in the Isvaravilisakavya of Krsna kavi, composed 1744-5 A.D. by order of

Isvara Sing, son of Sevai Jayasingh. Krspa Kavi describes Bhagavantadasa in Chapter I, verse 19 of this Kavya.—

»t-^>i<KtMdi«w ft»iT II H n ”Verses 20-29 of Chapter I describe Raja Mana Singh.


Now as regards the chronology of the Sadragacandrodaya fixed by Mr. Krishna- charya I have already stated that he assigns it to a period “ 1510— 1525 A.D." because the author “mentions his patron Burhan Khan of Ahmad Shahi whose date must be the date of his work” . Elsewhere Mr. Krishnacharya states: “ Pundarlka Vitthala was patronized by Sultan Burhan Khan of the Faruki family ruling Khandesh from the capital of Ahmadnagar*formerly known by the name of Ananda Valji” (p. 371). I agree with Mr. Krishnacharya when he states that the date of Burhan Khan, the patron of Pundarlka Vitthala mentioned in the Sadragacandrodaya must give us the chronology of the work. But before we decide the question we must have incontrovertible evidence on the following points:—

(1) Evidence for the identification of Burh&n Khan mentioned by Pundarlka Vitthala with his namesake whose exact dates are known to history.

(2) Evidence to prove the identification of Ananda Vallt with Ahmadnagar as presumed by Mr. Krishnacharya.

In the list of Kings of Khandesh1 given by Stanley Lane-Poole we don’t find any king of the name Burh&n Khan.

In the list of Kings of Nizam Shahi dynasty given by Lane-Poole1 2 we find two Kings of the name Burhan viz. Burhan I (1508 A.D.) and Burhan I f (1590 A.D.). Mr. Krishnacharya has identified the patron of Pundarlka Vitthala with Burhan I in the above list. According to Gazetteer3 the dates of this King are 1508-1553 A.D. The father of this Burhan I was Ahmad Nizam Shah who “died in A.D. 1508 after naming as his successor his son Burhan, a child of seven years’’.4 Pundarlka Vitthala, however, mentions dNNNM as the father of his patron and as his grandfather. In view of thisdifference of parentage the identification of Burhan Khan given by Mr. Krishnacharya becomes doubtful. The grandfather of Burhan Khan is stated by Pundarlka Vitthala to have been born in the Faruki Dynasty This vam fa or dynasty is des-0cribed as a branch of another dynasty (— The son of viz., ai'ak«ll«i is also called and his son g<£i«ioi«i is likewise called

The epithet 'n u j 'b 5 uniformly applied to the son, the father and the grandfather in an emphatic m anner leaves no doubt that Burhan Khan belonged to the Faruki dynasty. Even though his name does not occur in the list of kings of the Faruki dynasty given in the Kh&ndesh Gazetteer or in Lane-Poole’s Mohammadan Dynasties the testimony of Pundarlka is clear on the point of his kingly origin and existence because his grandfather is called his father is called “ di'JK'ilHl and he® ishimself styled as ” “ with his capital («nrR«W^i) at

1. Mohammadan Dynasties, p. 315.2. Moha. Dynasties, p. 320.3. Bombay Gazetteer, Index, p. 71.4. Do. (Ahmadnagar), p. 361.5. According to one account Malik Raja Faruki the Founder of the Faruki Dynasty was ‘‘a young

Arab of high family." He ruled from 1370-1399 A.D. According to Ferishta (Briggs IV, 284) the family claimed descent from Khaliph Umar Faruk. His father Chand Jehan was a minister of Ala-ud-din Khilji s Court [Vide Bombay Gazetteer (Khandesh) Vol. XII, p. 243 and foot note 6]. Khalif Umar (634-44) was surnamed Fdruq (the Discriminator). Malik Raja claimed descent from this man in the 22nd generation (Vide Vol. II, p. 392 of Imp. Gazetteer o f India, London, 1928).

THE WORKS OF PUNDARIKA VITTHALA 125

As Pundarlka Vitthala was patronized by Burhan Khan his knowledge about the dynasty of his patron and references to it in the Sadragacandrodaya must be looked upon as contemporary evidence, the value of which, unless contradicted by more reliable contemporary evidence cannot be undermined. A complete dynastic table1 of the Faruqi kings of Khandesh at Burhanpur (1388-1599) has been recorded in the Imperial Gazetteer. This table also does not contain the names Burhan Khan, Taj Kfyan or Ahamadda Kh&n mentioned by Pundarlka Vitthala as names of Faruki kings. This omission raises the question of the existence or otherwise of a line of Faruki kings indicated by the names Ahamadda Khan, Taj Khan and Burhan Khan and ruling at Anandavajji. I am unable to investigate this question at present as the necessary sources2 published or unpublished are not at present available to me. Mr. Krishnacharya, however, has recorded no evidence to support his identification of Burhan Khan, the patron of Pundarlka Vitthala with his name-sake of the Ahmadshahi dynasty.

The next question to be settled is the identification of Anandavalli mentioned as the capital of Burhan Khan Faruki by Pundarlka Vitthala. Mr. Krishnacarya identifies it with Ahmadnagar the seat of government of the Ahmadshahi kings. In the case of this identification also Mr. Krishnachraya has not supported his statement with any evidence and hence I find it difficult to agree with him in equating Anandavalli with Ahmadnagar. In identifying place-names we must first of all try to find out if the names used in old works or documents are actually current in the same forms in which they are found in these works or documents. If these names cannot be identified with current place-names of the same forms we may try their nearest phonetical equivalents. In the present case we have

1. Vide p. 393 of Vol. II of Imp. Gazetteer of India, London, 1928. This table is reproduced below for ready reference :—

Khan Jahdn Fdriiqi

I—Malik Raja(d. April 29, 1399)

II—Nasir Khan (d. Sept. 21, 1437)

III—Adil Khan assassinated May 1. 1441

IV—Mubarak (d. June 6, 1457)

I

V—(Miran Ghani) Adil Khan

(d. Sept. 6, 1503)

VI—Daud (d. Aug. 8, 1510)

VII—Ghazni Khan poisoned after two days 1510.

HassanI

VIII—(Adil) Azam Humayun (d. 1522)

IX—Muhammad X—MubarakShah (crowned king d. Dec. 19, 1566.of Gujarat) d. May 15, 1536. |

XI—Muhammad XII—Raja Ali killed ind. 1576. battle June 7, 1597.

XIII—Bahadur (submitted to Akbar 1599).

2. These sources as indicated in the Eneylopaedia of Islam (1926). p. 900 are the following.—(1) Muhammad Kasim Firishta—Gulshan-i-Ibrahimi. (2) An Arabic History of Gujarat ed. by Sir E. Denison Ross (Indian Text Series) London 1910. 1921. (3) Lt. Col. T. W. Haig—The Faruqi Dynasty o f Khandesh, (Indian Antiquary, Bombay, 1918).


actually a place called “Anandaveli”1 about three miles west of Nasik. This place was the country residence of Anandibai, the wife of Peshwa Raghunathrao or Raghoba (1773- 1784).

According to tradition1 2 was the name given to the place calledwhere Anandibai the wife of Peshwa Raghunathrao gave birth to her first son on 2nd August 1764 and afc it was matter for rejoicing or Anandibai named the place as

It is difficult to assess the exact historical value of this tradition. Is it possible to surmise that the old name of this place was and that it was revived onthis occasion of rejoicing or by Raghunathrao the husband of Anandibai? WasRaghunathrao conversant with works on Indian Music in general and with the works of Pundarika Vitthala in particular? We know that he was very much interested in the collection and preservation of Sanskrit MSS.3 In fact he maintained two libraries4 or "fustaka- sdlds” one at and the other at Tryambakesvara. In 1754 (4th September)he honoured a descendant5 of Tansen (the celebrated musician at the court of Emperor Akbar). About 1767 A. D. the Peshwa Diary shows an expenditure of Rs. 195 on the purchase of about 36 pictures of Ragamald for being hung up in the special drawing-room of the Peshwa.6 These references show the interest of the Peshwas in fine arts in general and music in particular, though it is difficult to prove whether Peshwa Raghunathrao or any learned pandit in his employ had read the works of Pundarika Vitthala and was responsible for the new name given to the village as stated above.

From the evidence recorded in the present paper it is clear that the literary activity of Pundarika Vitthala can be assigned to the 2nd half o f the 16th Century and not to the period 1510-1565 A.D. as stated by Mr. Krishnacharya. I would, therefore, request him to survey the material recorded in this paper and give us exact dates for the works, Sadrdga- candrodaya, Ragamanjarl aud Nariananirnaya in the light of the exact date of composi-*’ tion of the Ragamald viz. 30th July 1576 as pointed out by me in my present and earlier papers on the subject.

1. Vide Bombay Gaze. (Nasik), pp, 9, 193,416, 536. On p. 536 the Gazetteer states.—"About this time Nasik was the favourite resort of Raghunathrao or Raghoba, the uncle of Madhavarao, and his wffe Anandibai who changed the name of the village of Chaundhas, three miles west of Nasik to Anandveli and built a mansion there (Grant Duff’s Marathas, 326).’’

2. Vide Maharastriya Jnanakosa by Dr. S.V. Ketkar. Vol. VII, page i( 31T ? ^ V3. Vide Peshwa Daftar Selection No. 22, pages 94, 97, 98, 100,103,119—about 96 were collected by the

Peshwa between 1754 and 1768 A,D,4. Ibid. p. 118.5. Ibid. p. 99.6. Ibid. p. 108.

“ U K *>., I3TOT fo l|0H4T«na % || §*TC U % * It

R A G A S IN S. 1. M USIC— T H E I R O R IG IN A N D E V O L U T IO N .1

BY

P r o f P . Sam bam urti, B.A., B.L.,Head o f the Department o f Music, University of Madras.

*pH E outstanding feature of Indian Music is the raga system. Leaving aside folk music for the present, it will be found that every melody in India is in some raga or other.

The term raga might be translated as a melody-mould or melody-type. A raga derives its melodic individuality from its characteristic phrases, peculiar graces or gamakas, the frequencies of the notes figuring in it and the order of the succession of the svaras in the ascent and descent. Ancient ragas were mere scales. This was the case till the time of Bharata (circa 1st Cent. B. C ) and appropriately enough, the word raga is not used by him in his work Natya sastra. He mentions fa t is, which again were derived from the ancient scales. With Matanga, (circa 5th Cent. A. D.) a new chapter in the history of Indian Music begins and we have the beginnings of real art music from his time. His work Brhaddeii in Sanskrit, is not available to us in its complete form. The available chapters have been printed and published in the Trivandrum Sanskrit Series.

In order to correctly appreciate the significance of the raga system, one should know the implications and limitations of a truly melodic system of music. There can possibly be only two systems of music—one in which the music progresses by a succession of single notes and the other in which the music progresses by successions of groups of notes called chords. The former is styled the melodical system and the latter the harmonical system. In the former, at any one given moment only one note will be heard; in the latter system, at any one moment a cluster of notes will be heard. The notes figuring in this cluster or group bear to one other a definite relationship. The music of all the oriental nations is essentially melodic in its character. Harmony is a recent development in Europe and one can hear this type of music even in other parts of the world where European civilisation has penetrated. The idea of consonant and dissonant intervals was known in India centuries ago. The existence of such terms as samvadi, anuvadi and vivadi is a clear proof in support of this statement. Samvadi-note was a note which exactly harmonised with another note called the vadl. Vivadl-note was one which produced a discordant effect when sounded with the vadl note. Anuvadi-note produced neither of tffese effects but gave nevertheless some kind of aesthetic pleasure to the listener. If the vadl is taken as the king, then the samvadi, anuvadi and vivadi can be compared to the minister, friend and enemy respectively of the king. The very same ideas are conveyed by the corresponding terms used in ancient Tamil music: Kijai (©Sfcir) Natpu and Pakai (uan«). If the builders of the Indian system had desired to develop their music along the lines of harmony, they could have done so. But the rich raga system which 1

1. A paper presented to the Fine Arts Section of the IX All-India Oriental Conference, Trivandrum.

THE JOURNAL OK TH E MUSIC ACADEMY

they hit upon proved too great an attraction for them. Giving up harmony, they chose to explore all the possibilities of the melodic system. And to-day Indian music has reached the high water-mark in the sphere of melodic music. In the innumerable ragas and time- measures, in the delicate quarter-tones and micro-tones and in the use of peculiar graces or gamakas, Indian Music stands pre-eminently high and without a parallel.

Indian music has had a continuous development from early times. The recent researches carried on in the history of Indian Music, have yielded very good results and we now possess some definite knowledge relating to the missing links in the history and evolution of the art in India. Whenever new experiments were attempted or new theories enunciated, they were as usual met with opposition and in the long run if the innovations appealed to the musical conscience of the community as sound, they were adopted. In such cases the scholars lost no time in acknowledging the change as good and either changed the theory or so interpreted it as to conform to the change. This liberal attitude of the scholars had been responsible for the progressive growth of the art in India from time to time. A crisis must have been felt for instance when the old grama-murchani.- jati system with all its hoary traditions was sought to be given up in favour of the real raga system.

Harmony and Melody are after all two kinds of languages and they respectively show the heights to which the genius of man has soared in his lofty quest for new forms

^ of musical expression. European music is as great as Indian music. The composers in both the systems had before them the same ideals, but the methods of approach became different. The ideal of absolute music is reached in the very conception of the raga system. ‘Manodharma sanglta’ is a unique feature of Indian Music. In a concert a musician performs or sings extempore music—music created on the spot in addition to the rendering of the pieces of the great composers.

The central point in the music of India being (he raga system, every writer of note has devoted a chapter to the elucidation of this subject. There was a time when a single system of music prevailed through the length and breadth of India. The bifurcation into the Northern and Southern systems came later.

In the ancient period of Indian Music, the grama-murchana-jati system was in f vogue. Two gramas or scales were in use, viz.:—the sadja-grama and the madhyama-

grama. The pitch values of the notes of the sadja-grama were as follows:—

s r g m p d n s'------------ , ---------------- " ------- V--------- " ---------------y-----------" -------------*-----------" ------------ ,------------------- , -----’ >------------, ---------- «

Minor Semi- Major Major Minor Semi- Majortone. tone. tone. tone. tone. tone. tone.

V H I * V H *i m [ « ] [*] m m [ mh 2

This scale is still used in samagana but not in art music. The ma-grama was the same as the sa-grama except that the fifth (pancama svara) was diminished by one sruti.It is this slightly diminished fifth that is referred to by scholars variously as Cyuta pancama, Mrdu pancama etc. The scale that we will get by augmenting the r, g,

Vd and n of the modern Kanakaiigi by one sruti will give us the ancient sadja-grama. By the process of the modal shift of tonic, 7 resultant scales called murchanas, were derived

RAGAS IN S. I. MUSIC— THEIR ORIGIN AND EVOLUTION 1 2 9

from each of these gramas. Of these 14 murchanas (caturdasa-murchanas) some were found to be repeating; and eliminating the repeating ones, seven of these were ultimately retained and these were called the Jatis. Transilient scales which were subsequently discovered and used were also called Jatis. AH these were still scales and did not develop to the full stature of ragas.

From the time of Matanga, a new chapter in the history of Indian Music begins. He is a great authority and is quoted by many subsequent writers. He enunciates the Iaksanas or the characteristics of ragas and gives a full description of some of them. He defines a raga as follows:—

^ ii

The following 13 Iaksanas (trayodasa-laksanas) are mentioned for ragas, by Sarnga- deva in his Sahgltaralnakara and by Raghunath Naik in his Sangitasudha:—graha, nyasa, amsa, san nyasa, vinyasa, apanyasa, tara, mandra, alpatva, bahutva, sadava, audava and antaramarga. Some writers like Bharata and Venka$amakhin mention only ten of these Iaksanas. Some of these Iaksanas dwindled into insignificance after the great strides made in the development of Hie art during the recent centuries. From the details furnished for ragas in ancient books we are not at present able to form full pictures of them. Some of the vital points necessary for defining the scope of a raga are not mentioned in those books. We are now able to give the following precise details for ragas and with them any intelligent composer of the future can easily compose melodies in them:

(1) JanakA or Janya; if the latter, its parent mode.(2) Arohana and Avarohana.(3) Jiva svaras and nyasa svaras.(4) The characteristic gamakas.(5) The Janta svara and dha(u svara prayogas, the raga rahjaka combinations and

the visesa sancaras if any.(6) The bahutva and alpatva svaras.(7) Upanga or bhasanga; if the latter, the accidentals and the sancaras wherein

they figure.(8) The highest and the lowest notes if any, defining the range of raga-alapana.(9) The characteristic Srutis; also if there are notes which are either slightly

flattened or sharpened from their normal pitch.(10) Sarva svara garnaka varika raga or otherwise.(11) If the raga shines by chowka kala prayogas or by madhyama kala prayogas

or by both.(12) Time of singing—also if it is a ghana, naya or desya raga.

There are references to ragas in non-saiiglta literature both in Sanskrit and Vernaculars as in the epics, Ramayana and Mahabharata, the Puranas (Vayu and Markandeya), in the works of Ilangovadikal and Adivira Rama Panjiyar. All the important works on music are in Sanskrit. H ere . and there we come across works like the Raga Tala Cinta- mani in Telugu, and Nattiyasastiram, Talasamuttiram and Ragatalaprastaram in Tamil. Many important Tamil works on music written in earlier times are now lost.

17.

T30 THE JOURNAL OF THE MUSIC ACADEMY

History of raga classificationThe nucleus of the modern raga is to be seen in the ancient grama system. The

14 murchanas already referred to had the following nam es:—Murchanas of sa-grama:—Uttaramandra, Rajani, Utlarayata, Suddhasadja, Matsari Krita, Asvakranta and

Abhirudgata.Murchanas of ma-grama:—Sauvlrl, Hariniisva, Kelopanata, Suddhamadhyama, Margi, Pauravl, and Hrishyaka.

The names of the finally retained 7 murchanas (Jatis) were as follows:—

SadjI, NaisadI, Dhaivatl and Arsabhi which belonged to the sa-grama and Gandhari, Madhyama and Pancama which belonged to the ma-grama.

Next we have Matanga's intelligent classification into suddha, chayalaga and sankirna ragas. Sarhgadeva classifies Margi ragas into:—Gramaraga, uparaga, suddha- raga, bhasa, vibhasa and antarabliasa. He enumerates the names of many of these Margi ragas and mentions the types to which they belong. DesI ragas are classified by him into Raganga, bhasaiiga, upangaand kriyanga. Arcika, Galhika and Samika were simpler scales used in ancient religious music. Sangitasamayasara of Parsvadeva (1165-1330) mentions the following kinds of ragas;—Raganga sampurnas, Raganga sadavas and Raganga audavas; likewise upanga, bhasaiiga and kriyanga sampurnas, sadavas and audavas. Narada's Sanglta Makaranda published in the Gaekwad’s Oriental Series is an interesting work and mentions ragas to be sung in the morning, noon and evening times. Narada's mention of rauktanga-kampita ragas, ardha-kampita ragas and Kampa vihina ragas, presupposes a certain stage of development in the art and I am led to think that the work must have been written either during the time of Ratnakara or slightly after him. I t is also interesting to note that he mentions the raga Nllambari, not menlioned in earlief works. Narada also classifies his ragas into Purusa, strl and napurhsaka ragas, (masculine, feminine and neuter) evidently based on the gender of the raga names. Sanskrit writers are not unanimous in their views regarding the gender of some of the raga names —with the result that the terminations differ and we are likely to import a difference where none existed before. For instance, Bhairava and Bhairavl are two distinct ragas. But Saurastra and Saurastri are not separate ragas. Revagupta and RevaguptI, Mangalakaisika and Mangalakaisiki, Malhara and Malharl, Sauvira and Sauvlrl are in the same position as Saurastra and Saurastri. Another Panini, I think, must come to fix definitely the gender ef these ragas. This takes us to the Raga-Raginl-Putra system of classification prevailing in Hinduslhani music. This system is first mentioned by Kohala and later developed by Locana kavi, Pundarika Vitthala and others. The idea of male ragas, each male raga having a num ber of bharya ragas, Putra ragas and daughter-in-law ragas is itself fanciful. There are also the dull ragas. The Hindusthani scholars have now adopted the scientific system prevailing in the south.

The idea of a mela raga begins with Vidyaranya's Sanglta Sara, a valuable work which has not been recovered in its full form, Ramamatya's classification into uttama, madhyama and adhama ragas is not based on any definite principles. The modern system of classification into Janaka and Janya ragas and the classification of Janya ragas again into

RAGAS IN S. I. MUSIC— THEIR ORIGIN AND EVOLUTION 131

Janya sampurnas, varja ragas, vakra ragas, upanga and bhasanga ragas, nisadantya, dhaivatantya and pancamantya ragas, ghana, naya and desya ragas and the classification ot ragas in general according to their Rasas and the time of singing are really based on scientific principles.

We have the Janaka-Janya principle even in the ancient Tamil Music. Pan was a general name for a raga. It also denoted a generic type. Each pan (uam) had a number of derivatives called Tiram (jdpu>). Panniyarriram (utm«afliup/Spu>) was a sadava raga, tiram ($pu>) was an audava raga and tirattiram tu>) a svarantara raga.. Pans werealso classified into those which should be sung during day (useouam) those which should be sung during night (g^a/ijuair) and those which could be sung at all times (Quir^uuam).

A study of the raga names in the ancient works reveal certain interesting features:—

There are ragas of provincial origin for example: Dravida Gujjari (S. S. S.) Daksina Gujjari (S. R.; S. S. S.) Maharastra Gujjari, Saurastra Gujjari, Karnataka bangala, Daksinatya bhasa, Dravida Gauda, Turuska Gauda and Andhri (all in S. R.). The Brhaddeii mentions a raga called Sadjandhri. (S. S. S.=Sang!ta Samaya Sara;S. R .=Sangita Ratnakara).

The Ratnakara does not mention the names of some popular ragas like M ohan^ and Kedaragaula. It is possible that these ragas were omitted by the negligence of the copyist for Sarngadeva says that he is giving the Laksana of 264 ragas but actually only 253 ragas are found in the Raga chapter. Or it might be, that these ragas were known by other names in his time. While the Ratnakara mentions ragas of Tamil origin like DevaravardhanI, the Devara Hymns are set and sung to such ragas of Sanskritic origin as Takka raga, Indala, Kurinji, Gandhara pancamam, Malavakausikam, Nattaragam and so on. In the field of music the interaction of Sanskrit and Tamil cultures upon one another has been productive of very good results.

Rare ragas like Manohari, Pratapavaraji, Dipaka and Gundakriya mentioned in ancient works have been popularised by the great composer Tyagaraja through his compositions. Many South Indian ragas like Suddha saver! and Srlranjani are found in the Hindusthani music, where these ragas are respectively known as Durga and Bagesri.* Examples of a few South Indian ragas found in the music of the other nations also might be referred to in passing. The Major scale of European Music is our Sankara- bharana with a slight difference in the pitch of the Dhaivata. Harmonic minor is our Kiravani. Melodic minor includes the two melas: Gaurimanoharl and Nata bhairavl. Simhendramadhyama is met with in the music of the Gypsies and Hungarians. Mohana is seen in Scotch music and £uddha saver! is seen in Chinese Music.

South Indian Music has been enriched by the addition of many new ragas during the last three centuries: Simharavam created by Venkatamakhin, Kadanakutuhalam by Patnam Subrahmanya Aiyar, Svaraved! by Alluri Veiikatadriswami, and Mallikavasantam by Pallavi Seshaiyar might be mentioned. Nilakambodi, Iniratiraga, candrikabhairavi, Pavindrakali, Paramanandakali in the Tamil MS. Nattiya sastiram and Tundi, Turuska Tundi, and Pali Kambhoji in the Sangita Makaranda and Trinetraki in the Sangitasamaya- sara are some interesting raga names. It is possible to further enrich South Indian Music by the creation of new ragas.


In conclusion, I wish to point out, that the term ‘Oriental Culture’ has till now been associated mainly with the Oriental religion, language, literature and philosophy. The fact that India possesses a great system of music, worthy of study by every intelligent person in this world has practically not come to the notice of orientalists in the west. Em inent Europeans like Mr. Fox Slrangways, Rev. Popley, Mrs. Foulds, Mrs. Cousins, Dr. Hornbostcl, Dr. Lachmann and Dr. Bake have done much to proclaim the greatness of Indian Music to the westerners.

I wish to respectfully suggest to the authorities of this conference to have a separate Music section in future. That will serve as an incentive to many music scholars to come and participate in the deliberations.

N E W S A N D N O T E S .

MUSIC AND T H E TALKIE.Padma Devi, the Bengali Film-star, said

• that though music was appreciated by many picture-goers, its elimination would give more scope for the development of the slory of a film, and films in any case rarely showed Indian Music at its best as the songs were necessarily not of sufficient length to give complete scope for the full beauty of the original Music.

T H E MAHARANA OF DHARAMPUR ON INDIAN MUSIC.

Delivering the convocation address of the Prayag Sangila Sainiti, H . H. the Maharana of Dharampur said:

N e e d fo r Resea r c h .

Western music, in recent years, had taken enormous strides in all directions, in the development of orchestration, chamber music, operatic music and even jazz. It was

> amazing how they went on repeatedly experimenting and adding to the richness of both the theory and practice of their music.

He conceded that in India too, we had masters in the past who blazed the trail and set up bright beacons on hill-tops for the .guidance of those that came after them. It was only quite recently that we mourned the loss of one of those pioneers in Pundit Bhatkhande, whose researches into the past of our music were not for mere idle adoration but for fresh experimentations and new innovations. But considering the greatness of our music, the richness of our heritage, the extent and complexity of our culture, how many more we ought to have had? Indian music was full of immense possibilities for experiment. Most of us did not sufficiently realise the immense possibilities that were latent in our musical system. The present apathy, indifference, fear and lack of initiative must go. Musical conferences like

the one they had that day, and academies like the Prayag Sangita Samiti, and scholars and professional musicians like the ones gathered there, must all take an intelligent interest in the future of our music.

Im portance o f t h e Am ateur .He believed in the amateur and knew

that he had his part to play as the best of our professionals. In fact, the amateur could do a lot more in the way of research and study as he was less of a slave to styles and schools and had a more liberal outlook.

It was an encouraging sign of the times that more and more amateur artistes were coming forward to expound Indian music, vocal, instrumental and dance art. The Radio had wrought a wonderful change in the attitude of the public. Talkies had also played a part in this transformation. Music, if it was to play its destined part in the cultural life of India, must be lifted from its present plight of being the monopoly of a caste or class and be taught to every boy and girl in the land. The idea was not to make a musician of every child and thus overcrowd that already overcrowded profession, but to raise the general cultural level of the nation.

T e a c h in g C h il d r e n .He sounded a note of warning about the

way children were made to sing, which in the end result in the breaking of their voice. Children, in his opinion, should not be made to sing to a higher or lower pitch than their normal iruti. As the lungs of young children were tender they should not be made to sing at a high pitch for a long duration. The proper age, it had been found out, for boys and girls to sing in higher octaves was between 13 and 18. Similar tests, he suggested, should be attempted in our country and the knowledge thus gained would be valuable. •

i j ' r THE JOURNAL OF THE MUSIC ACADEMY

N o t a t io n .

Referring to the subject of notation, he said that Mr. Chinnaswami Mudaliyar of Madras and Maharaja Tagore of Calcutta had long ago attempted to put in notation some of the difficult ragas of Carnatic and Bengali music, and several other attempts had been made from time to time. European musicians and scholars, who had interested themselves in our music and who had made a careful study of it, had great hopes of its being accomplished.

Concluding he said that Art was a jealous mistress, and had to be wooed with all the fervour and passion of youth, and enjoined on the youths present to have faith in the cause they represented and in the future of Indian music.

F olk- s o n g s .

India had a priceless treasure of this form of art and he submitted that the roots of all fine arts lay in the folk-arts. He would suggest that the Samiti make every effort to introduce folk-music in its carricala and to encourage it in every way.

TALKS ON INDIAN MUSIC IN ED IN BU RG H .

Mr. V. K. Narayana Menon, m .a ., doing research at the University of Edinburgh, gave talks on Indian Music in which he said:

Of all the Arts music is the most abstract. Sound out of its context is as easily distinguishable as colour; neither are pigments or colours any more 'concrete' than musical notes. But music, of all the Arts, has the le .st verisimilitude to Nature. The average man turns to a picture instinctively for the pleasure of recognising the image and associating it with his familiar visual experience. When a painting has to be viewed purely for the abstract rhythm of its lines and colours it becomes ‘difficult’. The Cubists, for example, and some modernists maintain that resemblance to any objects in painting is at its best superfluous, at its worst distracting. And a great deal of modern Art means very little, if anything, to the layman. . But why is music, in spite of its very abstract nature, full of meaning? Because in Music tradition is stronger. Our musical heritage has trained

us unconsciously to the rhythmic combination of sounds and we tacitly accept a piece of music without probing into the meaning of the sounds. It has become an intellectual habit with us. Tradition is not merely an abstract concept. I t is a strong active force, cumulative, continuous. Tradition in Art is organic development and its main purpose is to set up basic values. When it is operative, the layman accepts it without question hardly conscious of it, just as the artist, the creator gains strength and power from it. This heritage of the West and the East is of totally different growths, under totally different conceptual values. That is why Indian music means much less to the most musical Westerner than to the most unmusical Easterner. The unmusical Indian's tacit acceptance of Indian music as a great and beautiful thing and his fascination for it is because of the strong force of tradition.

The Eastern mind is transcendental, speculative; the Western, critical. The East has always insisted on emotional sincerity; the West on intellectual sincerity. This, mainly, is the difference between Eastern and Western culture. Thus Eastern Literature, on the whole, is subjective; Western, objective. Its predominant note is a lyricism, not energy. The same difference is seen in painting, in sculpture, in its themes as well < as its technique. Most of all in music.

T h e E u r o pea n R en a issa n c e .The development of European culture

received a great impetus from the Renaissance. The Renaissance meant the emergence of the individual. With the breakup of the restraints of mediaeval Christianity men were free to realise their pagan heritage. Art moved out of the pale of the Church, i t became democratic. The enlargement of the creative vision gave European Art its body. Painting achieved a new dimension, depth. The Moralities and the Mysteries became Drama. Music developed tonality.

It is perhaps idle to speculate what Western music would have been without the Renaissance; or as to the matter of that, what would have happened in the East if there had been a similar awakening there. The Renaissance was only an impetus. Even

N EW S AND NOTES 135

the earliest European music, Greek music, though generally referred to as purely melodic,..shows a latent harmonic sense which is absent in Indian music. Latent harmonic sense, because it developed the diatonic scale that has proved itself capable of bearing the Western classical system of harmony. Indian music is the most beautiful and complete example of the development of melody quite independent of harmony. Non-harmonic is different from melody which implies harmony. A purely melodic scale is a scale that is not based on a harmonic system. The popular acceptance of melody as tunefulness is incomplete and is dependent on symmetries of harmony and rhythm that rarely, if ever, occur in early music and are merely accidental potentialities in folk music. In European music melody is the surface of a series of harmonies. It is the musical surface of rhythm, harmony, form and instrumentation. An unaccompanied snatch of a melody from a Wagner opera implies harmonic draughtsmanship and expresses enharmonic modulation. But classical Indian music in its purest form is refractory to any harmonisation. It sounds exotic to the Westerner, Because he has lost the purely melodic concept of music. He cannot take in a melody 'neat.' He has lost the ear for it.

Musical criticism in India to-day is at a very low ebb, though the art itself does not show any signs of decadence. And it is strange. The advent of the British affected every department of Art. It meant the extinction of Hindu and Mahomedan architecture and the importation of a debased style which has given India some of the world’s ugliest cities and buildings. Its most recent and scandalous product is New Delhi. The break-up of Indian feudalism and the disruption of the village social unit meant the extinction of the indigenous arts and crafts. The Indian School of Painting became a thing of the past and in its place a new school of mongrels- sprang up. But, singularly enough, (he main current of music remained completely untouched*. I do not know if it is due to the average, healthy-

minded English Civilians' and merchants’ hatred of “Moonlight and Muslin.” The typical English public schoolboy slate of mind looked down on singers and dancers contemputuosly as nancy boys. The subtle, introverting music of India left them cold.

A rt in t h e E ast and t h e W e st .

Introverting, yes. European Art expresses emotion in a “ uniform corporeal outwardness." Eastern Art is characterised by an inwardness, a minute separateness. This is seen clearly in the Dance. The Mudras, gestures in the Indian Dance are separate symbols. They are linked by their continuity, but are devoid of any plastic relationship. There is little concerted action. The dancer is the centre, the figurehead of the idea. He is the subject of the dance. But the Western body in the ballet is part of a component unit. The main idea of the dance is projected on the dancer. The Western ballet is objectified pleasure.

And so it is with singing. The Western singer is mainly a vehicle. His voice is trained to ensure the maximum sonority and to be rich in harmonics. In the East the ideal voice is considered to be the purely 'white' tone. The Eastern voice is free from harmonics. It does not blend and a dozen voices singing together will sound like screaming. In the absence of concerted singing, the singer has more opportunities to assert his individuality. The highest art is extemporaneous and every artist is a creative artist, not merely an interpretative artist as in the West. The purely melodic element (in the narrowest sense the rise and fall of pitch) is a capacity of the human voice. That is why the highest music in India is the sung music.

Indian music draws you into yourself. It is an inner recreation. The highest Indian music concerns itself with experiences as interpreted by religion. That the greatest Indian Art has always centred round religion does not mean that it has not emancipated from the pale of the temple or the mosque. The Indian approach to art has never been democratic in the sense post-Renaissance art has been in Europe. A purely rational

♦The importation of the vicious harmonium did a lot of damage. But it did not touch the main structure pf music.

t h e j o u r n a l o f t h e m u s ic a c a d e m yB T

approach to art is incompatible with the Eastern temperament. The West is rapidly acquiring a sense of the values of Eastern Art. The Impressionists and other modernists make distinctions between Eastern and Western painting seem obsolete, and so with music. “ Extremes meet”, says Sir Donald Tovey, “and we are recovering a sense of the values of unharmonised melody; not melody which wants to be harmonised, nor melody which achieves harmonic sense by draughts- madship, but the austere achievement, far more difficult than any 'atonality’ of a melody that neither needs nor implies harmony.”

LECTUES AND CLASSES ON INDIAN DANCING IN LONDON.

Ragini De ri, who was in India for some years learning Indian Dance, is conducting a course of weekly lectures and classes on the art of Indian Dancing, at India House, London. The course commenced on Feb. 2nd, 1938 and is being held under the auspices of the University of London.

STUDY O F MUSIC IN T H E ANDHRA UNIVERSITY.

At its meeting held on 22nd January, 193?, the Syndicate of the Andhra University decided to conduct examination in Music under Part III of (he Intermediate courses of study from the March-Apiil examinations of 1939. Hence, the Syndicate suggested that the following contributions also be included in Part III of the Intermediate courses: Indian History, Ancient andMediaeval History, and Music; Indian History, Modern History and Music; and Indian History, Logic and Music. The suggestion was adopted.

SURVEY OF INDIAN MUSIC BY DR. BAKE.

Under the guidance of Dr. Rabindranath Tagore, Dr. Arnold Bake, Senior Research Fellow of Brasenose College, Oxford, is at present carrying out a survey of the music of India. Dr. Bake has been sent out by the University of Oxford for making this survey, and is accompanied by Mrs. Bake. He is devoting a month to the survey of the music of Travancore, and has already re

corded a large selection of songs of Travancore.

Dr. Bake said that Indian music was ae rich and comprised so much that it was a whole world in itself, but he hoped to complete his work in about thiee and a half years. The ideal he was aiming at was a musical survey of India along the lines of the linguistic survey. The importance of this work was not merely musical but it was also of great psychological interest, as the soul of the people expressed itself in its purest form in songs and dances executed by humble folk in their homes and villages.

T h e R e l ig io u s As p e c t .One special aim of his work, he said, was

to study the way in which religion had expressed itself in Indian music. Music had been one of the main vehicles of all great religions of India. If the poems of Kabir had not been written, the name of Kabir might, perhaps, have been forgotten; and the same was true of some other famous names in Indian religious history. The religious appeal in Indian music was most fascinating and ennobling, and it was one of his aims to make this better known in the West where, already, great interest was being taken in Indian music on a large number of occasions both in America and in England, and had found that Indian music appealed profoundly to many.

Songs R e c o r d e d .Dr. Bake carries with him a Tefiphone,

which is a new invention for recording sound on film along acoustic lines. This machine is able to record, if necessary, for twenty-four hours without a break. He also takes pictures with the cine-camera, thus supplementing the music with pictorial versions in the case of dances, kolattam, etc. These records and cine films will go into the archives of the reorganised Indian Institute at Oxford, where they will be used for the study of Indian music and for lectures.

Dr. Bake proposes to record not only classical music and folk songs but also selections from the Vedas as well as from Buddhist liturgy. He has already recorded from the Sama and Yajur Vedas and from the Buddhist liturgy of the Ceylon school, and

NEW S AND NOTES 137

he hopes to record the Buddhist liturgy of Tibet and Nepal also in his tour.

Included in Ihe music already recorded by Dr. Bake-are selections from the Vedas, Sanskrit siokas, selections from Tyagaraja, the musician-saint of South India, songs in praise of different deities, Christian devotional and congregational songs, songs of cultivation. Vedda music, old Portuguese songs, cradle songs, songs of the Naiks, Valayans, etc., the wailing songs of the women of South Travancore, and dancing and kolattam (dancing to music by girls of South India), 35 expositions of tala, the rhythmic basis of classical music, have also been recorded, these expositions having been given by Mrs. Lakshmi Narayanan Nair, Lecturer in Indian Music in His Highness the Maharaja’s College for Women, Trivandrum.

F u t u r e P rogramme.Dr. and Mrs. Bake arrived in India in

December, and after attending the session of the All-India Oriental Conference at Trivandrum, proceeded to Santiniketan to meet Dr. Rabindranath Tagore, who is the official guide oi Dr. Bake for this work. Thence, they visited Ceylon.

From Travancore, Dr. Bake proposes to visit Cochin, Malabar, the southern districts of Bombay presidency, Ootacamund (where Toda music will be recorded), Kodaikanal and other parts of South India. They then proceed to Hyderabad and North India. Dr. Bake hopes to be in Brindavan for the Krishna Janmastami (Sri Krishna’s birthday) in August.

DR. BAKE’S LECTUREon t h e Stu d y o f India n M usic and it s

Im po rta n ce to t h e W e s t .Dr. Arnold A. Bake, D. Lilt., of the

Oxford University spoke, on 12th February, 1938, under the auspices of the Madras University Research Scholars’ Association, on “Some Aspects of Indian Music.”

The lecturer began by saying that the aspect of Indian music on which he wished to speak was its relation to the music of the West. The position of Indian thusic in the totality of the music of the Indo-European

18

peoples, was in many ways comparable to that of Sanskrit among the Indo-European languages. Sanskrit as a language by itself had been studied and analysed for at least two thousand years in India by Indians. When Westerners came to India, they discovered the similarity between phenomena in Sanskrit and those with which they were acquainted in their own languages. This initiated the study of comparative philology and resulted in proving the relationship of groups of people who previously had been considered as having nothing in common.

Similarly, the lecturer continued, in India they had a system of music perfected through the ages with its laws and theoretical analysis, considered as a separate entity by the scholars of the East. The study of the system by Westerners had revealed many points of resemblance it had with the systems of music of the other members of the great Indo-European family of peoples. The speaker felt sure that a thorough study of the Indian system of music would reveal its position in comparative musicology to be very much the same as that of Sanskrit in comparative philology. Just as with Sanskrit, the study of Indian music might be taken up for its scientific value, as also with equal justification for its intrinsic beauty.

Im portance o f Sama V e d a .India had divided its music into two large

divisions called marga and desi. Mdrga represented the traditional, classical music of divine origin and desi, just folk-music played and sung for the enjoyment of the people without the ulterior motive of attaining salvation. The aim of marga music was the attainment of salvation, as staled in Sanskrit texts and in the music of Sama Veda, they saw the first of the two sub-divisions of marga music. Without this important constituent of Vedic liturgy, none of the larger Vedic offerings was considered complete. Its spiritual importance in the structure of Hindu religion in its oldest form, was enormous. Sama Veda was the only one of the three oldest Vedas of which music was an integral part. The study of this music and its development, seen in connection with the way of reciting of the texts of the Rg and


Yajur Vedas, ought to be undertaken without further delay, before the treasure was lost beyond recovery. A treasure it was, because here they found the only survival of the oldest stage of Indo-European music, demonstrating the phases through which music had to pass from the time when it was still intimately connected with magic. Not only the laws of music, but also those of religious psychology were illustrated here in chants that were extremely strong and impressive in their stern beauty, “Thus, Sama- Veda is of enormous importance; first, as a monument of the oldest cultural history of India; secondly, as a means of comparison with what is found in Roman Catholic liturgy and thirdly, also Parsi scholars regard this study with keen interest, as the study of the phenomenon of Vedic chanting in its different aspects is more than likely to elucidate many dark points in the subject of chanting the holy texts of the Avesta, so closely akin to the Vedas.”

An A d m ir a b l e S ystem .“ Of equally great importance is the

second division of marga music, which could be called India’s classic music, a system that has it roots partly in Vedic music, partly in folk-music, and has a traceable history of at least a millennium and a half. It is here that the Indian theoreticians with their astonishingly sharp ear for phonetic phenomena have built up an admirable theory, closely akin to what is found in ancient Greece. As the Greek theory dominated the development of music in the West, to such an extent that even church music in Russia followed rules derived from it till the most recent times, and music in the West of Europe—especially ecclesiastical music—was under its sway for centuries. Whereas the whole Hellenistic world had adopted it already at the beginning of the Christian era, one cannot be surprised at discovering that Indian music is important for the study of music in the West, especially its earlier stages.

“ In this extraordinary affinity of Indian and Greek music lies the explanation of the fact that the impact with Islam brought few changes in the system of Indian music. The

D F

Arabs had modelled their own system exactly according to that of the Greeks, which they came to know after conquering Alexandria and the rest of the Hellenistic world. The impact of the two civilisations, Islam and Hindu culture, consequently, at least as far as music was concerned, was the meeting of two closely related forms of art. It certainly brought about changes in style but not in principle”.

Referring to the importance of the study of Indian classical music from the Indian side of it, the lecturer said that the happy renaissance of Indian music now visible, would not be complete, nor perfectly sound, without an intelligent study and. realisation of the laws of Indian music, which would strengthen the critical sense, and give the necessary energy to ward off harmful innovations from outside, such as the dreadful harmonium that destroyed the very essence of Indian music, and to fight against the deterioration that had crept in with the general decline of Indian culture during the last century and half. This study of marga music in its two divisions was of great importance to India as well as to the West.

D e s i M u sic .Emphasising the importance of the study

of desi music, Dr. Bake said that the realisation of the importance of folk-music was1 not very old anywhere in the world. The prevailing attitude of official musicians towards popular tradition was one of utter contempt for ages. At last the eyes of those not belonging to the people themselves had been opened to the direct beauty of folksongs. Almost in every country of Europe composers, utterly dissatisfied with the possibilities offered by the recognized system of classical music, had turned to folk-songs and drawn fresh inspirations. During the last half a century several European countries had produced composers, who were entirely inspired by the folk-songs of their country. It was remarkable that in India, entirely independent from what was going on in the West, the musical genius of Rabindranath Tagore sensed this importance, so that he turned to fplk-songs and drew hjs most powerful inspiration from the folk-songs of Bengal.

NEW S AND NOTES 139

“ Whereas" , the lecturer added, “ the study of mdrga music will help us to discover the basis of Indian music and further the realisation of the great musical culture that is lndia’9, which has the strength to be continued in future, the study of folk-songs will reveal something entirely new and enrapturing to the unbiassed worker. A comprehensive study of both mdrga and deil music carried out with love and perseverence is what India needs. Then mdrga and dlH music will be combined and bestow liberation and enjoyment both in equal measures. Thus, the study of Indian music in its different aspects is of importance for both East and West, and it is to be hoped that both in India and Europe musicians and scholars will start to work on it in happy co-opera-tion”.

The lecturer next explained by singing, the similarity of rythms between certain Sanskrit hymns and songs he had come across in Ceylon and Nepal. Taking the division of time, Dr. Bake sang songs set to the time of 7 and 5 both in Indian and ancient European music. He next demonstrated the similarity in melody to be found between certain Indian songs and Russian folk-songs. There were similarities, he said, which might be attributed to certain direct influence, such as the Moorish influence in Spain. But there were other similarities which could only be explained as being fruits from branches of the same tree.

SIR C. V. RAMAN’S LECTUREo n t h e P hy sics o f t h e Vio l in .

Sir C. V. Raman delivered a lecture on “The Physics of the Violin” under the auspices of the Madras University Music Students' Association. The lecture was illustrated by lantern-slides.

Sir C. V. Raman said that music and musical instruments were part of the most precious heritage of humanity. Song and music formed, if he might say so, the fundamental bases of real culture and civilisation. In the past many years, modern science, or rather the application of modern

science, had helped to popularise, perhaps he should say, vulgarise music to a large extent. Some of them might have heard of the modern synthetic music manufactured in a purely scientific fashion. In spite of the highly advertised efforts of modern science, it was a remarkable fact that real music which mattered was still given to them by very ancient and well-known musical instruments. The vlna, the flute, the drum and the mrdanga came from most ancient times. This ancient land of ours was the birthplace of fundamental musical instruments. Investigators of the 19th century concentrated their attention only upon the detailed aspects of musical instruments. But none of them made any attempt to understand them. It was the desire of the speaker to study musical instruments as they were used and try to understand why they produced music. For several years he had concentrated his attention on this and twenty years ago he had prepared a monograph on the subject.

One of the earliest musical instruments to be adopted in Indian music was the violin. The genius of Helmholtz and of a great number of Italian artistes had perfected this truly wonderful instrument. The violin, though a foreign instrument, was a God- given gift to India and who, asked Sir C. V. Raman, would dare to say that the violin was foreign to India who had enjoyed the music that had been evoked from it by great Indian musicians such as Mr. Thirukkodi- kaval Krishna Aiyar ? In studying the problem of how the sound of the violin was produced, they should think of the instrument as a whole. The problem of the action of the bow on the string was that of the action of the bow on the entire instrument. The action of the bow on the string controlled, and was controlled by, the resonance of the instrument.

Sir C. V. Raman exhibited slides showing a contrivance for the mechanical playing of the violin and explained the results achieved by it. He showed the curves illustrating the reaction of the string when the bow was applied near the bridge and at points away


from it. He also exhibited graphs explaining the relation between bowing pressure and the pitch and he demonstrated the wolff note. The School of Physics at the Harvard University had now taken up “ the Raman curves" for further researches. The curves produced on the screen by costly and cheap violins indicated little difference and those working in that University were trying to find out the reasons. Sir C. V. Raman ended with an exhortation to Indian students to take up the study of Indian musical instruments.

MUSIC IN JAILS.The powers of music have always been

highly sung of by musicians, philosophers and poets. Its healing power has been recognised by doctors who are using it in hos

pitals. Poets have said that he who has no music in him is a criminal and an imaginative national ministry in the United Proviffr ces of India are experimenting in their jails the power of music to humanise criminals. A recent press message from Lucknow runs th u s :—

With a view to making the outlock of hardened prisoners on life more humane, certain recommendations, it is staled, have been made by the expert committee on jail reforms.

It is understood that the the committee suggests that prisoners be allowed to sing for thirty minutes daily after lock-up. Radio sets may be installed in the “star" class jails and in Borstal institutions and gramophones (with records) may also be allowed to the “star" class prisoners.

B O O K R E V IE W S

T YAGA RAJA'S L IFE IN SANSKRITM r. Y. Mahalinga Sa st r i, m.a ., b /l .

A Review o f Sri Tyagaraja Carita, by T. S.Sundaresa Sarma, The General Stores,

Ayyan Kadai Street, Tattjore, Re. 1.T his Sanskrit biography of the celebrated

South Indian musical composer written in the epic manner comes to the Sanskritist section of lovers of music as an agreeable surprise. Biographies are rare in Sanskrit and those which have claim to historical veracity are rarer still. Though Mr. Sundaresa Sarma has furnished his “ Life" with an invented legendary background and allowed current legends owing their origin to popular fervour to come into the narrative, he has faithfully stuck to facts of the real “ Life" as gleaned from consistent traditional accounts and made it realistic by his eloquent manner and power of vivid description. His talent for dramatic presentation of situations in the story and his power of characterisation are undeniable. The realism of the scenes, the appositeness of the speeches, the distinct undividuality of the characters, the profusion of the descriptive eloquence, the spaciousness of the narrative scheme, all these remind us of the grand epics of India.

W e ascertain from elsewhere that the life of Tyagayya was from 1759 to 1847. The latter date is given by Mr. Sundaresa Sarma as he refers fo 4948 Kali as the year of Tyagayya’s passing away. Though he does not refer to the date of Tyagayya’s birth or the number of years he lived, the reference to three sovereigns at Tanjore as contemporaries in succession to Tyagayya seems implicitly to grant a long life of more than three quarters of a century to Tyagayya. Mr. Sundaresa Sarma is correct in saying that Tuljaji was King during Tyagayya's boyhood, Sarfoji during his middle and declining age and Sivaji during his last days. As a matter of fact, Amarsing was king for

more than a decade between Tuljaji and Sarfoji.

Tyagayya at 16 years was already a householder thrown upon his own resources to make a livelihood and work out the fulfilment of his life according to his instincts and talents. His parents had died at about that time of his age and his elder brother who was cast in a far different mould from himself figured in his life only to make it unhappy. He was learning music at the feet of Sonti Venkatramanayya, a local celebrity, and was perfecting the mystic efficacy of the Rama Taraka mantra till about his 40lh year. If Ela ni daya radu be accepted as his first krti and that as one inspired by his vision of Rama at the conclusion of his Taraka mantra sddhana, we should presume that he launched on his career of a composer only at about his 40lh year. The biographer at this point seems to be implicitly conscious of a strange parallelism between this feature in Tyagayya’s life and a similar one in Valmiki's life when he uttered the first verse in Sanskrit literature. Tyagayya is congratulated by his guru and exhorted by him to take to such compositions seriously all through life even as Brahma hailed Valmiki with congiatulation and persuaded him to compose the Rama- yana.

Then we enter the second period of Tyagayya’s life in which he dedicated himself to the most fervent and ecstatic form of idol worship. Music had a large part to play in that worship and consequently there was in his life a sublimation of emotionalism as well as humanization of austerity to make it at once one of the sainlliest and sweetest of lives that was ever lived by any mortal in this world. His compositions grew in number; his fame spread far and wide; pupils crowded to him to learn his krtis. His uncha- vrtti perambulations were becoming more and more a festive feature of the village


life. The unsolicited offerings of his admiring coresidents of the village enabled him to support not only his family now consisting of himself and his wife and his only daughter Sita, but also his many pupils and a large floating concourse of Bhaktas who flocked to him daily to attend his Rama-Aradhana and hear his music. Musicians of repute from afar came to him—some eager to pay their tribute to the saintly musician and others in a spirit of rivalry to humiliate him. Kings contended to shower their munificent patronage on him. But Tyagayya never changed the settled course of his life. He subjugated all flaunting affronts thrown at him with his saintly humility and neutralized all tempting offers of patronage with a stoic indifference to every kind of secular advantage.

It was at this state that the smouldering ill will of his elder brother became blown into a suddenly leaping flame of fire and threatened to envelop the life of Tyagayya. Japyes'a born in penury and condemned to penury all through the best part of his life in spite of all his attempts to get out of its boggy ugliness, sprang up instinctively to clutch at the helm of affairs with an inordinate desire to capitalize the unexceptionable talents of the younger brother. The unobs- trusive and yet stern resignation of Tyagayya inflamed him to brutal anger. He could scarcely understand the meaning of Tyagayya in persisting to live for ever in wretched penury when royal munificance was waiting most impatiently for a mere nod of his head to open out its richest showers of gift. W orship without secular compensation, music without reward, congratalations without concrete social advantages were gall to him. Disappointment drove him to despair and he descended to depths of vandalism. He did his worst but Tyagayya was immutable in his meekness of demeanour, indomitable in his attitude towards life and unshakable in his faith in God. His Rama soon set matters aright and he re-entered into the full swing of the devotional life with unabated zeal and redoubled faith. The last period of Tyagayya’s life was marked by his pilgrimages to various shrines of South India and the programme of his tour can be fairly reconstructed from a classification of his songs

sung at the several places in honour of the presiding divine couple. Thus we can fix among the places he visited, Tirupati, Koyw and SriRangan. One biographer records that Tyagayya sang Vinata, suta at Kanci. That krti is held to be a spurious one and the attribution should be taken with caution. One biographer omits the incident of the miraculous bringing back to life of a pilgrim to Tirupati who had fallen unawares into a well, through the Amrta vahinx krti by Tyagayya. From elsewhere we learn that Tyagayya's tour extended as far as Dhanush- koti. Thyagayya should have finished his pilgrimage before he was too much bent down with age. In the light of the evidence adduced by Mr. M. S. Ramaswami Aiyar we should have no hesitation in accepting his statement that Govinda Marar met Tyagayya in 1838 when the latter was 79 years old and the krti, Entaro mahanubhava was the record of his admiration of Marar’s musical genius. Our biographer brings the meeting with Marar close upon the meeting Bobbili Kesavayya and what more, he refers the krti 'E ntaro’ to the Bobbili incident. This seems to be an error. The Bobbili incident should have been several decades earlier to the Marar meeting and ‘Entaro’ as referring to Bobbili is incongruent in the extreme.

There are some more moot points in Tyagayya’s “ life." Our biographer claiming to himself the gusto of epic exaggeration has made capital out of the seeds of ill will ascribed by tradition to Japyela. The imagination of men delights in striking idealistic contrasts and I am disposed to believe that Japyesan’s name has been Slackened more for the requirements of poetic idealism than with regard to strict truth and justice. Tyagayya’s songs are more or less his Jottings in his private diary and fully and faithfully record all his likes and dislikes, joys and sorrows and his hopes and* fears. From a note in Mr. M. S. Ramaswami Aiyer's book I am able to gather that in a Madhyamavati krti Tyagayya complains about false accu- rations brought against him by his brother and his party. This should have reference to incidents of Tyagayya’s early life when he had not effected his partition. As time ad-

BOOK REVIEWS 143

vanced Tyagayya had no private grievances to vent"'against anybody but criticised secularism and cant and preached higher ideals to • the mean out of sheer sympathy for their wretchedness. The pretenders to Bhakti with an eager eye for pecuniary gain were specially marked out by him for contempt and harsh condemnation. In the life around him in his populous village he should have been painfully repelled by types of men whom he characterises as Kali- purushas stooping to do anything for Dara Sutaposhana and peddaperu. And as regards the mischief of somebody as a result of which Tyagayya is said to have missed his Rama and other images for about a year, I am unable to decide whether it would have been a real event or a fancied one. All the krtis of Tyagayya bear the stamp of idealisation from particular facts—a feature which distinguishes the true work of art bidding fair for permanence and the transient ones and the songs adduced in evidence of the truth of the incident of the loss of the images namely Etidu dakinado and Nenendu veda kuda ra etc. are all capable of a colourless philosophical interprelation. Indeed so much was the disregard of factors in life of Tyagayya that even in the Krti Terathiyaga- rada he refers to the metaphorical curtain of Matsara disdaining perhaps to make much of the slender incident of the real curtain being down before god Venkatesvara and to cast a slur upon the mercenary regulations of the God’s attendants. Such is the spirit of Tyagayya’s krtis, and for the true enquier, when all is said about the life, the lesson from Tyagayya of sublimating our experiences in life for greater ethical and spiritual purposes, is a precious possession.

Mr. T. LAKSHMANA PILLA I’S SONGS IN TAMIL

Mr. M. S. R am asw am i Aiy a r , b .a .,b .l ,l .t .[A Review of a new Volume entitled “Songs” , composed by Isait Tamil Chelvar T. Laksh- mana Pill at B.A., Major Treasury officer,

(Retired) Trivandrum , Price Rs. 5.]

The volume under review is a Royal Octavo of 535 pages and contains 153 songs. In his Preface, Mr. Lakshmana Pillai observes: “ It is a patent fact that, although

we have ever so many compositions in Tamil set to music, lyrical compositions have been a rarity in Tamil. Not that Tamil is in any way an inappropriate language; but the experiment has never been tried”. It is, then, this experiment that Mr. Pillai tried and succeeded to a degree. Mere pretence or mechanical outward gestures do not constitute devotion nor do they lead one to salvation. This idea is expressed Mr. Pillai's “ Bhakti onral” which is as follows:

(pairiP—UM60Q?

ua^Qiuirdr(iyeoOpaâoreeBteoGuj ( “ )

aaBturrmtr pmsSeoarrSeoniafstojtrerrrr aeotdleomr&eo (“ )

ffjrerorii)weerpifiâ'Seer eritryippiiairr uteeflpir war gpuSir aêfrterf Qpestpeunu L/eePpir QpeopQfiuaitrdr wpjetiSiraeir (SweOaruar QpsfilaiQrjeujdeiiaiQeBr Qpatuear ( u )

It is Only genuine service to God’s creations that enables one to top. the list of God’s devotees. In the following two pieces he says that universal kindliness was the essence of Godliness:—

C <£0>irjrC <!Ecnu) — f i r u q

usvjeoeifQaeOorp^Geo Qaeoeiiw ênarr(irjsa*tuw Qpdjeupparemw aSpsQeu (O ff)

Aj&lUMevsffaeoeSuSpaeoeS ispairwmaetfleisr e$pgp iseoeS2ssru Gupeariîsrrpeer Qpif-uSeer Qpppi

( O ')ffirraanh

1. rteieipuMjne&ggiw dHaameoeofsIpitnr®wujeSQueoeoirw m£oa@ieoeoj3pi §)eo eo paitry a aoaoSeo eorum p(t$G>i£ljptBi(g>wertEi(gw^pei*i[iiu.GTargiwe>i(rr)eu£ilg){Q#)

2. wtrappsi(r$w w jda^w Qu(êe>wuSp! waaerr wêereSuSetpiw uSaapi(njeB>wu$pi arrappoiira(§<b ep/r apuawm&pi enauQurrgeir QuiriLiuQuirQtfr QwdiuQurrr^

[ermAlgi (Off)r f f lE J a j lU J S B S T li f f TI*1L|

Usieosi?porggyuSiiQurreo wp/SebrapiuVir urnraBarp âra)waSeoeoiriraaeoeoGemr airwQpdreir p t (<&')


Al&iu ev>«oa?weareyvuQir atraSarp Qpereotaura Qasrarenir wearearssurr jareareair (deareareuQnear/Beo eo (p)

a-aeaar&1. ftearjpiw 8/Spenen ârjptw Quiflpelei

tgiear jpiwoi/Bpoia ârjpniiîflpeêo iSarpSleouSel erpw QuiftQparg» QarrebrB ear pear £%svu5leJ Qis/S iljl_«t Sear jpiQairar (^ )

2. ^(tâsmQuiuiiSeirsasiresîr wjp&smQudjtijQpi—arQ-uSiraar Geirpolsaari—tro) aurQpw (SairpeaaL.ear ® 0 * « » « /TQpi9_ui-S®J £ p u pHaariu wrQpw ff*ar l9 if_u$Qea)w §,eatwaQwwii (p)W hen once the human mind reaches the

altruistic stage, it looks for God, not without, but within, an idea which Mr. Pillai expresses in the song:

gjanjlânuffaf — ffiruqLieoeoaS'

erB($ p (ty Queerp Qp®@ar(3par—Q a ^ fp jS a ^ p G p uS@isptr(fuj («)

Ajj(ju«oeoaS'sii(gp(Spi^.iLi igifiiuarQuirio g)0 sfr p£i@ p jfarorp^gn IssraaaeaarBGeiear (er)

&nesar&iseareatia. Qprrarp5if.ev £ atQQeu Seir (npuj ^neatQ wirisi@ e& peat wiLiwTibSear (npib uareawpQtpirpppJsGii £ Qturr@ea>u>i8ear(npdi uireuihQpirear/Si—pQp eSil.®LjQuir@fir(rîii(er)

Mr. Pillai’s views on music itself stand reflected in his Anandabhairavi and Kuntala- varali songs, viz.:—

Aj,ax|| i«i»u0aS'—ueueoa?

/nearer(tp(£i(9jai(2p 8pw — eju/r/B QpirBgjih uawQutrfVjeiR gppupfij airpw (e .)

A|ftiLicoeu«aS>GworeffwarBaeueiapi QwiituQurriûus e&epi aaraQwiri£lpj£u i—arLfGa/arerni^pappQurrenfe^

anaarik8dfuappeara>w Qujaia>tr(er,8pp mearea>w eiiy$a(2a&ihea>pjdpuL$uu(2p—Qp®&parlor w p ip i paiagrjdlesrp p(tpai(2euirirp/rswiSpuiSuuQp— ffrearuar ggQwirLÔiuearu u$iip i meow unaS*varalqpaaeaf! aeaiQparear ^jaruii eSaeS (t.)

§ |l # 61701JT ITueoeoaf

etvasi_Gu gj«u> eâeoQio pfaw emaSpQu) aaGw ( sn>)

AJJ&jljmsoqJ■etEif&puedrreShij „©<b «(err,w 6uireoflea>p Qama 8Q mrepiw eSeaiEi8ga)£pw (grP)

aneauriliLjareBw£&(9jw Spiii Qua pm Qpafia(gw t-l&eoQirgpiib appeSarU wetfla LoaareowGaujiLiw apupeiaor wen8ip caiiw<e$ireuQoi_ar Q aeoaiw maiB iêjxuo ( ot>)

Mr. Pillai chose to divide his songs into three sections— Philosophical, Ethical, and Devotional. The following illustrates the philosophical nature of his compositions, viz:—

Cfliiri#. — fffruq.LievejaJ

wevQw $)i—Qu>eoQsir gg<_J2 u> weaGwearGairwarQfiw gji—Qpw £Qmr

£J&IUSO«OSI?QparQw ggi_ufl0/5pparQweo weaiGwearuir iSlearQaipiLSIear/SQujiriT q l-G lopierrQpssruir (w)

ffjjcasrd)£ir ueoutrpjOiBiB Gair&reupGuirei) 6Tb(8}w £QiuQiLiir0 Quasar £puQparurrir Sour SirQup turraj£Qiueaip iSlear £/raou)QeuQpar# Q&uuev puu/r OwearuiriT 8eoir (w)

Ou(T0«fr $iip eL.eoOs fuwQi p8pnw OjsaGiDgpiiii Quir sn e.«v)0en»_iLi Sareafh p snw ai—olev wSDjfiQttjeru l9 pm peer a.( Otwappw S(Bj8ear war in ggt_»i ( Qurr or /(rgGprppui(w)

To illustrate the ethical nature of his* composition, his Kanada song may be given here.

Allan, ir — ueueoaf

@puu,£airaw — iSpadûsirnw Al&iuebcoaS'

j q p u u a u —UJir iflQpearp tSamp peolerrwpuupiw G f(njsBp upuupw Ifarw (8)

9-jasarw1. iuiT<ai0U3 @arnpQei) tuu/f Qeirisw

«rffl/0iii jjfrtfieiip @su&aGuj.Tif p/paw Qsaieou) g@uS<r era>Q(n?piiairQp GaaeSiiismiaQib Gpiu&iw QuirjpaairQp (8)

2. K®Sl»!a>wujirB> ai(Vjw aemtuGw aeArajw isrG&paa enoippQeo Qu unLfearmut QaGweaQw Qair®aaa Qin@uuiru>Qasueow Ga/Ssu GaiLiv/rp fg)(Vjuuiru> (8)And in illustration of his devotional songs,

the following may be taken:

BOOK REVIEWS 145

AuomemP — ucomoS*

QuirprrQpir Qeiiiji Qaapfasr Qiuaainh Spir *jsmaG)g) £pQu>ir /Bearpar uirpirasSiipui upj8iQstram(St-.ar f§ldrg»u>

8-nassr i lQutrpLjsQfiSfi uurrgQuurQu,risi(sjW(Trfilarair&Qar{BQtu <2uit(§(2u>it jiipupjptsmQiutms srrpjpipeo u<QfQu>tr QiuSarta(gerfleerQpa) saeutuQuurir fl^ fQ w n

(Q uit)Be it however said to his credit that Mr.

Lakshmana Pillai’s prayer, even in his devotional songs, is, not for this or that worldly benefit, but for getting an equami- nity of mind, as evidenced by his Madhya- mavati song:—

u>$(uu>irai£ —UeoeeaS'

g<2i8%eoii$6i) Qi*tGf,fLD iSpsmeiiuirQujistparpp<5 iSQiu fgtuCSar

*j4JU6v)«oeiS'Qs<&&'fa) is iS d Qarire>iy$Qfir is(diStn> iSieiS eS t^n p ^jQ u n Q eo (®

a-jrararui^ a t f euairisQpar^atr Qu>rf(gQfdjnmu>iv jyffiisuffO sueiririsQparVar Qaieoeoaisutumoei aira>#eSa>jfmgmirar Qisarn Q&i—trwsv appjSeSgparpar up&e&t—rrwa) (/*)

Enough illustrations, I think, have been given to show that. Mr. Pillai’s style and diction are of superior order and are commensurate with the high thoughts embodied in his songs.

Since, the notation also in given in the book, the learner will find it easy to master the songs.

A TEXT-BOOK ON SOUTH INDIAN MUSIC.

Mr . S. Ramamurti.[A Review of South Indian Music SeriesBook I I I (2nd edition) by Mr. P. Samba- murti, Lecturer in Indian Music, Uni

versity of Madras. Publishers'. The Indian Publishing House, G. T.,

Madras. Price 8 As.]It is a well-known fact that the original

literature governing what may be called modern musical practice of the classical

19

variety is mostly in Tclugu, as the old treatises on Music are in Sanskrit. Call it historical accident if you like, but the fact is there and has operated to make the principles of musical science a sealed book to many musicians and music-lovers in this multi-lingual province of Madras. Subbararna DIksitar’s ‘Sangita Sampradaya Pradarsini’, Thatchur Singaracharlu’s series of musical works, and a number of other books like the ‘Pallavi Svara Kalpavalli’ etc., may be said to constitute the basis for most of the new literature that is making its appearance in large volume as the result of the popular demand for musical knowledge. Mr. P. Sambamurti has done a real service in the direction of popularising and bringing the scientific principles of our music within easy reach of all English-knowing people by publishing a series of compilations at a cheap

‘ price, embodying the important points mentioned in the literature referred to above. The book under review is the third of this welcome series and consists of ten chapters (with an appendix and questions) packed with a fund of valuable information culled from various authentic sources, well arranged and analysed under well-defined headings, and will certainly be most useful to students appearing for examinations.

While appreciating the undoubted merits of this volume and emphasising its great utility to the student and music-lover, it may also be useful to draw attention to some aspects thereof which would appear to require further elucidation by the author. For instance, with regard to the distinction between Ghana and Naya ragas, he says that the former class consists of those whose individuality is brought out more easily by playing or singing Madhyamakala or Tana. Apart from the novelty of this definition, it does not seem to be applicable to all ghana ragas. In Varali it is difficult to see how Madhyamakala would more easily bring out the individuality. There is a padam of Kselrajna in Varali framed in the slowest (choukatama) of time-measures but yet breathing raga-bhava in every pore without requiring the aid of Madhyamakala to bring it out; in fact quicker tempo may even obscure its characteristics.

146 TH E JOURNAL OK THE MUSIC ACADEMY

As regards ragas, while the fact that some of the old laksanas have either become obsolete or are of mere academic interest to us at the present day, it is stated that as a result of the progress made in music during recent centuries we are in a position to give a more scientific description of the ragas and define their scope in clearer and more accurate terms. But as a malter of fact, we do not find much evidence of this desirable amplification or scientific description in the pages of this book which mostly repeats the old definitions and explanations and also some terms whose practical musical significance is little known or understood or applicable now-a-days. The modern reader would certainly appreciate a more realistic and accurate description of a raga, the basis of our music.

It is an admitted fact that the 72 melakartas are obtained by permutation and combination of 16 notes, but the author says these parent ragas are based on 12 svarasthdnas (note-places). This does not help the student very much, who would naturally be anxious to know the distinctive tonal value of each of these 16 notes, as otherwise there would be an inexplicable merger of some of these: notes in the procrustean bed of 12 svarasthanas.

With regard to the musical terms explained in the book, some of the descriptions do not appear to be’very accurate or very helpful to the student, while here and there we come across some new expressions. The term *vakra raga' is found only in a few books like the ‘Sangita Sampradaya Pradar- sini' but the author has added another class called ‘varja raga’. The idea is clear that this raga is one in which some notes are taboo, but the term ‘varja raga’ may mean that the raga itself is taboo. Again, the classification of ‘Mitra ragas’ is found only in the ‘Gana Bhaskaram' among the modern works, and it is difficult to understand the significance of this term as applied to ragas. Mitra means friend and it is not easy to see what alliance, friendship or common features there are in the following groups, for instance, which have common endings:— Malavagoula, Kannadagoula and Narayana- goula, Punnagavarali PratapavaraJi,Kuntala-

varaji and Pantuvarali, or Natakapriya and Bhavapriya. This classification, far from helping us towards a reasonable understand* ing of the significance of the term, seems to lead us to amusing absurdities.

One of the terms which are well-known but are not mentioned in modern books with any explanation, is ‘Laya’. It may probably connote what is at the present day known as ‘kala’ or tempo and the term may perhaps be found in very ancient treatises like the ‘Natyasastra’. But it is doubtful whether it can be usefully reclaimed to-day and applied in expressions like ‘Vilambita laya’ and ‘Druta laya’ for what are well known as ‘Vilatnba kala’ and ‘Druta kala’. We are also introduced to such new terms as ‘absolute music’ ‘applied music’, ‘melodic orchestration’ etc., and it is difficult to get at what the author exactly means by them.

As regards orchestration, the author’s enthusiasm in the matter of giving a harmonic orientation to our music is well- known. But, while the desirability of enriching our music by introducing harmony as a separate item of cultural assimilation without impinging on our musical heritage, is admitted by all, few purists will agree with the author in thinking that Tyagaraja’s ‘Giripai’ will improve in its melodic effect if played by a set of instruments together. T he, author says that ‘any rasika will immediately feel the enriched effect...on account of the various qualities of the tone of the stringed and wind instruments in the orchestra’. While it may not be denied that there is peculiar effect in this sort of orchestration and perhaps the saint of Tiruvaiyaru himself may be astounded at the unexpected results which he himself could not foresee, there is no doubt that it will obliterate or at least blur the finest nuances of tone, grace and movement necessary to bring out in all its completeness the melodic integrity and individuality of Sahdnd. The question how far our musifc could be fitted into such orchestration has not yet passed the range of acute controversy.

TYAGARAJA'S SONGS IN ENGLISH [ The Songs of Tyagardja translated into English by. Dr. C. Narayana Rao, Atre-

BOOK REVIEWS 147

yaSramam, Anatiantapur. Price Rs. 2.] P r o f . P . Sam bam urti.

The district of Tanjore is perhaps the brightest Spot in the map of South Indian music. Therein were born some of the greatest composers and musicians. Even the musical luminaries of other parts of South India came to Tanjore, enjoyed the patronage of the ruling princes and flourished there as samasthanavidvans. Tanjore occupies the same position in South Indian music as Germany in European music. Tyagaraja’s ancestors who belonged to the village Kakarla in the Cumbam Taluq of the Kurnool District, migrated to the South during the 17th cent.

Dr. Narayana Rao has rendered signal service to the musical world by publishing English translations of 76 songs of the great Telugu composer. The selection is varied and representative. There are the Ramayana KIrtanas, Kirtanas detailing Tyagaraja’s religious experiences, songs depicting his code of ethics, his conception of the duties of persons in affluent circumstances and his conception of a true devotee. Only free translations are given, but they are delightful to read. It is not an easy task to translate the sahityas of sublime poets like Tyaga-

*raja. Here and there an acute critic may find that his own interpretation of a particular sahitya is not reflected in Dr. Rao’s work. But it must be said to the credit of the translator that the spirit of the songs is reflected faithfully in most cases. The transliteration given for the sahityas is a commendable feature of the book. The author could have given the name of the raga on the top of each piece and that would have helped the reader to reflect awhile about the relation between the raga and the chosen theme. Also short notes explaining the circumstances that occasioned some of the songs like Tera tiyyagarada and Ragarainamdlika che could have been added. The songs in the book are purported to be given in the order of their evolution. But we find compositions of his earlier period figuring in the later portions of the book and vice versa.

In some songs we find that Dr. Rao has changed the readings for no justifiable cause. As examples might be mentioned the following: Bhajiyiche into Bhajiyinchu in the carana of Kaddanuvariki; Tatvamasi- yane into Tatvamasiyanu in the anupallavi of Tatvamerugatarama. The suggested changes are unnecessary and the original readings are correct. Earlier composers like Bhadrachala Ramdas and Talapakkam Chinnayya have also used simlar prayogas. All great composers have used only the spoken language in their sahitya. Tyagaraja was a great scholar in Sanskrit and Telugu and when the occasion demanded it, he used scholarly language. Like Purandara Das, he wanted to teach the truths of the Upani- shads to the masses through the most agreeable medium of his musical compositions and it is but natural that he should have resorted to very simple Telugu for the purpose.

To the vast member of musicians and music lovers who are ignorant of the Telugu language, this book will be a valuable help in understanding the beauties of the brilliant sahityas of Tyagaraja. The book is well got up and deserves a place in the library of every musician and music lover.

V. R aghavan .

It is remarkable that no period of India’s cultural history was really barren; for, in some part of this vast land, and in some vernacular, some genius was always flowering and enriching some art. In south India, in a politically decadent age, in an age when literary activity was of no great moment, it is remarkable how the art of Carnatic Music was entering its golden age. Tyagaraja was only one of the many musicians and com- ppsers of this age but undoubtedly, he was the foremost of the composers, for among the composers, he was a poet, and in his poetry, there were great devotion and truths of philosophy. Perhaps no great music ever flowed out except from a saint and a man of realisation. As a true artist and a true man of realisation, Tyagayya spurned the path of worldly glory; as a devotee of Rama he laid stress on true devotion and surrender to God and pointed out the futility of mere learning


and pointless austerity; as a musician, he transformed a mere art into a Sadhana or an Upasann.

It was a happy idea of Dr. C. Narayana Rao, the well-known linguist and scholar of Ananlapur, to make known to the public that, knew not the Telugu language in which Tyagaraja composed his songs,the poetry and the philosophy of Tyagaraja’s songs. It. is because of this purpose in his view that the translator has not even indicated the Ragas of the songs selected. It must certainly be admitted that these translations give an idea of the content of the songs but a full appreciation of the content could be had only by listening to the pieces when sung. There arises a feeling in me, as I closely studied a selection of these songs and translations, that the latter could have been more close to the former; sometimes, the rendering is too free; and effort could have been taken to give them a greater literary charm. Such lines as “ of omkar which offers the fruit of Yag and Yog and Tyag and Bhog" do not read well. Further, in some cases, Tyaga- raja's refrain or Pallavi gives the emphasis to one passage and when the translation is read, the burden shifts itself to a different idea.

There are altogether 77 songs in this collection; or rather 76 only, for Kanakana- ruckira is, by oversight, repeated. The Telugu text of the song is given in Transliterated Roman on one side with the translation facing it. There is a Preface which gives a brief biography of Tyagaraja. On

p. x. of the Preface, the translator says that the order of his selection is based on his idea of the order ot the development rtf’ Tyagaraja’s ideas; but surely, one cannot lay raja. On p. vii, the preface says that Tyagaraja was born at Tiruvalur and that he migrated to Tiruvarur also called Pancanadal Tiruvalur and Tiruvarur are identical; the place to which Tyagaraja migrated and which was called Pancanada, is Tiruvaiyaru or Tiruvadi. On p. viii, the preface says that Tyagaraja evolved a system of music of his own, a too controversial question.

Besides, the translator says at the end of the opening paragraph of his Preface that Tyagaraja is the greatest modern exponent of Andhra culture and, in accordance with this spirit perhaps, he has issued this volume as one in a series called by him ‘The Heritage of Andhra'. Evidently we have to understand by this that the translator's point is to make a vigorous call to the Telugu-speaking people to become more aware and sing more of the songs oi Tyaga- -raja, which the Tamils preserve and chesish so well and so much. To an impartial student, Tyagaraja is a product of those fertile banks of the Cauvery ot the Tanjore district of which poets sang:—

dd*dU I*rm prci fa^rerr:

T H E MADRAS MU T h e S e v e n t h

The Seventh (1934) Annual Music Conference organised by the Madras Music Academy was noteworthy for many important and new features. Instead of confining the performances to a few leading musicians as in previous years, efforts were made to provide facilities in this Conference not only for them but also for other new and deserving artistes to display their talents. Almost all the known artistes, (senior and junior) in the province were invited and applications also from others who wanted to take the opportunity were called for.

The Academy’s invitation to the musicians was strongly supported by a joint appeal issued by Vidvans Gayakasikhamani Muthiah Bhagavathar, Tiger Varadachariyar, Musiri Subrahmanya Iyer and Jalalharangam Rama- niah Chettiar. All musicians took part in the Conference and connected performances without expecting any remuneration in return except travelling charges and batta and thus made the Conference really their own.

A record number of about 50 performances were held within the 12 days ol the Conference, in the mornings, evenings and nights and thus it was made possible for over 100 artistes to participate in the Conference, including the late Naziruddin Khan of Indore. The duration of performances was limited to two hours at the utmost and was never less than an hour.

" OFFICIAL REPO RT OF T H E PROCEEDINGS.

T h e O p e n in g D a y .The Music Conference organised by the

Madras Music Academy was opened, on Saturday 9th December, 1935 at 5 P.M. at the special pavilion in the People's Park by Kumararajah M. A. Muthiah Chqttiyar of

1 The Academy has since started a Building lovers to contribute liberally to the fund.

SIC CONFERENCE S e ss io n , 1934.

Chetlinad. There was a large gathering of ; music lovers and musicians present at the

function.Vidvan T. S. Sabhesa Aiyar of the Raja

Annamalai College of Music, Chidambaram, the president, and the guests were received by the organisers.

The proceedings commenced with a prayer by the students of the Teachers College of Music after which Mr. S. Satya- murli welcomed the guests and requested Kumararaja M. A. Muthiah Chettiyar to open the Conference.

W e lc o m e Ad d r e s s .The Music Academy which had organised

the Conference, stood Mr. Satyamurti said, for high ideals in the field of music. It wished to bring together scholars and musicians, to consider the problems in the theory and practice of music to encourage deserving artistes and to provide facilities for sound instruction in music. It seemed to him that music somehow or other survived in the country. There were few composers to-day in Tamil Nad. The musician's stock-in-trade consisted of about fifty or sixty krtis of Tyagayya and a few others. In removing these defects and in creating a strong and active public opinion among musicians themselves to agree to uphold their standards, the music lovers had great work to do.

After referring to the work of the Music Academy in reforming in several directions musical performances, he said there was need for a good music hall in the city. He would suggest that the Corporation and the public should co-operate in this matter.1

This year, the Academy, Mr. Satyamurti said, was trying a new experiment of having a number of performances each day—

for a hall of its own and appeals to all Music


not less than three. Public taste, he was afraid, was being affected due largely to the multiplication of gramophones and talkies— but these had come to stay. They should therefore do their best to improve the standard of music. The Academy had restored Bharata Natya to its pristine honourable place. They had tried to promote instruction in music on correct lines. If imitation was the sincerest form of flattery, the Music Academy could take the number of music conferences held all over the country as a tribute to its work. But he would suggest to all music lovers that there was no room for two conferences in the city. He would suggest they should all co-operate in the best interests of music.

In conclusion he suggested the establishment of a Music Federation in the city, affiliating all music sabhas in the city, setting up standards for selection of compositions and other improvements and preventing unhealthy competition. They should also give a larger place for Tamil compositions in music performances, for the sahitya of a piece appealed as much as music.

In the desert of political strife and controversy, he said in conclusion, music offers an oasis where we can shed all our political differences and bickerings and stand together shoulder to shoulder worshipping at the shrine of music.

OPENING ADDRESS K umararaja M. A. Mu t h ia h C h e t t iy a r The Kumararaja M. A. Muthiah Chettiyar,

in his opening address, sa id :—By inviting me to open this conference,

you have overwhelmed me with kindness.I am very grateful to the organisers of this conference for the opportunity given to me of participating in this evening’s function. Though I may be a poor successor to the < illustrious persons who have preceded me in ' the years past, let me assure you that my interest in the advancement of music and the progress of the Academy is as great as theirs. The pleasure, which I feel in being associated with this function, is being enhanced by the fact that you have as the president of this conference Vidvan Sabhesa Aiyar, Principal of the College of Music founded by my eve red father at Annamalai Nagar.

Friends, the Music Academy, under whose auspices this conference is being held, has done yeoman service in the cause tSf South Indian Music during the comparatively short period of its existence. The conference has become an annual function of great importance. Music-lovers all over the presidency look forward to this annual carnival of Music with the greatest delight.

The Academy has solid achievements to its credit. The Teachers' College of Music and the Faculty of Music in the Madras University owe their existence mainly to its labours. The Academy is trying to disemi- nate music on right lines among our people and to keep it at the high level of perfection it has reached under the fostering care of discerning patrons and zealous masters of Music. To-day there is a greater recognition of its aims and aspirations; its progress has been steady though slow. It is full of vitality and vigour and we can look forward to greater achievements in future.

In recent times music is spreading every where. What was confined to some select cultivated homes has now spread to the average household. Science has had its share in making the people music-minded. Its discoveries have now made possible what formerly was well nigh impossible. The Gramophone and the Radio have so popula-1 rised music that there is hardly any man or woman who does not hum a tune sung by some well-known artist.

While we feel gratified to see this rapid spread of music, we cannot help deploring the fall in the general standard of music. W hat was gained in expansion was lost in quality. Of late the tendency to appreciate and imitate the kind of music com m orjy heard in theatres is becoming general. When artists begin to please every common taste, the dignity of music is likely to be impaired. The musician is a creative artist. Standards take their bent by the turn given by artists. They therefore become responsible for creating the right, taste in music. Let not our music be pulled down to the average level but rather let us try to push up the average level into the higher realms of music.

c o n f e r e n c e p r o c e e d i n g s 151

In this Conference, where are gathered most of the Sangita Vidvans of this Presidency, a great deal of discussion is sure to take place. It is upto the Academy to turn it to account and evolve something useful. Our Vidvans, who have gained name and fame in the musical world owe a duty to their less fortunate brelhern. They must train them in the best traditions of exposition and method so that their experience may not be lost to the, public. The ancient gurukula system is gone,, probably never to return, but the spirit which animated it may be adapted for our use with changes suited to the needs and circumstances of modern life so that by consistent association with the master minds, the students may be enabled to imbibe their distinctive contribution to the art and science of music.

We in South India have long been accustomed td hearing songs composed mainly in the Telugu language by the great Tyagayya and others. Is it not high time for us to give Tamil the place in music to which it is legitimately entitled in Tamil Nadu ? It is the duty of the Tamil musicians to give it that amount of prominence which it undeniably deserves. The beautiful, soul-stirring, devotional hymns of the Nayanmars and Alvars captivate the hearers, throw them into ecstasies and help them to become at one with the Maker. I hope also that the Academy will take early steps to trace, secure and publish rare and forgotten compositions in Tamil of musicians of repute.

Let me again thank Dr. Rama Rao and all those associated with him in the work of the Academy for the honour they have done me in inviting me to open this Conference. May this Conference add its annual quota to the sum total of achievements in the field of music is my earnest prayer. Friends, it is with great pleasure that I declare the Conference open.

Vidvan Tiger Varadachariar proposed Mr. T. S. Sabhesa Aiyar as President of the session. Mr. T. L. Venkatarama Aiyar seconded the proposition which was then carried. Mr. T. S. Sabhesa Aiyar, the President then delivered his address.

T h e P r e s id e n t ia l A d d r e ss .

The President first (hanked the organisers of the Conference for the honour done to him in electing him President of the session. The first subject, he would like to touch upon, he said, was that in none of the numerous conferences that had preceded the present one, had instrumental,music formed the subject of their researches. Such an investigation, he believed, would conduce to the improvement of the art. Ancient works on music emphasised the importance of instrumental music. The Vina, for instance, was the best instrument of music, conforming to all the requirements of the science of music and facilitating an easy understanding of its ‘laksanas.’

Those participating in such conferences, he continued, were generally either persons who loved the art for its own sake or those who were professional musicians. The former, he said, had been doing their best to raise the standard of music and of the art as at present practised. With this end in view they had opened music colleges and organised conferences, competitions and examinations. But the same, lie was afraid, could not be said of professional musicians. He hoped this would cease to be so before long. In these days when knowledge of music was widespread and the agitation for its spread was strong, the professional musicians should deem it their duty not only to improve methods of imparling musical instruction and the standard of musical performances, but also to promote research in musical science. This could not be done otherwise than by co-operation and consultation among themselves. He gathered that several musicians hesitated to participate in such conferences either out of diffidence in their own qualifications or lake of adequate mastery over particular branches of the art or for similar •reasons. No one, he said, could lay claim to perfection. As lovers of the art, they should do all they could in however small a measure, to promote the art.

The President next pleaded for an authoritative work being brought out on the basic


principles of Carnatic music and referred to the work done in the field of north Indian music. The value of such a good musical treatise could not be exaggerated.

Orchestral music, the President said, was a feature of Western music. It exphasised harmony and staff notation. But its basis was not vocal music; it was the music of the piano. It did not rouse the higher emotions, such as love, and peace. Western music, he thought, interpreted the things around man and their beauty; Indian music interpreted the significance of Sri Nataraja’s Tandava Dance. Its chief characteristics were Bhava, Raga and Tala.

As one interested in the promotion of music, the President said in conclusion, he. was pleased with the enthusiasm evinced by students of music in such Conferences. If they would form a South Indian Music Students’ Association, they might be able to

vdo some good work in the cause of music. iThe promotion of the art called for wholehearted co-operation among professionals, teachers, students and lovers of music.

After Mr. T. S. Sabhesa Aiyar had delivered his address Mr. E. Krishna Aiyar GI. Secretary of the Academy, proposed a votj of thanks to Kumararajah Muthiah Chetliyar. He said that the three institutions—The Madras University, the Annamalai College of Music and the Academy, were working in harmony in promoting the study of music.

The day’s proceedings closed with a music performance by Dhanam’s daughters.

T H E SECOND DAY. /23— 12—1934.

The conferedce re-assentbed at 12 noon on 23-12-34 with Vidvan T. S. Sabhesa Aiyar in the chair. The following was the Agenda of the conference:—

I. Reading of Papers.II. Problems connected with instruction

in Music.III. Improvement of Music.

(a) Standardisation of Krlis.(b) Regulation of Gramophone Music.(c) Stage Music.

IV. Reconsideration of Hindola and H indolavasan ta .

V. Laksya and Laksana of the following ragas:—

1. Sama.2. Pratapa varaji.3. Natanarayani.4. Pharaz.5. Bhairavam.6. Narayanagauja.7. Salagabhairavl.8. Dilipaka.9. Mafijari.

10. Devamrtavarsinl.11. Nadachintamani.12. Saindhavl.13. Gaurl.14. Gopikavasantam.15. Desaksi.

VI. Intensive and elaborate consideration o f:

(i) Todi («) Sankara bharana.VII. Ragalaksanas in general.VIII. Principles to be observed in Raga

alapana and Pallavi singing.IX. Notation.X. Raga and Rasa.XI. Bharala Natyam.XII. Demonstration of Musical Instru

ments and Inventions.X III. Resolutions on other matters of«

general interest.

P r o b le m s o f Mu sic In s t r u c t io n

The first point discussed was whether KIrtanas should be taught with the body of the svaras or whether they should be taught with the sahitya alone. Opinion was divided. Some were of the view that KIrtanas should be taught only through the medium of svaras while others contended that it wodld be destructive of the Raga-bhava if KIrtanas were taught with the body of the svaras. Discussion revealed that opinion was more in favour of the view that svaras should be in the background and that the Raga-bhava was more important and that therefore the KIrtanas should be so taught as to bring out the Raga-bhava without being hampered by the Svaras. Tne President agreed with this view.

CONFERENCE PROCEEDINGS 153

T H E T H IR D DAY.24— 12— 1934.

Resuming the discussion of the same subject of Music Instruction, the conference considered the importance of Saralivarisai, Alankaras, Gitas and Varnas. The object of the Varnas, it was pointed out, was to inculcate both Raga-bhava and knowledge of the Tana and that Ettukadai svaras would be a guide to the singing of Svaras and KIrtanas. Opinion was unanimous that Varnas were useful for that purpose but that they should be taught with the primary object of reproducing the Raga-bhava. Emphasis was also laid on the necessity lor Saralivarisai, Alankaras and Gitas.

A question was raised as to whether for creative music, a preliminary training in the grammar of music was necessary. It was suggested that a distinction might be made in this matter between those who studied music with the object of becoming professionals and experts in it and those who studied it for its own sake. A short discussion ensued and the President expressed his view that Sarali, Gitas and Varnas should be taught with Raga-bhava, and that a distinction such as Was suggested might be made.

T H E FOURTH DAY.2 5 - 12-1934.

•BaLAKOKII.A’— A NEW INSTRUMENT.Before the discussion began, Mr. N. S.

Arunachala Aiyar gave a demonstration of an instrument devised by him, called the Balakokila.

t h e sta ndardisation o f krtis

The discussion for the day centred round the question of the standardisation\»f Krtis. Opinion was sharply divided, one section holding that the KIrtanas should be sung only in the form and with the Sangatis which the composers had given to them, the other party contending that new Sangatis could be incorporated provided such introduction did not change the character of the Raga and the meaning of the Krtis. The former section was supported by Vidvan Tiger Varadachariyar, Messrs. T.V. Subba Rao, P.S. Sundaram Aiyar, S. Subramania Sastrigal,T. L. Venkatararaa Iyer, P . S. Krishna-

20

swami Aiyar and the Prof. Sambamurti.Mr. M. S. Ramaswami Aiyar pointed out

an instance where Vidvan Sabhesa Aiyar had introduced new Sangatis in a Krti, thus enhancing the charm of the Krti.

Mr. C. S. Aiyar staled that what was important was that the original version should not be changed.

Gayakasikhamani L. Muthiah Bhagavathar was of (he opinion that the adding of San- gatis to the original ones was not proper and that KIrtanas should be sung primarily with the object of rendering the composer’s idea and the Raga-bhava.

T H E FIFT H DAY.26— 12-1934.

N o t a t io n .At the meeting of the Expert Committee of

the Madras Music Conference, on t 6-12-34, Vidvan T. S. Sabhesa Aiyar presiding, it was resolved to appoint a Committee of competent musicians to ascertain and record with notation the oiiginal form of the compositions of the great composers, provided that alternative readings are also noted as foot-notes. The resolution .was moved by Mr. C. S. Aiyar and seconded by Mr. M. S. Ramaswami Aiyar. It was resolved that the Committee do consist of the following with power to co-opt;— Vidvan Sabhesa Aiyar, Gayakasikhamani Muthiah Bhagavathar, Vidvan Tiger Varadachariyar, Musiri Subramania Aiyar, Ariyakudi Ramanuja Aiyangar, Vedanta Bhagavathar and Chembai Vaidya- natha Bhagavathar. It was resolved that the quorum for the meeting of the Committee should be three.

A P a per on “ Music In s t r u m e n t s” and A N e w I n st r u m e n t “ K in n a r i”.

Mr. Hubli Krishnamacharya then read a paper on the “ History of Musical Instruments”. He exhibited an instrument which he had invented called “ Kinnari" in accordance with Sastras and demonstrated its merits by playing on the same for some time. The President expressed the thanks of himself and the Academy to Mr. Krishnama- chariyar on the excellence of the “ Kinnari” .

T H E SIXTH DAY.27— 12— 1934.

A P a p e r on T ala .Mr. G. Krishna Aiyar of Manakarai read a

154

paper on Tala and the Dasa pranas of Tala and explained the method of finding out the num ber of Prastaras of a Tala directly and indirectly. He illustrated one or two such Prastaras by singing some Tiruppukal songs, of Arunagirinathar. He also gave the characteristic quality of a Pallavi, namely Alopanam and Avalopanam.

A P a p e r o n R aga S a u r a st r a .Mr. G. Mahadeva Aiyar of Parur read a

paper on "Saurastra” . He described its various qualities as mentioned in the ancient texts and also sang the existing compositions of Tyagaraja and Patnam Subrahmania Aiyar in this Raga. He explained in detail that generally Catussruti dhaivata and Kakali nisada occurred in this Raga. But the flat Dhaivata and Nisada also, he stated, occasionally occurred. He referred to the controversy about this Raga, some holding that it was a derivative of Mayamahlvagaula,

T e th e rs opining that it was a Janya of Surya- kanta, the 17th Mela. He favoured the latter view. He also raised a number of questions for the consideration of the Conference regarding the controversial notes occurring in Subhapantuvarali, Bhupaja, Behag, Madhyamavati, Nata, Manji and Manjari.

A L e c t u r e o n t h e T o n a l Va l u e s o f N o t e s .

Mr. C. S. Aiyar then gave a lecture on his experiments on the tonal values of particular notes occurring in Karnatic compositions.

T H E SEVENTH DAY.28— 12— 1934.

D is c u s sio n o n R aga L aksanas.The experts with Vidvan T. S. Sabhesa

Aiyar in the chair, discussed the laksanas of three Ragas. Throughout the whole proceedings difference of opinion was noticeable between those who placed their reliance on text-books and those who preferred to lay down the Laksya according to practice..

The Laksana of the Raga ‘Syama' was first taken up. The main point of discussion was as to whether ma dha sa or pa dha sa should be laid down as the Raga’s characteristic in the ascent. A num ber of Vidvans sang Tyagaraja's Krti “ Santamuleka" in support of their respective contentions. It

TH E JOURNAL OF

was urged by one expert that it would be advisable to lay down the ascent and th e ^ descent of this Raga as sa ri ma pa dha sa and sa dha pa ma ga ri sa, which would permit the characteristic Sancaras of this Raga, namely, ma dha sa and ga ri ga sa. A professional musican from the Andhradesa observed that although the Gitas of Venkata- makhin represented an authority on the subject they only codified a particular Sampra- daya (school) and therefore he requested that Gurumurti Sastri's Gitas, which were more widely accepted in some parts of the country, might be sung before the Conference. There being no response, a well- known Bhagavathar sang a gila of Purandara Vitthala in this raga in which ma dha sa and ga ri ga sa usages were found to occur.A number of Vidvans exphasised the importance of so fixing the Laksana of ‘Syama’ as not to clash either with ‘Arabhi’ or ‘Devagandhari* on one side and ‘Kedara- gaula' or ‘Yedukula Kambhoji’ on the other.It was finally agreed that the Arohana of this Raga should be sa ri ma pa dha sa and its Avarohana sa dha pa ma ga ri sa, and that the raga is a derivative of the 28th Mela.

The next Raga discussed was ‘Pratapa Varali’. The basis of discussion was Tyagaraja's ‘Vinanasa' which was rendered by some Vidvans. The dispute with regard to this Raga was the admissibility of pa dha pa sa or pa sa, in its Laksana. It was agreed without much controversy that its Arohana was sa ri ma pa sa and its Avarohana sa dha pa ma ga r i sa and that it was a derivative of the 28th Mela.

The Raga ‘Hindola' was then brought up for recdfcsideration. It was explained that in a previous session of the Music Conference (1931) this Raga had been discussed ancf a decision arrived at that it took Catussruti dhaivata; but as it was represented by an expert that the decision was not satisfactory, the Expert Committee decided that the Raga should be again considered.

The main points of contention in regard to this Raga centred round the usage of sa ga ma or sa ma ga ma and whether Suddha dhaivata or CatuSsruti dhaivata represented the correct practice. A strong group of

T h e m u s i c a c a d e m y


Vidvans contended on the strength of Tyagafaja's “Samaja vara gamana” and “ Manasuloni” that Caturssruti dhaivata had been sanctioned by long usage and that that was the only correct practice. They also emphasised that sa ga ma did not directly occur but only occurred as sa ma ga ma. (It was also explained that the usage sa ma ga ma not only had the sanction of Tyaga- raja krtis but also that of the musicians of the north.) It was contended on the other hand by an equally strong group who relied on Venkatamakhin’s Gitas that- Suddha dhaivata was the only correct practice and urged that that should be adopted. The general sense of the Conference was that Hindola was a derivative of the 20th Mela; that it took Suddha dhaivata, that its Arohana was sa ga ma dha ni sa and its Avarohana sa n i dha ma ga sa.

T H E EIG H TH DAY.2 9 -1 2 -1 9 3 4 .

D is c u s s io n o n R aga L ak sa n a s .The Raga ‘Natanarayani' was taken up.

Vidvan Muthiah Bhagavathar started the discussion stating that, according to the textbooks, the laksana of this raga was described differently, some laying it down as sa r ig a ma pa dha sa and sa dha pa ma ga ri sa, while others gave if as sa ri ga ma dha ni dha sa and sa ni dha pa tna ga ma ri sa.

' He explained that this was a 'Chaya' raga depending for its identification more on characteristic usages than on mere Arohana and Avarohana.

Mr. T. L. Veniatarama Aiyar expressed himself in favour of sa ri ma pa dha sa and sa dha pa ma ga ri sa (as in the case of ‘Syama' raga) relying on the authority of Sangita Sampradaya Pradarsini. He also sang DIksitar’s krti ‘Mahaganapate’in support of his view.

On some other Vidvans maintaing that the second Laksana mentioned above was the correct one, consideration of this Raga was adjourned to the next day in order to enable any other composition in this Raga being brought up before the Conference.

The Parazu raga, which claims a number of compositions, particularly Padas under il, next formed the subject of keen debate as to its Laksana. Difference of opinion centred

round the point whether sa ga ma or sa ri ga ma should be laid down as correct Laksana in the ascent, their being no dispute as to its Avarohana and its Melakarta which were admitted to be Sampurna and Maya Malavagaula respectively. Vidvan Muthiah Bhagavathar led the debate stating that although several usages found in compositions in this Raga showed that sa ga ma and sa ma ga tna occurred more frequently, there were also some other compositions in which sa r i ga ma prayoga occurred. In illustration of this point he sang Duraiswami Aiyar’s composition ‘Adinamatalu'. He knew other Krtis of authoritative composers which had this prayoga, although it was a fact that in Padas, especially Tamil, sa ga ma dha ni sa prayoga predominated.

As against this view, a number of experts and Vidvans including the President and Messrs T. V. Subba Rao, P. S. Sundara Aiyar and T. Lakshmana Pillai were strongly of opinion that sa ga ma was the only characteristic prayoga which brought out the main feature of Parazu although sa ri ga occurred in a few cases and that the primary and pointed use of sa ri ga ma would smack of Mayamalavagauja. In support of this view a large number of original compositions were quoted such as Syahia Sastri's ‘Trilokamata’, ‘NIlayalaksi' and a far older composition beginning with 'Innallavale- gade’ etc.

The conference eventually decided by an overwhelming majority that Parazu was a derivative of the 15th Mela, that it took sa ga ma pa dha n i sa in the ascent sa ni dha pa ma ga ri sa (ga long) in the descent.

T h e 'B alakokila ' a g a in .Mr. N. S. Arunachala Aiyar then gave a

practical demostration of the new invention of his, the musical instrument called'Balakokil’.

A L e c t u r e .Sarigitaratnakara Naziruddin Khan, Palace

Vidvan of Indore, then delivered a lecture in Hindustani on the subject of music generally, in the course of which he emphasised the practical nature ot this divine art, and said that mere Raga could not be called music, which consisted of dance, song a«nd instrumental music. He then gave a demon

156 THE JOURNAL O F THE MUSIC ACADEMY

stration of Hindustani vocal music.T H E NINTH DAY.

30— 12— 1934.R aga L aksanas.

The consideration of ‘Nata Narayani' raga which was deferred the previous day was taken up. B#t there having been a difference of opinion as to its constituent Svaras and also in view of the solitary composition which alone was forthcoming in this Raga, the Conference did not come to any decision on the point.

The Conference then re-considered ‘Hin- dola-Vasanta’ raga on the advice of the Experts' Committee. Vidvan Tiger Varada- chariyar started the discussion and stated that this Raga was a derivative of the 20th mela with ‘Sudha dhaivata' and sa ga ma pa dha ni dha sa in the ascent and sa ni dha pa ma ga dha ma ga sa in the descent and that Rsabha did not occur.

Mr. Walajapet Ramaswami Bhagavathar then sang a Krti of TyagaHja beginning with ‘Raraslta’ with ‘Cittasvara’ said to have been given by the composer himself. The rendering of this song showed the presence of ‘Catussruti rsabha' as also the usage of ga ri ga once in the ‘Cittasvara.'

Mr. T. L. Venkatarama Aivar explained that this ‘Cittasvara’ supported the theory in the Sampradaya Pradarsini as to the presence of occasional Rsabha in the raga. He also quoted Sangita Saramrta in support of this view which was strengthened by the usages occurring in Dik§itar’s Krtis.

It was pointed out by a number of other speakers including Mr. P. S. Krishnaswami Aiyar and Mr. Muthiah Bhagavathar that Krtis in this Raga were sung with both varieties of Dhaivata but the Suddha Dhaivata was more common. After some more discussion the Conference decided that the Arohana of ‘Hindola vasanta’ was sa ga ma pa dha ni dha sa and its Avarohana was sa ni dha ma ga r i ga sa, as this would accomodate all varieties ol usage and conflicting views. It was also decided that it was a Janya of Natabhairavl and was a derivative of 20th Mela.

T h e Me l a k a r t a S c h e m e . Sangitaratnakara Naziruddin Khan, Palace

Vidvan, Indore, stated that the melakarta

scheme as now expounded in the ‘Sangita Sampradaya Pradarsini' popularly known as ‘Venkatamakhin's scheme’ existed 300 yeafs before Vehkatamakhin. This was proved, he stated, by the categorical mention of 72 Melakartas in four Dhrupads composed by Mr. Baiju Naik who was said to have gone to the North from South India during the time of Allaudin Khilji. He then sang these Dhrupads which were in Kalyan Asaveri (20th Mela), Byag, and Bhairavi (Mriyamajavagauja). The rendering was very clear and pronounced and was much appreciated by the experts who listened to the exposition with rapt attention. In each Dhrupad, the names of the 18 melas as mentioned in Venkatamakhin’s scheme were seen correctly incorporated.

The Speaker also stated that he knew also 45 of these Melakartas and would demos- trate the same to any Vidvan interested in the matter. He then demonstrated the first Melakarta ‘Kanakangi’ with svaras, a noticeable feature of which was that ri and dha represented four different Svaras.

The President then demonstrated Kana- kangi mela raga out of the 72 Mela raga- malika of the late Maha Vaidyanatha Aiyar.

T H E TEN TH DAY.31—12—1934.

The Laksana of Bhairavam was first d is-# cussed.

Vidvan Muthiah Bhagavathar and Mr. T. Lakshmana Pillai stated that this Raga took sa n ga ma pa dha n i sa in the ascent and sa dha pa ma ga ri sa in the descent and that it was a derivative of Suryakanta. Mr. T. L. Venkatarama Aiyar pointed out that in the text-books, it was mentioned that Kaisiki nisada occurred in this Raga and hence wanted a decision as to its parent Raga —whether it was Cakravaka or Suryakanta.

Tyagaraja's krti, ‘Mariyadagadayya’ was sung from which the conference decided, by a large majority, that Kaisiki nisada did not occur therein and hence the Raga was a Janya of the 17th Mela. There was no dispute to its Arohana and Avarohana which were agreed to be sa ri ga ma pa dha ni sa and sa n i dha pa ma ga ri sa. Sa n i sa as being pointed out by Mr. Muthiah Bhagavathar to be frequently occurring usage, this

c o n f e r e n c e p r o c e e d i n g s 157

was embodied in the Avarohana.The next Raga to be considered was

‘Narayana Gaula.’ Mr. Lakshmana Piilai led the debate stating that this Raga was a derivative of Harikambho ji and that it took sa ri ma pa ni dha ni sa in the ascent and sa ni dha pa tna ga r i sa in the descent. Some Vidvans sang Diksitar's Krti beginning with ‘Sri Rama Ravikulabdhi', Tyaga- raja 's ‘Kadalevadugade’, Vina Kuppier's Varna and a Kaivaraprabhandham by Govindasvami. On this, it was found that, except in the Varna in which the usage of ma ga ri sa was found to occur, in all other compositions ma ga ri ga ri sa predominated.

It was explained by Mr. P. S. Krishna- swami Aiyar and Mr. T. L. Venkatarama Aiyar that if the Avarohana was fixed as ma ga ri sa, it would accommodate the usage of ma ga ri ga ri sa but not vice versa. But the majority were against this, as ma ga ri sa occurred only in a solitary instance and was not characteristic of the Raga.

■Mr. Muthiah Bhngavathar pointed out that in order to distinguish this Raga from Kedaragaula, it would be desirable to lay down that pa dha ma was characteristic Sancara of 'Narayana Ganja.’ But the Conference did not consider it absolutely necessary to make any special mention of this fact.

It was finally decided that 'Narayana Gauja' was Janya of the 28th Mela, with sa ri ma pa ni dha ni sa in the Arohana and sa ni dha pa ma ga ri ga ri sa in. the Avarohana. It was noted that the prayoga ma ga ri sa occurred in Vina Kuppier’s Atatala varna.

..The raga ‘Manjari’ was next considered. The basis on which this Raga was discussed was Tyagaraja’s well-known composition *Patti vidavaradu.’ It was explained that in the descent, the versions of this song differed with various musicians, some using pa dha nia and other dha pa ma. It was finally decided that the Raga took sa ga ri ga ma pa ni sa ni sa in the ascent sa ni dha pa ma ga ri sa in the descent. It was agreed that it was a derivative of Kharahara- priya.

The Raga ‘Devamrtavarsani’ was next taken up. There being no compositions or Gitas in thisRaga, except 'Evarani' byTyaga- raja, this Krti was first sung to enable the Conference to decide the laksana of the raga- It was found that sa ri ga ma ni dha ni sa occurred in the Arohana and sa ni dha pa ma ga ri sa in the Avarohana. It was pointed out that a clear usage of pa dha ni sa was found in many modern renderings of this Krti which occurred after ‘Sivudano’ in the Anupallavi of the Krti, but many vidvans expressed the opinion that such usage was unauthorised.

It was brought to light that this Krti ‘Evarani’ was mentioned under ‘Devamrta varsani’ in palm leaf records while it was classed under ‘Nadacintamani’ in some books.

Mr. Sambamurti pointed out that apart from the Krti, ‘Evarani’, the Raga Deva- mrla varsani was found in some text-books, like Sahglta Kaumudi and Singaracharlu’s book, which gave its Arohana as sa ri ga ma ni dha ni sa and its Avarohana as sa ni dha pa ma ga ri sa so that both the Laksana and laksya tallied in this case.

The Conference decided that ‘Evarani’ was in Devamrta varshani raga which took sa ri ga ma ni dha ni sa and sa ni dha pa ma ga ri sa in its ascent and descent respectively and it was a Janya of the 2 2nd mela.

A N e w R ag a .Mr. Sivaramayya, Palace Vidvan, Mysore,

played on the Vina his Krti on ‘Sri Raja rajesvari’ dedicated by him to Sri Tyaga- rajasvami, and composed in a new raga called Svayambhusvararaga. A peculiar feature of this raga was that it consisted of only three svaras in the ascent as well as the descent, that is, sa ga pa.

T H E ELEV EN TH DAY.1 — 1— 1935.

The Madras Music Conference, organised by the Music Academy, concluded its session on 1-1-1935. Vidvan T. S. Sabhesa Aiyar, the President, thanked the organisers of the Conference for the help and assistance extended to him in conducting the Conference and the Experts Committee’s meetings.

1 ME ju u k jn a L o f t h e m u s ic a c a d e m y

He was very glad that the experts’ Committee had discussed a number of Ragas and decided how they should be sung. But mere decisions by experts would not be of very great help unless the musicians and instructors adopted those decisions in practice. He hoped that ways and means would be devised to achieve this object.

The President concluded his speech thanking Mr. Naziruddin Khan, Palace Vidvan, Indore, for having attended the Conference and participated in the experts' discussion.

Vo t e o f T h a n k s .Mr. S. Satyamurti, Vice-President of the

Music Academy, thanked the musicians who had responded to the invitation of the Academy whose aim 'and object was the promotion and encouragement of music. In the course of his speech he said that conferment of titles should not be done by any body and everybody, but by experts, and an institution like the Academy should honour

, the musicians by conferring titles on them. He also said that there was no need for two music conferences in the city. By all means reputed and well-known musicians could be engaged by the various sabhas for holding performances.

On behalf of the musicians Mr. Mulhiah Bhagavathar thanked the Academy for their kind reception and hospitality and for the encouragement given to junior musicians. He said that it was the duty of senior musicians to extend a helping hand to the juniors. The senior might attend the performances of juniors and give them encouragement. The musicians must try to promote the cause of music by co-operating with the work of the Academy.

Cl a s sic a l m u sic in S o u t h In d ia .Sangita Ratnakara Naziruddin Khan expre

ssed his pleasure at having attended the Conference. He found the standard of classical music in South India to be of a high order, both in theory and practice. At the present- day theatrical music was slowly taking the place of pure classical music. He hoped that all lovers of real music would keep up the standard of music and endeavour to make it popular. He would be only too glad to place his services a t . the disposal of

the Academy in its endeavour to promote the cause of good classical music— Kamatic or Hindustani.

Mr. Subrah mania Saslrigal of Tanjore next spoke on behalf of the music scholars thanking the Academy for organising expert committee discussions and for encouraging young musicians.

A condolence resolution placing on record the Conference’s sense of sorrow at the death of Vidvan Nayana Pillai of Conjee- veram, and of Messrs. Vina Venkata- swami Raju, Syamala Bhagavathar of Tinne- velly and Soundararaja Bhagavathar of Devakottah was passed by the Conference.

The Conference also passed a resolution reiterating its view that the Madras University Diploma Course in music should be extended at least to two years.

With a vote of thanks proposed by Mr. E. Krishna Aiyar to the president, the session terminated.

O FFIC E BEARERS OF T H E MUSICACADEMY, MADRAS FOR 1934.

P r e s id e n t .Dr. U. Rama Rau

V ice- P r e s id e n t s .Mrs. M. Vcnkatasubba Rau.Mr. S. Satyamurti Aiyar.Dewan Bahadur M. Balasundaram Naidu

T r u s t e e s .Rao Bahadur K. V. Krishnaswami Aiyar/Mr. P. Rangaswami Chetty Garu.

S e c r e t a r ie s .Mr. K. S. Visvvanalha Sastri.Mr. E . Krishna Aiyar.

T r e a su r e r .Mr. S. Rajagopalachari.O t h e r Me m b e r s o f t h e E x e c u t iv e

C o m m it t e e .Mr. T. V. Subba Rao.„ T. L. Venkatarama Aiyar.„ V. Appa Rau Pantulu.„ A. Damodara Mudaliar.„ G. K. Seshagiri.„ P. Sambamurti.„ M. Baktavatsala Mudaliyar.,, N. S. Mani.

Sri Bhavani Swaminathan.Sri Kalyanasundari.

A u d it o r .Mr. S. Suryanarayanan, G. D. A.

T H E MADRAS MUSIC CONFERENCE. T H E EIGH TH SESSION, 1935.

O f f ic ia l

T h e O pe n in g D ay.22— 12— 1935.

The Eighth Madras Music Conference organised by the Madras Music Academy, was opened by the Rt. Hon. V. S. Srinivasa Sastri, in a special pindal erected in the People's Park Town.

The proceedings commenced with the playing of Nagasvaram by Tiruppamaram Brothers and this was followed by a prayer.

W ELCOM E ADDRESS.Mr. T. V. Subba Row, on behalf of the

Music Academy, presented a welcome address to Mr. V. S. Srinivasa Sastri. The address, after referring to the growth and development of the Academy which was founded in 1928 for the purpose of improving and encouraging^Indian Music and to consider the various problems concerning the theory and practice of Indian Music, stated that the Executive Committee conducted a journal of Indian Music in which articles of great value to the science of music were published. They also published the “ Caturdandiprakasika”, a work of rare merit. The Academy had been arranging lectures, accompanied by demonstrations, on knotty problems in music. They had been endeavouring to introduce reforms in the quality of performances. First, they insisted on the Tambura sruti. Next, they recommended the reduction of accompaniments to the minimum. They required the performers to give in advance a programme containing the first words of krtis, the names of the composers, the ragas and talas of the pieces; and they were in favopr of reducing the length of the performances. There were many more points which deserved to be considered and in respect of which reform was called for; but it was obvious that nothing substantial could be achieved without the co-operation of other similar

R e po r t .organisations. The annual conferences that they held contributed a gerat deal towards improving and encouraging music. Intricate questions in the science of music were thrashed out. Ragalaksanas were carefully defined by experts after much discussion. To realise the full value of these conferences, they need the sanctions of a broadbased Federation.S c h e m e fo r F e d e r a t io n o f So c ie t ie s .

The Executive Committee had consequently resolved to take steps to bring together all musical organisations in and outside Madras and with that object in view, framed bye-laws under their constitution to affiliate other institutions and so to create a a Council of the Representatives of such Associations which would function in furtherance of the common purpose. They trusted that the other organisations would receive this scheme with favour and gather together for the common good of all and for the reformation and uplift of the art. At the same time, they could not ignore or underrate the need for and the value of the. co-operation of the experts and the artistes. Nothing could be achieved or even begun without their sympathetic assistance.. On the other side, there were matters in which the artistes needed the help of an organisation like the Academy. There were many composition of great masters that threatened to become gradually lost to them. The whole aim and purpose of the Academy was to elevate the art and bring higher honours and greater recognition to the artistes. They did not see why, if they were all sufficiently organised so as to establish recognizable standards, some of their musicians should not be honoured as highly as the leaders of other professions here or as the exponents of music in the West. The Academy would urge them, even at some initial sacrifice, to identify themselves whole-heartedly with their organisation and its activities. The


organization was a permanent one with a definite programme. Their activities were steady and well-planned and purposeful, not guided by any spirit of rivalry, not an ad hoc festival nor a sporadic side-show. They stood wholly and only and always for music. The College of Indian Music at Annamalai could well be made the basis for great schemes and great achievements and they looked forward to the Annamalai University, under Mr. Sastri’s wise and able guidance, to develop and advance Indian Music and raise the art and the artistes to a much higher standard and status.*

M r . S a st r i's O p e n in g A d d r e s s .

The Rt. Hon. V. S. Srinivasa Sastri, declaring the Conference open, said that he scarcely deserved the honour done him and the welcome address presented to him was couched in extravagant terms, creating as it did an expectation that he would be of some

^use in the development of the Music Academy. That expectation was hardly likely to be fulfilled. It was true he had been, for many years, in the habit of listening to high class music. He had listened to some performances by great musicians like Mahavai- dyanatha Aiyar and Patnam Subramhmaya Aiyar. He had also had the privilege of witnessing Tiruvarur Jnanam ’s dance. But he could not pretend that he tried to understand the technique of the art. He had been content these many years to remain in the outermost part of the outer court of music. He must, however, acknowledge that whenever he had gone to a music party he had enjoyed the thrills and ecstacies of the performance. If, however, keenness to appreciate music was a qualification-, he possessed it. But he had never made an attempt to understand the inner mysteries of the art. He had not, however, regretted in the least his ignorance of its technique. He believed that the enjoyment of music, by those who naturally could enjoy it, even though they could but imperfectly understand it, was the best possible enjoyment of the art. It was a tribute to the greatness of this art that it could be enjoyed even by those who were not initiated into its mysteries. If it was true hat even more than the participators in a

game, the spectators saw more of it and if it was true also that those who were immersed in the pursuit of an art were not always11 those who understood the appeal that it would make to the general public, if there was any truth in these propositions, then he thought even the most advanced musicians and the greatest rasikas who would sit round the musicians might occasionally be thank

fu l to be told a thing or two as perceived by those standing outside the inner shrine.

“ T h e P rim a r y o b je c t o f Mu s ic ’’Continuing, Mr. Sastri said that he had

always felt one or two things to which he would like to refer on the occasion. They all knew the unhappy lot of third-class railway passengers. It was claimed that though these unhappy people contributed a lot to the finances of the railway, their interests and needs were not always kept in view. The uninitiated folk who attended music performances were in the position of the third-class railway passengers. The danger that beset every profession was that it developed a peculiar technique of its own which inevitably tended to overmaster those who pursued it, bending them to its particular requirements. In consequence, certain fundamental principles stood in danger of being forgotten or obscured. In music, he must say that danger,—he begged the indulgence* of the audience for making these uninstructed observations—had begun to make its appearance. The primary object of music, an object which it could not for a moment afford to forget, was to please the audience and this great pleasure was yielded only when it made an emotional appeal. They would agree with him, that that emotional appeal was a thing present in all musical performances, whether of the simple or*'of the high-brow variety. The beginnings of music could be traced to the singing of birds, the babble of children, to the ballads, to the popular rolicking songs and to the devotional songs. When thrse songs were sung in a good voice without excessive attention being paid to intricacies and technicalities and wherMhese strains fell on their ears, they all felt that they were being lifted out of their everyday life, with its.

CONFERENCE p r o c e e d i n g s 161

cares,- sorrows and discords, and brought into contact with pure and unalloyed ananda. This feature of music, appeared to him, ought never to be forgotten in any music performance. When the performer lost himself in subtleties, he would forget the common man. Take for instance the “ avarta” of the drummer, which came in, in his judgment too often in these performances. It was, no doubt, a highly developed technique and it would be appreciated by the rasikas who would sit round the musician. He only objected to this display being overdone. The third-class railway passengers, he had- refei red to, had a right to get some enjoyment, and they need not wait for a number of hours to hear those simple melodies, by which time, the musician would perhaps be tired. The vulgar tastes of the audience should be resisted, no doubt, and the solemnity of the occasion should not be marred. But there was nothing vulgar in the craving for simple, devotional songs. The musicians should not forget the prime object of music which was to touch the emotional chords of the hearers.

Proceeding, Mr. Sastriar said that for every “ kirlana" “ sarigalis” need not be required to be produced. He wished that there was a rule enforced which prescribed only three or four most distinguishable “sangatis” in a performance. The “sangatis” were only meant to show the gymnastics of the voice of the performer and trained musicians need not cast his pearls before a lay audience. The best music was that which as Tennyson slated, “ was married to high sense.” Mere strains that conveyed nothing to the heart were not the best type of music. He had heard some great devotional songs, which if' properly sung, would bring tears to their eyes and make them forget for the moment, that they were on this earth. The words and syllables of kirtanas should not be cruelly mangled.

Lastly, he desired to refer to the last para of the address which dealt with the Anna- malai University. In that University, there was a section devoted to the teaching of Music. He would appeal to the Music

21

Academy to help them whenever its help was needed. There were some gaps to be tilled in that section. But to till those gaps, they lacked the necessary equipment and assistance.

“ I make an appeal to my friends present here” Mr. Sastn concluded “ that they would occasionally visit the Annamalai University and see the work that we are doing and help us in some measure to achieve our object. Our aim is also to develop the art and science of Music to still greater perfection, to make it serve the community in higher and more exalted ways and incidentally to invent more melodies and to make more compositions and still further to make researches into the hidden treasures of that great art and thus make the music of this land a still greater power than it has been. How to weld logelher, if such welding is desirable, the two or three different systems of music that prevail in our country and how each system, without losing its identity, can appropriate the charm of the other and develop in future to the still greater music of India, not entirely drab and monotonous, not unified in the sense that it lacked variety but a composite system which admits into itself the best there is in the other systems, has to be considered. If we could help in any way to reach that consummation and be a part of that larger unity of India, the unity of religions and communities, of creeds and classes, of modes of thought and varieties of culture, which I believe is amongst the most inspiring dreams of politicians and publicists, enthusiasts and patriots of every thought and type among us, it will be a great thing. No Indian but will have his heart warmed to think that while India is unifying in other ways, here also attempts are being made for unification in the direction of music.”

Medals were then distributed to Srimathi Rajam Pushpavanam and Mr. B. V. Salha- gopan who had been declared winners in the music competition in krtis and ragas con-: ducted by the Academy.' ■

Mr. T. L. Venkatarama Aiyar announced that Sir C. P. Ramaswami Aiyar had given a donation of Rs. 500 to the Academy and


had become a patron.Mr. Harikesanallur Muthia Bhagavathar

next proposed that Sahgitha Sastra Katna K. Vasudevachar of Mysore be elected President of the Conference. He said that Mr. Vasudevachar was a great scholar and had composed many songs. His knowledge of the practice and theory of music was of a

\Jiigh order and he was one of the distinguished palace Vidvans of Mysore.

Mr. Tiger Varadachariyar seconded the proposition and it was carried with acclamation.

P r e s id e n t ia l Ad d r e s s .

Mr. Vasudevachar next, delivered his address in Kanarese. It was translated into Tamil by Mr. Muthia Bhagavathar.

In his address, Mr. Vasudevachar dealt at length on the important place which music occupied in ancient days and the

^ tro n a g e extended to great musicians by the Hindu rajas. By reading the lives of their great musicians and composers, one would get a clear perception of the important place assigned to the science of Music in the scheme of things. After referring to some of the great singers of old, the President expressed gratefulness to H is Highness the Maharaja of Mysore for the encouragement given by him to present day musicians.

Proceeding, the President stated what in his opinion were the principal qualifications for a good singer. He must be a man who knew the art from “A" to "Z " and be well Versed in Vyakarana, Chandas and other branches of the ancient lore bearing upon the Science of Music. A great musician should also be capable of distinguishing the "rasas" and “bhavas" that should adorn the Raga Alapana. A knowledge of different languages was also essential and he should be an expert in singing, with or without instruments and in the art of dance. He should be well versed both in the Marga and Desi styles. He must also be equal to ranging through Mandra, Madhyama and Tara Sthayfs and the handling of the varieties of gamakas.

need for an enquiry to settle the correct “sancaras” of those “ragas” regarding which there were doubts and for carrying ouf^ research into the literature, both ancient and modern, on music. Proper text-books, both in the theory and practice of music for present-day use, should be brought out. Encouragement should be given to new composers. Attention should be paid to the rehabilitation of the great art of dance which had fallen into decay. Steps should be taken to popularise the correct and proper rendering of the padas of Ksetrajna and the Asta- padis of Jayadeva and their free use for abhinaya performances. Lastly, they should collect all standard works on the science of musie in a library to be started for that purpose.

Mr. A. Damodara Mudaliyar, one of the joint secretaries of the Academy, proposed a vote of thanks to Mr. Srinivasa Saslri for having opened the conference and to all those who responded to their invitation.

Mrs. Nagasvami Aiyar next gave a music performance with accompaniments.

T H E SECOND DAY24— 12— '35.

The Conference of Music experts met under the presidency of Vidvan Sangita Sastra Ratna K. Vasudevachar. The follow- • ing was the Agenda for the Conference:—

I. Ragalaksanas and their applicability in • modern practice.

II. Laksya and Laksana of the followingragas:—

1. Gaurl.2. Purvi.3. Sarariganata.4. Ciltaranjani5. Gopikavasanla *

6. Dilipaka.7. Saindhavi.8. Salagabhairavi.9. Desaksl.

10. Nata.III. Evalutation of the Svaras of Ragas

in terms of twenty-two sruits.IV. Raga and Rasa.V. Raga alapana paddhati.VI. Pallavi singing.VII. Notation.

. The President next made a few suggestion VIII. Reading of papers and discussion "or improving music. He pointed out the thereon.

CONFERENCE p r o c e e d i n g s 163

IX. . Bharatanatya.X. Demonstration of musical instruments

and inventions.XI. Matters of general interest and

resolutions thereon.T h e B alakokila Ag a in .

Before proceeding with the discussions, Mr. N. S. Arunachala Aiyar, B.A., L.T., demonstrated the ‘Bala-kokila’, the musical instrument invented by him resembling the Gottu-Vadya.

Mr. P. Symbamurti expressed the need for a portable musical instrument to replace the harmonium and was of the opinion that in its present improved form, the Bala-kokila was acceptable.

Mr. M. S. • Ramaswami Aiyar expressed his approval of the instrument.

Vidvan Muthiah Bhagavathar suggested that the keys should be re-in forced to make them more stable.

Then Mr. T. V. Subba Rao moved:“This Conference is of the opinion that

the ‘Bala-kokila’ invented by Mr. N. S. Arunachala Aiyar is a suitable instrument for beginners preparatory to learning the Gottu- Vadya."

The motion was carried.Ra g a L a k sa n a .

A discussion followed whether there should be consideration of certain ragas selected from the list of ragas whose laksanas had been generally settled in the previous sessions of the conference.

Vidvan Muthiah Bhagavathar said that ragas like Bhairavi and Ananda bhairavi and Mukhari should be taken up for consideration, all the standard compositions in them reviewed and the laksanas of the ragas settled according to such standard compositions and published by the Academy.

Mr. P. S. Sundaram Aiyar agreed with the opinion of Mr. Muthiah Bhagavathar.

Mr. M. S. Ramaswami Aiyar questioned whether even this method would be effective in influencing the artistes to adopt the version of the Academy.

The President intervened and observed hat he did not doubt that a version publish

ed by the Academy after careful consideration would not fail to meet with the acceptance of the musicians.

Mr. S. Subrahmanya Sastri suggested that each year several ragas should be taken up and a few compositions in each published, the work being continued year after year.

Vidvan Sabhesa Aiyar pleaded for the adoption of the Ra Ri Ru system of notation and for the appointment ot a Committee lor this purpose.

Mr. T. V. Subba Rao observed that a version prepared by the Academy after impartial consideration could not fail to be authoritative.

Mr. C. S. Aiyar was of the same opinion. Vidvan Muthiah Bhagavathar suggested that to begin with the compositions taught in the Teachers’ College of Music might be published in the place of the suggested work.

Mr. T. V. Subba Rao suggested that the Committee to be appointed should settle the laksanas of ragas in the light of the standard versions of the great edmprsitions and that incidentally the syllabus prepared by the Teachers' College of Music might be considered by the Committee.

Rao Bahadur K. V. Krishnaswami Aiyar proposed that a committee consisting of Vidvan Muthiah Bhagavathar, Mr. Appavu Aiyar and Mr. T. V. Subba Rao be appointed, with powers to co-opt, to publish standard versi ms of well-known compositions in the principal ragas for the purpose of determining the laksanas of such ragas and that the compositions be published in Devanagarl character.

The proposition was moved by Dr. T. Srinivasaraghavan, was seconded by Mr. S. Subrahmanya Sastri and was supported by Mr. P. Sambamurti and carried unanimously.

T H E T H IR D DAY25— 12—’35.

R agalaksanas G a u ri

The Laksana of raga Gauri was taken up for consideration. Vidvan T. S Sabhesa Aiyar started the discussion by saying that it was a derivative of Mayamajavagauja, takin g Set ri ma pa tii sa in the ascent and


sa ni dha pa ma ga ri sa in the descent. He sang the composition, “ Dhurjati Natinchi” composed by his ancestor Duraiswami Aiyar, which embodied this laksana.

Vidvan L. Muthiah Bhagavathar then sang the above song as also “Isvara Nannu Rakshimpa Rada” by Kailasapuram Krishna- swami Aiyar, and explained that the difference between Gaulipantu and this raga was that in the former the svaras ‘tna' and •«»’ were repeated and emphasised (‘ma’ being pronounced a little sharp).The usage pa dha ma ga ri sa was ccyAipulsory in the former but not so in the latter. He also sang Tyagaraja’s “Thera Thiyagarada” in support of his contention.

Mr. T. L. Venkatarama Aiyar opined that Gaulipantu and Gauri were entirely different in melodic content, the Gandhara being stressed more in the latter than in the former. He also pointed out that ma ga ma dha dha

ipa ma ga ri sa usages were most met with in songs by well-known composers. He illustrated his point by singing Diksilar's krti beginning with the words ‘Gauri Girirajakumari’. On the strength of this composition he contended that the Arohana of Gauri was sa ri ma pa ni sa and the Avarohana was sa ni dha pa ma dha pa ma ga ri sa.

But it was agreed among the Vidvans that according to the above song the descent was sa ma ga ma dha pa ma ga ri sa which some were inclined to think smacked of Pharaz. Mr. T. V. Subba Rao and Vidvan Sabhesa Aiyar also questioned whether there was any usage in practice, of such a long jump as was involved in the descent from sa down to ma.

It was pointed out by Mr. Ramaki ishnay- ya Pantulu that the Sanglta Sampradaya Pradarsini gava the laksana of Gauri as •sa ri ma pa dha ni sa' ‘sa ni dha pa ma ma pa ma ga r i sa'. But it was explained that Venkatamakhin's description which the above laksana embodied, represented a very ancient usage and that it had gone com pletely out of practice at present.

Dr. Srinivasaraghavan pointed out that Tyagaraja composed a Divya nama kirtana in Gauri beginning with ‘jay jay sri Raghu

Ram a’ which took the full complement of svaras in the regular order in the descent, the ascent being sa ri ma pa 4 i sa.

Vidvan Ponnyya Pillai sang “ Pogadu chunnati ninnu Gauri" by an old but unknown composer, which embodied the above-mentioned usage.

The conference finally decided that Gauri was a derivative of the 15th mela and took ‘sa ri ma pa ni sa' in the ascent and ‘sa n i dha pa ma ga ri sa' in the descent, with ‘ma ga ma dha pa ma ga r i sa' as a special characteristic Sancara.

The ragas Purvi and Saranganata were then taken up for consideration.

Vidvan L. Muthiah Bhagavathar stated that Saranganata was a derivative of the 15th Mela with Sa ri ma pa dha sa in the ascent and Sa ni sa dha pa m a ga ri sa in the descent.

Vidvan P. Sankarayya Garu agreed with this view and sang the gita “Are Are Natha" in support thereof.

Mr. P. S. Sundaiam Aiyar and Vidvan Subrahmanya Sastri of Tanjore pointed out that there are two different ragas “ Saranganata” and “Salanganata” with separate laksanas which were given clearly in the Musical treatise “Sangralia Cudamani” of Govinda, wherein it was mentioned that both the ragas were janyas of Maya- majavagaula; that the former took Sa ri ma pa dha sa and Sa ni sa dha pa ma ga ri sa in the ascent and descent respectively as stated by Vidvan Muthiah Bhagavathar; but that the Arohana and Avarohana of the latter were Sa ri sa ma pa dha sa dhapasa and Sa ni sa dha pa ma ga ri sa respectively, the descent in both ragas being the same.

As against this view a num ber of Vidvans remarked that it appeared to be a distinction without a difference, that there Was only one raga although it might have been mentioned in different text-books with different names, and that even then they could take it that both represented a single raga on the principle of “ Ralayor abhe- dah” .

Vidvan Mutliia Bhagavathar explained that only Salanganata found a place in the


list of derivatives of Malavagauja given by Venlcatamakhin and that the existence of the other raga was not recognised by him.

Mr. T. L. Venkatarama Aiyar sang DIksitar’s “Avyaja karuna Kataksam” in support of this view.

Dr. Srinivasaraghavan on the other hand opined, on the strength of an old authority that the two ragas were entirely different with different raga svarupas.

T H E FOURTH DAY26—12 —'35.

Saranganata RESUMED. VVidvan Subrahmanya Sastri reiterated his

view as to the existence of two separate ragas Sarafiganata and Salanganata, each with separate laksana and individuality.

Mr. T. L. Venkatarama Aiyar stuck to his view that the existing Musical practice entitled them to hold that there was only one raga Salahganata and no other.

Opinion was thus sharply divided, first as to whether there were two ragas with different names and .melodic individuality, and if so what tfie laksana of each of them was. No depision satisfactory to all parties could be arrived at by the Conference. But as to the fact that Salahganata of the Venkatamakhin school had exactly the same laksana as the Saranganata of the Govinda school there was no dispute.

R ea d in g o f P a pers .Mudras.

Mr. K. V.' Rangacharlu, B.A., B.L., read a paper on the significance of Mudras with reference to compositions in Indian Music. He explained in detail all the etymological and other meanings of this word in Sanskrit and the Vernaculars so far as the general public are concerned. He gave instances in which this word was used from prehistoric times. With reference to music compositions he stated that the word connoted a token of authenticity or authority of the author. With regard to the Mudra used by Saint Tyagaraja he said that it was not a mere trade mark nor one intended for self-advertisement but represented the culmination of the sublime expression of Bhakti through word, tone

and rhythm and that was why the place where it occurred in his krtis was so grand and entrancing; it was because that it fitted in with the sense, spirit and flow of his music. He then mentioned the various Mudras used by the numerous South Indian composers that have enriched the musical lore, classifying them under different heads.

R aga and R asa .

Mr. V. Varahanarasimhacharlu of Coca- nada then read a paper on Raga and Rasa. He described in detail the different times during the day and night prescribed by the ancient authorities for the singing of different ragas taking into account the quality of the notes as also the psychology of the singer and the listener. He gave instances of the effect intended and actually produced by the different ragas like Dipaka which burns, JyotisvarupinI which illumines, Amrtavarsini which produces rain, etc. He opined that the rasas or emotions created by the singing of each raga varied with the time, the psychology and the limitations of the melodic sweep of the raga. The reading of the paper was not over when the Conference rose for the day.

T H E FIFTH DAY.27— 12— '35.

The Academy conferred some titles on,, some eminent musicians, composers and music teachers, who had been presidents of the Academy’s annual conferences.

T H E SIXTH DAY.28— 12—'35.

The Laksana of ‘Cittaranjani’ formed the subject of keen discussion for over an hour.

The point of discussion in the main was the tonal character of the Nisacia in this raga, one group of Vidvans arguing that it is the Nisada met with in ‘Kharaharapriya’ and another group asserting that it is a Sruti less.

Vidvan K. Tiger Varadachariyar started the debate by stating that Cittaranjani was a derivative of ‘Kharaharpriya’ with Ni sa ri ga ma pa ni in the ascent and Ni ilha pa ma ga ri sa ni in the descent.

166 TH E JOURNAL OF THE MUSIC ACADEMY

Vidvan L. Muthiah Bhagavaiar in supporting this view explained that in the text? book of Singaracharlu and other musical treatises this raga was classed under the nineteenth Mela, Jhamkaradhvani which meant that it should take Suddadhaivata and Suddanisada; that this particular melody- type found no place in Venkatainakhin’s raga scheme, that there is only one composition in ‘Cittaranjani’ and that is by Tyagaraja which begins vvitlij-the words “ Nadalanum anisam", that it is sung by a vast majority of musicians with Catussruti dhaivata and Kaisikanisada which meant practically ‘Kharaharapriya’; that this song could no doubt be sung with the orthodox Suddha- dhaivata and Suddanisada as contemplated by Venkatamakhin’s nineteenth Mela, but that it would not be appreciated by the public probably because their ear was not accustomed to this peculiar and rare note. The Bhagavathar therefore urged the desirabilily

APi classifying ‘Cittaranjani' under the ?2nd Mela, ‘Kharaharapriya’, as it would be an uphill task to change the existing practice.

Dr. T. Srinivasaraghavan expressed himself strongly in favour of Suddhanisada and Suddadhaivata on the ground that that was the correct note-as found in the song ‘Nada tanum'according to his Patham, that a wrong practice however universal it might be should not be supported by a body of learned Vidvans whose duty it was to set matters right. He sang the above mentioned song and it was found that the notes dha and ni

f ly hich occurred therein sounded a sruti less 'than similar svaras found in ‘Kharaharapriya'.

Mr. T. V. Subba Rao explained that the description of Cittaranjani given in some text-books as a derivative of Jhamkaradhvani was due to a mistake probably because of the confusion in understanding the meaning of the words ‘Suddha’, The truth seemed to be, according to him, that this prefix was a survival of the old nomenclature of the svaras in Suddhasvarasaptakas or Sama- saptaka which admittedly was the modern ‘Kharaharapriya’. He therefore maintained

Jhat-the singing of the krti ‘Nada tanum ’ in Tkharaharapriya was correct,

Vidvans T. S. Sabhesa Aiyar and Mudi- kondan Venkatarama Aiyar stated that the above song was sung in both the ways des-J cribed above, that is, with Kaisikanisada by some and Suddhanisada by others.

It was finally resolved by the Conference that ‘Cittaranjani’ was a derivative of ‘Kharaharapriya’, its Arohanam and Ava- rohanam being ni sa ri ga ma pa dha ni and ni dha pa ma ga ri sa n i respectively.

T H E SEV ENTH DAY.29—12—'35.

C o u n c il o f A f f il ia t e d In s t it u t io n s .A proposal regarding the formation of a

Council of Affiliated Institutions came up for discussion. A large number of representatives of the various music sabhas and associations in the City and the mofussil were present as also the members of the Executive Committee of the Music Academy, in addition to the experts and others interested in music who usually attend the Conference daily.

A printed copy of the draft rules and regulations of the Academy and the byelaws relating to the affiliated institutions were circulated among those present.

At the outset, Mr. K. V. Krishnaswami Aiyar, the President of the Academy, explained the many advantages both pecuniary and academic of co-operation and co-ordination of work as between the associations interested in music. The decisions of the various conference s organised by the Academy arrived at after their full and elaboiate discussion among recognised experts were not being acted up to by the musicians nor had the sabhas assisted the Academy in regard to this matter. It was necessary, in order to improve the quality and standard of music that the considered decisions of Sanglta Vidvans should be followed by all and this could not he enforced without the active and willing co-operation of all the sabhas. He, therefore, requested all the representatives present to join the proposed council.

Mr. R. Venkatachariar, Joint Secretary of the Jagannatha Baktha Sabha, Egmore, thought that it was not fair that the Academy should have five representatives among


the rprpposed Council when every other similar' institution was given only two representatives. He pleaded for equal representation for all institutions. He also wanted that the narhe of the proposed body should be changed into ‘Council of Associated Institutions' so that it might have separate existence and that its funds should be Kept separate.

Mr. K. Srinivasan said that the Academy, being the convening body for tls e new Council to be formed, was given fiv& representatives at the first meeting of that Council, but it. was open to the Council when it came into existence to amend'the rules relating to representation of institutions.

Mr. K. V. Krishnaswami Aiyar assured the Conference that the autonomy or individuality of the sabhas would in no way be affected and that the proposed Council could pass a rule at its first meeting that each association should have only one vote. He had no objection to the two experts included among the five representatives of the Academy at present being elected by the new Council. He *lSo assured them that the funds of the Council would be kept absolutely separate. But he could not give any assurance as to changing the names of the proposed body as fliat had been suggested by the Executive Committee after due deliberation.

Mr. T. V. Subba Rao emphasised that the Academy which was a pre-eminent body in the field could not surrender its status as such, nor could the Council be a body of associated sabhas, which would imply its being outside the constitution of the Academy. It was necessary, he said that the proposed new Council, should be within the constitution of the Academy.

Informal consultations were held among the representatives of the sabhas and music associations, but they could not arrive at any final decision among themselves satisfactory to all on the proposal.

Mr. Krishnaswami Aiyar thereupon impressed upon the representatives present that the Music Academy had a recognised status which had to be accepted and that it had power and influence which would be exer

cised for the advancement of music. He concluded by appealing to the representatives to consider the proposal and stated that after a reasonable number of associations, say ten or twelve, signify their assent, a meeting would be held to constitute the Council of Affiliated Institutions.

A L e c t u r e on t h e T o n a l

Va l u e s o f S varas.

Mr. C. S. Aiyar, Chief Auditor, G. I. F. Ry., then delivered a lecture on the tonal values of the various Svaras peculiar to Carnatic Music, met with in the course of the Riga elaboration etc. He illustrated his points by demonstrating on the violin a number of Rigas.

The gist of Mr. C. S. Aiyar's lecture was:—

U| In terms of the 22 siutis in the octavo as styled by the Academy, thus Sa (R |l, R|2) (R |3R |4) (G|1,G|2) (G|3,G|4) (M |l. M|2) (M|3,M|4) P (D| 1. D|2) (D |3,D |4) (N |1,N |2) (N|3,N|-*) the letters in brackets being used to denote the twins as it were, of the twelve svaras S r K g G M m P d D n N.

The straiglitly (elongated) notes observed by him in musical compositions are:

S R|4, G|2, G |3, M11, P D|2, D|3, N |l, N|3: eg. R|4 in Kharaharapriya.

G|2 in Ritigoula G13 in Yedukula Kambhoji D |2 in Hindola or (Malkas of Hindu

stani Music)D|3 in Kambhoji N11 in Surati particularly N|3 in Sankarabharana

The beautiful superstructure of Carnatic Music was built on the fact of the discovery of Trisruti Dhaivata and that the sound Dha replaced Dha fairly in almost all ragas in Svara singing. The so called Suddha Gandhara and Sudha Nisada are really Trisruti Rsabha and Trisruti Dhaivata.

The characteristic notes were, he said,G13 and N13 in Sankarabharana, G| 1 |D D |3,N |1, in Bhairavi, R|1,G|1, D| 1, N in Todi all in gamaka, R|4, G|4, M|4,N,


in Kalyani all in gamaka, G|3, add D |3 in Kambhoji.

For instance the Raga Bhava of Bhairavi is changed by the introduction of GJ2 and D|4 which are characteristic of Karahara- priya(say in Pakkalanilabadi). These were illustrated Mr. C. S. Aiyar’s on his Violin. The melodic Music was finest, he observed when it is within the compass of human speech.

Vidvan L. Mutaiah Bhagavather, . while thanking the lecturer for the valuable discourse-and demonstration said, that srutis could not be measured or fixed by means of frets nor could their exactitude be denoted by mathematical computation, but they could only be sensed by the ear.

T H E EIG H TH DAY.30—12—'35.

Pur vi.

The laksana of raga ‘Purvi’ was then considered.

' Mr. T . L. Venkatarama Aiyar stated that it was derivative of ‘ May amalavagaula’ that Venkatamakhiri described it as a sampurna which meant that all svaras of the gamut would occur though not necessarily in the consecutive order, that there was a gitain by Muthu Venkatamakhin in which the ascent and descent were described as full. But in the krti of DIksitar beginning with the words ‘Sri guru guhasya dasoham’ (which he sang) the svaras occurred as sa ga tna pa ni sa in the ascent and sa nidha pa ma ga ri sa in the descent with tna da ma ga as a peculiar usage. There being, thus, disagreement between the gita and the kirtana, he urged that the order found in the latter might be adopted as the laksana of ‘Purvi’.

Vidvan Subrahmanya Sastriar pointed out that in the Sangraha Cudamani the Aroha- liam was given as sa ri ga ma pa dha n i sa and the Avorohanam as sa ni dha pa ma dha ma ga ri sa.

Vidvan Mulhiah Bhagavathar said that it might not be quite safe or desirable to rely

on the laksanas given in the text-books which were many and varied, that h e had seen in an old treatise the Arohanam d f ‘Purvi’ mentioned as sa ri ga rnapa dha ni dha sa. Mere svara would not give the chaya or the svarupa of a raga which depended more on the manner in which the svara is manipulated. He urged that they should codify the musical practice which in this case was the solitary krti sung by th e previous speaker, which did not appear to be commonly known.

After some discussion, it was decided that in view of the agreement of the text-books in regard to the laksana of this raga and the melody embodied in the single k r ti in this raga that the ‘Purvi’ as a derivative of ‘mayamajavagauja’ the fifteenth mela, that it took sa ri ga ma pa dha ni sa in the ascent and sa ni dha pa m apa da m aga ri sa in the descent with sa ga ma pa ni sa as a special usage; and that it was an upanga raga.

T H E N IN TH DAY.31—12—’'35.

Mr. Nallur Bharatam Narayanaswami Aiyar delivered an interesting address on “ Bharata Natya, its former state in and around Tanjore and the decline in the past three decades on account of the anti-N autch movement.” He explained the inter-relation of tala and raga and sahitya bhava. T h e two* latter being necessary for the tala-gali, the music of the singer had also to be regulated by the tala. Full sangita, he said, had deteriorated on account of th is fact not being before the singers and the acco m paniments. He said that Bhava h a d a close relation with the meaning of sah itya and bhava would come to its own if N a ty a was revived and raised to its past glory.

Mr. T. L. Venkatarama Aiyar, Secretary, said that the Academy would take p ro p er steps for the revival of the art.

Mr. C. S. Aiyar then expressed som e of his ideas on the subject of Raga and R asa.

T H E TEN TH DAY.1—1—’36.

S e ssio n Co n c l u d e d .The Conference of Music Experts o rg a

nised by the Madras Music Academy concluded its session on l - l - ’36.

CONFERENCE PROCEEDINGS 1 6 9

Mr. D. K. Raja of Rajapalayam gave a demonstration on the Gotta Vadyam which he had. prepared with 22 srulis to resonate all the tores produced in South Indian music.

P r e s id e n t ’s C l o sin g R emarks

In winding up the session, *’idvan Vasu- devachar said that the Conference had proved a success. Though only four out of the ten ragas placed on the agenda had been discussed, the discussion was full and instructive. The President thanked the Academy for the opportunity given to him for participating in their Conference.

T r ib u t e to YTd va ns .

Mr. T. L. Venkatarama Aiyar, Secretary of the Academy, thanked the Vidvans. They were, he said, very fortunate in having secured the services of Vidvan Vasudevachar to preside over the Conference. For the first time also, the Academy was able to introduce the item of Vina performance and to install a loud speaker to make it audible.

Vidvan L. Mutfifah Bhagavathar, on behalf of the Vidjans, thanked the Madras Music Academy for having brought together so many Vidvans under its roof. The friends of the Academy and music lovers should augment the resources o f the Academy and enable it to have a building o f its own as also a Music Hall.

Mr. P. S. Krishnaswami Aiyar, Advocate, Chalapuram, congratulated the Academy on its attempt to bring about a settlement with the other music sabhas in the city so as to co-ordinate their activities.

Vidvan Tiger Varadachariar said that he had been watching with interest the growth of the Academy since its inception in 1927. The suggestion that the Academy should have a building o f its own made him think that already he had been transported to a palatial building owned by the Academy itself.

Mr. K. V. Krishnasvami Aiyar thanked the various office-bearers of the Academy as well as the volunteers for making the Conference the success that it was.

Messrs. V. Varahanarasimhacharlu, S. Subrahmanya Sastri and Bharatam Nallur Narayanaswami Aiyar also thanked the Academy for having conducted a useful session of the Con ference.

T H E O FFIC E BEARERS OF T H E MUSIC ACADEMY, MADRAS FOR 19J5.

P r e s id e n t .Rao Bahadur K. V. Krishnaswami Aiyar.

V ic e - P r e s id e n t s .

Mr. S. Satyamurti, m.l .a .Dewan Bahadur M. Balasundaratn Naidu. Rao Saheb C. V. Krishnaswami Aiyar.Mr. K. Srinivasan.Lady Venkatasubba Rao.

T r u s t e e s .Mr. K. Balasubramania Aiyar.„ P. Rangaswami Chettiar.

S e c r e t a r ie s .

Mr. A. Damodara Mudaliar,„ T. L. Venkatarama Aiyar.

T r e a s u r e r .

Mr. T; S. Venkatesa Iyer.O t h e r Me m b er s o f t h e E x e c u t iv e

Co m m it t e e .

Mr. T. V. Subba Rao.„ V. Appa Rao Pantulu.„ E. Krishna Aiyar.,, S. Rajagopalachariar.

Sri. Bavani Swaminathan.Mr. T. S. Vydianatha Aiyar.Sri Kalyanasundari Sitaram.Mr. P. Sambamurti.

,, R. Satyamurti Aiyar.,, K. S. Viswanatha Sastri.

A u d it o r .Mr. P. Arunajatai, G.D.A.

22

T H E MADRAS MUSIC CONFERENCE The Ninth Session, 1936.

O f f ic ia l R e p o r t

T H E O PEN IN G DAY.23— 12—'36.

The Ninth Session of the Conference of Music Experts arranged by the Madras Music Academy was conducted in a special pandal erected opposite to the Madras Congress House. Kumari Chudam anusang an invocation song. Rao Bahadur K. V. Krishnasvami Aiyar, the President of the Academy read a welcome address to Sir P.S. Sivasvami Aiyar. Sir P. S. Sivasvami Ayyar opened the conference and Vidvan Umayalpuram Svaminatha Aiyar presided over the deliberations.

T h e O p e n in g A d d r ess by

S ir P. S. S iv a sv a m i A iy a r .

Mr. President and members of the Music Academy of Madras 1

When I was approached by my friend Rao Bahadur K. V. Krishnasvami Aiyar to perform the opening ceremony of this year's conference of the Music Academy, 1 first refused to comply with his request for reasons belter known to me than to you; 1 pleaded my ignorance of the subject and my age. But he would not excuse me on either ground. Those of you who are acquainted with Mr. Krishnasvami Aiyar need not be told that he is a very masterful person with plenty of driving power and accustomed to carry things in his own way. He even tried to encourage me by saying that some of the gentlemen who were invited for this function on previous occasions were also persons who could not claim any great knowledge of the subject. Conscious as I am of my personal deficiencies, I could not believe that any of them could possibly be so ignorant as myself. I have no special aptitude or taste for music, and I am unable to appreciate the

subtleties of our music. 1 am not insensible to the charms of refined music, and belonging as I do to the Victorian era, I have had the good fortune to hear and enjoy the performances of the great masters, and especially the great Maha Vaidyanatha Aiyar, the

'greatest singer I have known, Sarabha Sastrigal, the great flutist, Narayanasvami Appa, the finest player on (he Mirdangam and Tirukkodikaval Krishna Aiyar, the splendid violinist, musicians who, as exponents of their art, have not been surpassed, not to say equalled. The taste for music is very widespread in India and our people have a great capacity for enjoying it even under the most unfavourable conditions. The hot and stuffy atmosphere of a crowded hall, the echoing of vaulted ro4ms, the shrill or raucous voice of the singer, his facial contortions and the ungainly swaying of his head or body, the noisy clapping of hands by the audience upon their thighs by way of an instinctive sympathy with the beating of time by the musicion, the tiresome elaboration of musical gymnastics, the din of drums, like the Thavil, which pierce the drum of the ear,— these do not in the least affect the appreciation of the performance by the audience, provided that the performance displays a mastery of the technique of music. It shows what a high degree of capacity for the abstraction of music from all distracting surroundings and repellent features is possessed by our people. I do not for a moment suggest that a beautiful voice is not appreciated by the audience. Some of my dislikes are invincible. I cannot tolerate the Thavil and I can enjoy the Nagasvara only when it is made sweet by a respectable distance.


In passing let me express my abhorrence of th e ‘-meaningless word ‘Nadhasvaram’ which has recently come into vogue in the city and 1 hope that the Academy will discourage the use of it. Another innovation within the last few years is the Indian orchestra comprising half a dozen instruments of each kind and of several kinds. Xhe combination has not struck me as,either suitable or pleasing. Yet another innovation which I dislike is the introduction of the harmonium for Sruti instead of the Thambur. The harmonium seems to me to be unsuitable to the soft melodious character of Indian music and often drowns the main feature of the performance.

Let me now refer to another feature of the practice of Indian music which has struck me. There is often a lack of correspondence between the emotions intended to be expressed and the music. The object of music is to evoke or appeal to emotions of different kinds which are known as Bhavas or Rasas. That this was an essential aim of music is well brought out by Valmiki in his description of the singing of the Ramayana by Kusa and Lava* The two young Princes sang the Ramayana so as to bring out the nine Rasas.

^ 3 ’® ®l©*lihl^TT3RfTH IIRamayana I, iv, 9.

The effect of this upon the audience of learned sages was wonderful. They were filled with tears and thrilled with joy at the marvellous singing. They applauded the Princes and remarked that the sweetness of the singing vividly brought past events before tjjeir minds and that the Princes had entered into the spirit of the poem and themselves realised the emotions of the different situations.

s r i m^qq^fif^ajorr: ISTig STTfarftl ^ NWHlHIdi: IIa sffawm: gsRt q&rarai: iJRI5I§: srciwsift UffWRl *RfM r II arsr tfraw =q ro m : i

^ ? q ^ q ^ r 11Ramayana I, iv, 15-18.

The great Sanskrit dramatist Sudraka also lays emphasis upon the Bhavanvitatva of vocal music. In passing I may remark that I do not know whether the emotion aroused by the ludicrous (Hasya) or disgust(Jugupsa) could be expressed in our Ragas, especially in instrumental music. To bring out the full emotional effect of the song it is necessary that the singer should himself understand the full meaning of the words of the song and himself experience the emotions. An understanding of the words of the KIrtanas is essential if the singer is to convey their full meaning to the audience. Many of our KIrtanams have been composed in Telugu or Sanskrit and I am afraid that several of our musicians do not possess a sufficient acquaintance with the language of the compositions they sing. I have heard musicians often singing Slokas in any tune irrespective of the emotions underlying them. A knowledge of the language of the musical compositions or at least the meaning of the particular songs is a great desideratum for all musicians. The teacher’s college of music may undertake the supply of this need, if it has not already done so.

Another point which has struck me in our music is the absence of solemnity and sublimity in our vocal and instrumental music.I doubt whether the emotion of the sublime is at all included in our list of Bhavas. Vismaya or wonder may be an element of the sublime, but there are many elements included in our notion of the sublime, such as the sense of vastness, immense power or energy, the sense of awe and often of reverence. I have not heard anything in Indian music which produces the same emotion of solemnity and sublimity as the organ in Christian churches. Our languages lend themselves to compositions which can inspire the feelings of devotion, reverence and awe. But I am not aware of any musical instruments which are capable of producing all these feelings in the same manner as the organ. It is a common place observa-


tion that melody is the characteristic of Indian music and harmony of western music. Our musical instruments are not capable of producing the mighty volume of harmony which is the glory of the organ. With your permission I will quote a beautiful passage from a famous French writer about the grandeur and beauty of the organ: “ Theorgan is beyond all question the finest, the most daring, the most magnificent of the instruments created by human genius. It is an orchestra in itself, from which a practised hand may demand all things; for it expresses all things. Is it not, as it were, a coign of vantage, where the soul may poise itself ere it springs into space, bearing, as it flies, the listening mind through a thousand scenes of life towards the infinite which parts earth from heaven? The longer a poet listens to its gigantic harmonies, the more fully will he comprehend that between kneeling humanity and the God hidden by the dazzling rays of the Holy of Holies, the hundred voices of terrestrial choirs can alone bridge the vast distance and interpret to Heaven the prayers of men in all the omnipotence of their desires, in the diversities of their woe, with the tints of their meditations and their ecstasies, with the impetuous spring of their repentance, and the thousand imaginations of their manifold beliefs. Yes! beneath these soaring vaults the harmonies born of the genius of sacred thing find a yet unheard o£ grandeur, which adorns and strengthens them. Here the dim light, the deep silence, the voices alternating with the solemn tones of the organ, seem like a veil through which the luminousatlributes of God himself pierce and radiate.”

Even our vocal music is not conspicuous for the sublime and the solemn. Pathos, tenderness, sorrow and various other emotions are capable of being rendered by our vocal music. The chanting of the Sama Veda is no doubt solemn, but as it is chanted to-day, it tends to be monotonous. The music in South Indian temples is generally played by the Nagasvara, an instrument from which, in spite of its shrill notes, our musicians are capable of extracting a large variety of pleasing tunes, but which can hardly be said to be adapted to the pro

duction of a sense of sublimity or solemnity.I have sometimes wondered at this difference between our temple music and the European"" church music. Can it be that to the European the deity is infinitely distant and above him, whereas the Indian is living on more intimate terms with the deity, binding God within himself and near him and every where? The truth, however, is that as, theUpanisads say, God is both far and near.

f*n^n351*1*1

Mundakopanisad HI, i, 7.

Though the national development of Indian music has been on the line of melody and of western music in the direction of harmony, is it impossible to adapt our Indian musical instruments to the production of harmonies? We have endeavoured to adapt exotic things like the brass band and play Indian airs upon them. We have acquired a splendid mastery of the exotic violin of which we are justly proud. We are trying to introduce and work the exotic plant of responsible goverment. Is any attempt to produce harmonies in the style of western music foredoomed to failure?

I have referred to the combination of words with music in the passage from the Ramayana quoted above. It has been claimed by the lovers and enthusiasts of pure music that music unalloyed by words is capable of transporting you to the realm of the spiritual, to communion with the Infinite and filling you with a deep and undefinable sense of the mystery of the universe. It has been said that it is the path to transcendent reality and it is claimed tha't the absolute dissociation of music from all definite intellectual conceptions is an important element in the vague yearnings and longings which lift the soul above things mundane. While it is possible for me to appreciate this aspect of music, I cannot dwell long in the empyrean of pure music.I am far more susceptible to the charms of articulate vocal music and though I may have the misfortune to differ from musical savants, I feel there must be many consti


tuted .like myslef to whom music makes a wonderful appeal when combined with a definite content, the witchery of words and th6 spell of familiar emotions. The Alapana within reasonable limits and the. Kirtana must make a universal appeal to the Indian mind. But the evolutions of the Svara singing and of the Pallavi are tedious and fatiguing to all those who a rl not initiated in the craft. Their chief use is to display the performer’s command of technique and accurate execution. They may be indispensable exercises for the acquisition of skill in the art. But it does not follow that they possess the element of grace and beauty. The perfection of art consists in the concealment of art and does not involve a display of the exercises by which skill has been acquired. While I cannot hope for acceptance of my primitive ideas from musical experts, I hope they will fall upon some sympathetic ears' and appeal to a section of the lay community. Even if the Pallavi cannot be kept out of a performance, let it be at least confined within very narrow limits of time.

I see from your annual report that your Academy has already carried out a number of very desirable‘''reforms in regard to limitation in the number of accompaniments to musical performances, in the length of the performances by cutting it down to three hours at the most, in keeping out the harmonium as an accompaniment, and in the curtailment of musical gymnastics. Your Academy must also insist upon the supreme importance of a sweet or agreeable voice on the part of the singers and do what it can to encourage greater self-restraint upon the dbdience in following the performances with the instinctive clapping of hands which mars the effect of the music. In the teacher’s college of music which the Academy is carrying on, you must make a determined effort to suppress all facial contortions on the part of teachers and pupils alike. Facial contortions are not inevitable incidents of fine singing as can be seen from the avoidance of such disagreeable features by female singers. They were condenmed by our ancient authorities also. The Sangita

Ratnakara includes ugly and un-couth movements and gesticulations among the 25 faults (Dosas) on the part of the singer.

Several of the objects which the Academy has very properly set before itself require large financial resources. The preservation and publication of the compositions of the old masters, the publication of careful editions of unpublished musical treatises are among the more important objects of the Academy. The construction of a good music hall with good acoustic properties is as much a crying need o f the city as a good theatre. But both must be constructed upon thoroughly scientific and modern lines and with the help of the best architects. They are, however, altogether beyond the resources of your Academy and must, I think, be left to the enterprise of the enlightened capitalist.

One other object to which you may devote a part of your funds is the award of foreign scholarships to scientifically-minded Indian musicians, to study the sciences of acoustics and harmonics and the arts of building the organ and other western musical instruments, with a view to such adaptation as may be possible to meet the genius of Indian music. I am merely throwing out these suggestions for your consideration as and when funds permit.

One of the most useful activities which you have undertaken is the organisation of the teachers’ college of music, so that the new generation may be properly trained in the appreciation and performance of music as an essential element of culture. Music is now far more extensively cultivated in the school and in the home than it was in my boyhood. Attendance of boys and girls at musical performances was rather discouraged by parents as an undesirable distraction, diverting them from the more serious tasks of youth. Musicians had in those days to depend mostly upon the patronage of Rajas and wealthy individuals. It has now become democratised like literature in the modern world. Subscription performances and admission by tickets were quite unknown. During the present generation a great change has taken place and the musicians are no

Their social status has risen and Iheir fees have also greatly risen. The various musical associations or Sabhas in the province have largely contributed to these results. Your Academy is not the first organisation in this part of the country to work for the revival of indigenous music. In the eighties of the last centry a Madras branch of the Poona Gayana Samaj was inaugurated in the Pachaiyappas Hall under the presidency of Sir T. Muthuswami Aiyar. Mr. Sahasra- buddhi, a Maharashtra gentleman of Poona who was employed in one of the Government offices here, was the organiser of this movement. The organisation, however, was not long-lived. Your Academy is the first organisation which has placed before itself a comprehensive and ambiticus programme for the revival and encouragement of Indian music. The work that has been already accomplished entitles the Academy to the congratulations of the public.

Your president has expressed a desire that (the various musical associations and Sabhas which have been started in the mofussil should become affiliated to the Academy. One result of such affiliation should be to secure agreement in matters of theory and uniformity of standards of judgment in practice. I think that the aims and objects of the single organisation which you desire and the obligations of membership cannot have been sufficiently explained to the mofussil bodies. They probably think that it may involve serious financial obligations, a crippling of their own resources and a restriction ot their own freedom. Federation is now very much in the air and I do not know whether in advocating affiliation you propose to bring about a federation or a completely unitary organisation. A federal scheme will be more likely to commend itself to the Sabhas in the mofussil and the Music Academy in the city may well play the part of the central government.

Gentlemen, I must crave your indulgence for having trespassed upon your patience so long and treated you to the crude ideas of a layman. Allow me to express my hearty good wishes for the prosperity of the Aca-

HUjJL It 11UJI AUlUUlu TiT the realisation of the high ideals which it has set before itself.

Lady Venkatasubba Rao proposed a vote of thanks to Sir P. S. Sivasvami Aiyar.

Mr. T. L. Venkatarama Aiyar, Secretary?- read messages of good wishes from H. H . the Maharaja of Mysore, H . H. the Maharaja of Travancore, H. H. the Maharaja of Cochin and H . H. the Maharaja of Jeypore.

Vidvan Tiger Varadachariar then proposed Vidvan Umayalpuram Svaminatha Aiyar to the chair. Mr. Svaminatha Aiyar, he said, belonged to the line of the direct disciples of Sri Tyagaraja. The proposition was seconded by Vidvan Palladam Sanjiva Rao and carried unanimously.

Vidvan Umayalpuram Svaminatha Aiyar then delivered his presidential address.

T h e P r e s id e n t ia l Ad d r ess .Lovers of music, I consider it fortunate

to preside over this conference of this Academy which is working for the advancement of the cause of Music and if, I have been invited to take this honoured place, it is* I think, due not to me, but to my Gurus, Umayalpuram Krishna Bhagavathar, the direct disciple of Sri Tyaga Brahmam, Sundara Bhagavathar and Maha Vaidyanatha Sivan.

Our Music is certainly the greatest of the glories of our civilization and artistic achievements. And it is an art of hoary antiquity. Patronage of this art in the past was limited to royalty and the nobles but to-day it has passed to the common public. Institutions like the University have displaced, in the field of training in the art, the old Gurukula system.

The known power of music in curing physical and mental pain, and in holding in calm disturbed elements, in animals even, is only next to the unknown power of music in the spiritual field. It is the greatest Sadhana. There is no means easier for realising God than Music coupled with devotion. Music is Nada; Nada is Brahman.

The text or the Sahitya of a song is of undoubted importance and a singer must take care to master the text also correctly.

Hearsay-singing must bediscOurfTgcnf*55 !!?^ singer has further to master Laya and be a man of pure conduct and noble ideals. He must not be a trader in Music.

Music can be, learnt neither by purely following a text-book, nor by merely hearing another singing. T o learn it directly from a real master is the only good method.

Text-books on music are many, written from time to time. We know that when Music flourished very much in Tanjore, owing to contact with the Maharashtras at that centre, north Indian modes got into our music. The present Kathakalakshepa is based on the Maharashtra model. Such blending is natural and when one introduces a foreign element, he must be a man of knowledge and taste. Hybridisation must be prevented.

For our carnalic Music to-day, the basis for theory is certainly the compositions of Tyagayya, Diksitar and Syama Sastri. They should have based themselves on the theory then current but which we do not now know.. I can affirm that the rendering of the song of these three composers to-day is much different tro m th a t which I was hearing thirty years igb. Those knowing the old and authenlknsfyle are still alive. It is worthwhile assembling them and editing with variants the songs of these composers in as authentic a manner as possible. Otherwise, the music is in danger of drifting into a shape beyond recognition.

Regarding theory, neither Venkata- makhin’s work nor Govinda's is to be singly relied upon. An examination of the compositions of the three composers shows that we have to evolve out of the two texts a new ecclectic text.

It is also necessary that musicians should popularise Tamil compositions. In these many respects, I hope, the Music Academy, through its Teachers' College and annual conferences, will work for the advancement of.Music.

The opening function term inated with a flute performance by Mr. Rajarama Aiyar of Mayavaram.

inn. AULuiNU LJri x24— 12—36.

The Expert Committee of the Music Academy met in the special pandal opposite the Congress House with Mr. U. Swami- natha Aiyar in the chair.

At the outset, Mr. T.L. Venkatarama Aiyar moved the following resolution: “ This Conference places on record its profound sense of sorrow at the demise of Veenai Subbarama Aiyar of Karaikudi, Dakshina- murlhi Pillai of Pudukotah, Mr. C. R. Srinivasa Aiyangar and Mulhuswami Dikshitar of Ettaiyapuram."

The resolution was passed, all the members standing.

The next subject taken up for discussion was “ Ragalaksanas and their applicability in mordern practice." Mudikondan Venkat- rama Aiyar initialed the discussion. He said that while the ragas and kirtanas were rendered in a particular way in practice, theory pointed in a different direction. He instanced ‘Chittaranjani’.

A discussion followed in which several members participated. Umayapuram Venkat- rama Aiyar was of opinion that the laksyas of the three composers, Tyagaraja Dikshitar and Syama Sastri, should determine the ragalaksana and that the work of Venkata- makhin and Govinda should both be accepted.

Mr. Sundaram Aiyar of Ottapalam said that while adherence to science was necessary, the practical renderings by the great composers should also be followed, and that the discussion could be useful only if it was in relation to concrete ragas.

Similar opinion was expressed by Mr.. Sundaram Aiyar of Tanjore. This was generally agreed to.

T H E TH IR D DAY.25— 12— 36.

The Committee of experts of the Music Conference organised by the Music Academy took up for detailed discussion the raga, ‘Begada.’

The first question considered was the ‘Nisada’ in Begada. Vidvan Sabhesa Aiyar

m rm m m m urTTTTT

was of opinion that ‘Kaisiki Nisada’ was not admissible in the rendering of the raga and that the ‘Nisada’ ought to be ‘Kakali.’ The President sang ‘Nadopasana’ with ‘Kakali Nisada’, while Mr. Sesha Aiangar sang the same klrtana with ‘Kakali Nisada’ with a shade of ‘Kaisiki’. Mr. Palladam Sanjiva- Rao sang the same song with a ‘Kakali’ which was slightly less than the typical ‘Kakali.’ Mr. Palamarneri Svami- natha Aiyar rendered the Klrtana in the same way.

Mr. Tiger Varadachariyar>?ang ‘Manasuna nera nammiti’ and he was' of the view that the ‘nisada’ was ‘Kakalf, though it was sligh^y lower than the usual type. Mr. M.S. Ramaswami Aiyar sang ‘Nanri Kooru- vome’ of Lakshmana Pillai with more ‘Kai- sikl’ than ‘Kakali’ while Mr. P. Sambamurti rendered the song ‘Intaparakela’ with ‘Kai- siki’ and occasional ‘Kakali.’ Mr. T. L. Venkatarama Aiyar sang ‘Nadopasana’ and <3ri Mata’ with a predominance of Kakali and Dr. T. Srinivasaraghava Aiyangar sang ‘Samiki Sarijeppa’ and expressed his view that the ‘Nisada’ was between ‘Kakali’ than ‘Kaisiki.’

Mr. Mudikondan Venkatarama Aiyar sang •Sri Mata’ with ‘Kakali’ and ‘Kaisiki" Mr.T. K. Jayarama Aiyar said it was between ‘Kaisiki’ and ‘Kakali.’ Mr. S. A. Ramasvami Aiyar sang ‘Ni Pada Paiikajamu’ with more ‘Kakali’ than ‘Kaisiki.’

The President, after ascertaining the sense of the Rouse, placed the following resolution which was passed by the Expert Committee.

‘‘That the Nisada should be termed ‘Kakali’ though it is somewhat less than the typical ‘Kakali’, that the note is always used with gamaka down from the ‘sadja’ and that its position is between ‘Kakali’ and ‘Kaisiki’ but nearer ‘Kakali’- and could be exactly known only in ‘Laksya.’

T H E FO U RTH DAY.26—12—36.

U. Svaminatha Aiyar took the Chair.Bharatam Narayanasvami Aiyar gave a

lecture on“ Bharatanatya," the first of a series

of three lectures on the art. The invitation extended to him, he said, shows that there is yet hope for this art to come ihto its own. The art of Bharatanatya had a divine origin, its original exponents being Lord Siva and Goddess Parvati. This art is dear to our Gods; and this art had been considered an yajna. When God Siva danced, he expressed only His Anandp, which comprised the Nine Rasas. Siva is the embodiment of all the Rasas. The Rasa is expressed through four means, called the four Abhinayas:— Aharya or dress, Angika, physical action, Sattvika, expression of tears, stupefaction etc., and Vacika, vocal expression. The Bhava is to be shown by the eye; the Vacika in musical form is sustained by the throat; meaning of the words, tj?.at is the ideas, are shown by the Abhinaya of the hand; the feet keep the time.

Natya is divided into drama, dance with Abhinaya and pure dance. The Drama presents one continued story; dance interprets emotional bits, unconnected with each other; both are however the presentation of human experience. Love is the greatest of such experiences and it is of two kinds, mundane and divine; the lower Love is employed as a simile for the higher.

Abhinaya should be such as makes the onlooker realise the object shown at once. The peculiar attribute of an object, its special and noteworthy action, or some such distinctive feature of an object is employed in Abhinaya.

The persons to whom the emotion of a theme pertains are called, the Alambana- vibhava of Rasa. They are called Nayaka and Nayika. There are several shades cf differences among both males, the Nayakas, and the females, the Nayikas. The character of the persons occuring in a piece that is interpreted, what their dominant emotional state is— these have to be thoroughly understood before one can appreciate the Abhinaya and realise the Rasa.

Similarly the artiste also should understand well the meaning and the emotional implications of the song; and then only will the artiste’s dance be efficient enough

to make us realise the Rasa. Only very cultured minds can understand the nature of the higher type of emotions and this applies to both the artiste and the onlooker.

The Lecturer then explained what the first item called Alarippu in Sadir means. It is not only introductory but is also a salute to the Gods, the teacher and (he audience. This first item has movements which make the body of the artiste supple enough for the further dance. The next item is Jatisvara. In Alarippu, there are only Talaksaras or Jati; in Jatisvara, Svaras are introduced; hence-- it is called Jatisvara. From pure Tala, the items gradually proceed to Bhava.

The Nattuva must be a good musician; The clarionet must give place to the old Mukhavina. When Abhinaya is done, thought must be given to chose those words in the Sahitya which have got emotional scope for elaboration.

The lecturer then referred to the set-back which this art had owing to the activities of anti-nautch reformers. The art should be revived at this very city of Madras where it was sought to be killed. The Lecturer quoted a number Sanskrit texts during the exposition. M

D iscussion on ‘B egada '.The Committee of Experts took up the

discussion of the raga ‘Begada’.The question \yas taken up for considera

tion as to whether the prayoga pa dim ri sa was admissible. Laksyas were examined.

Dr. T. Srinivasaraghavan opined that the prayoga was to be found in ‘Gattu Gana’ in Trisram of Tyagarajasvamigal in the anu- pallavai.»The same prayoga was also rendered in

‘Tyagarajaya Namaste' and ‘Srimala’ by Mr. T. L. Venkatarama Aiyar.

Mr. Tiger Varadachariyar also supported the same and further stated that in raga- alapana, the prayogam was in vogue and admissible.

Vidvan Sabhesa Aiyar was of opinion that pa dha ri sa was not admissible.

After further discussion, the Conference was of opinion that the prayoga occurred occasionally in the classic compositions and

23

more frequently in alapana and it was admissible.

T H E FIFTH DAY.27—12—36.

B harata Natya .Mr. Bharatam Nallur Narayanasvami

Aiyar delivered his second lecture on Bharata Natya.

The lecturer dealt with the subtle differences of the various types of the lover and the beloved and how delicately Jayadeva and Ksetrajna have handled these types. An understanding of these types, their dominant character and mood is necessary for understanding the Abhinaya of the pieces and realise the Rasa. There are special texts on Rasa which deal elaborately with these types and the lecturer quoted from some to explain a few types. These types of character are again made manifold by the state or condition of the emotion. There is the lady who is expecting her lord at a tryst; the lady who is disappointed at the tryst; the lady who is pining in separation etc. The delineation of the sentiment of love in separation is most delectable; and here also, poets elaborate only the pangs of separation of the beloved lady; this is more delectable than the pangs of separation of the lover. When a verse or song is rendered in gesture and is seen rendered so, the artiste must have completely understood the speaker, the situation, and the shade of emotion depicted and the audience also mtfst have understood all these. When love in separation is portrayed, the poet will always take care to keep the under current of the love and this must be clearly understood. This continuity can be clearly seen in Ksetrajna’s padas.

It is a mistake to put mundane meaning on the compositions of Jayadeva and Ksetrajna which describe Krishna as the lover. It is essentially a treatment in devotion. Love is the greatest of sentiments and it brings in its train all the other Rasas. It seems unnatural to protest against its predominance, which is not peculiar to dance, but is common to Literature and Art.

B egada

The Conference then continued the previous day's discussion on the laksana of

the tune Begada. Mr. Muthia Bhagavathar slated that Begada was a Chaya raga, that its nisada was certainly kakall, that the note was somewhat lower than the usual kakall, that pa dha ri sa was to be found in common use, and also in certain laksyas and that it was admissible.

Mr. Ponniah Pillai sang Gataganu to show that the pa dha ri sa usage was admissible.

Mr. Bharatam Narayanasvami Aiyar drew the attention of the Conference to a padam of Ayyakutti Nattiivanar, a disciple of Dikshithar, in which dha ri sa was adopted.

Opinion differed as to whether pa dha ri sa was strictly admissible though found in vogue. Further consideration of the subject was adjourned to Monday.

T H E SIX TH DAY.2 8 -1 2 -1 9 3 6 .

Bharatam Nallur Narayanasvami Aiyar gave his third lecture on Bharata Natya.

Sangita really means dance and vocal and instrumental music. Mere music is only called Gita. A Nata is a dramatic actor; Nartaka is a dancer who interprets loose and small emotional pieces. An Ekanata is like the performer of a Harikatha, who interprets a whole and continuous story singly. Emotion, Melody and Rhythm, Bhava, Raga, Tala, all these three emanated from Siva when he performed his Tandava dance. The sentiments are nine, Nava Rasas. The lecturer then explained Raga and Tala in brief, with particular reference to dance and the dance-drama, the Bhagavata Mela Nataka, with which the lecturer is connected. This day’s lecture was illustrated by the lecturer by practical demonstration of steps and gesture. It is said that Siva danced in Caturasra and Parvali in Trisra and then Siva followed in Misra; then Parvati followed up in Khanda Jati. In Abhinaya, the difference between mere showing of hand and real interpretation of Bhava by the hand- gesture should be understood. There are two kinds of Abhinaya, Vakyartha-abhinaya and Padartha-abhinaya, gesture of sentence- sense and of word-sense. The two have their special scope. The lecturer then indicated the method of gesture for a verse from

the Amaruka Sataka, another from the Krsnakarnamrta and a third from the Bhagavata.

T H E SEV ENTH DAY. ^29—12—1936.

L e c t u r e on ‘Vannam’.Mr. Sadasivam of Jaffna gave a lecture on

Vannam. He had been of opinion that in Madras there was Tamil music. But he found very little of real Tamil music in the city. Tolkappiyam contains 20 Vannams. A Vanna is built on sounds, not words. Vannams preceded all Prabandhas. He did not know when exactly the division into Pallavi, Anupallavi and Caranam came into existence. He enumerated (he 20 kinds of Vannams according as they took consonants, vowels etc.

Pa vannam is a Samatala Varnam. Other* Vannams are Visama tala varnam. Vannams are also classified according to their gait- rbylhm, or movement or their similarity to the sounds of birds and animals.

The Tiruppukals are all vannams. Jaffna is a Tamil land and looks to South India for civilization. The Singalese are of the same race but Buddhist. They sing the vannams pure even to-day. Ceylon and Candy in particular maintain the art at a high level.

He sang a Mayura vannam (in triputa tala).He referred to and sang a Turanga

vannam (in misrarupaka).Vannam is accompanied by dance. He

sang the Pam batti vannam and danced to it.In dance, so far as fool work is concerned

there is nothing to equal the Kandy dance.He pleaded that their conference should

invite delegates from other parts of India, Ceylon, etc. so that there m aybe a thorough exchange of ideas. ?

He pleaded for the appointment of a committee to investigate and collect folk songs.

'B egada ' Ag a in .The discussion on Begada was resumed.

Mr. Sabhesier was of opinion that sa n i dha ni sa was inadmissible.

Mr. Muthiah Bhagavathar was of opinion that pa dha ni dha pa sa was the characteristic prayoga.

CONFERENCE PROCEEDINGS i / y

Tiger Varadachariar and Mr. Sambamurti said the prayoga was sanctioned by Vina Kuppa Aiyar's Varnam.

U. Venkataramier sang “ Gattiganu” as authority for the prayoga.

P. Svaminatha Aiyar was against the prayoga.

The president favoured the prayoga.Mr. Sesha Aiyangar was strongly in favour

of it.Mr. Ramanaiah Chetti was in favour of it.Mr. M. S. Ramasvami Aiyar was in favour

of it.The majority favoured the prayoga as an

exceptional one,

T H E E IG H T H DAY.30— 12-1936.

‘YADUKULAKAMBHOJl’The laksana of ‘Yadukulakambhoji’ was

taken up for discussion.There was general agreement that sa ri

ma ga ma pa dha sa in Arohanam and sa ni dha pa ma ga ri sa in Avarohanam were the normal sancaras^tSome discussion followed as to whether tJ# ‘prayoga’ dha ttisa n i dha was admissible. It was found in actual practice, but no authority was quoted in support of it. The general sense was that ni sa ni dha was only a phase of dha la ni dha.

There was also considerable discussion as to whether the raga had ‘sancaras’ up to ‘madhyama’ in ‘tarasthayl.’

Mr. Sama Sastri sang the Svarajati of the composer Sama Sastri and therein there was sancara up to ‘madhyama.’. Vidvan Sabhesa Aiyar was of opinion that there was no prohibition of the ‘sancara’ up to ‘madhyama’, but that it could not ordinarily be rendered with raga bhava.

Mr. P. Svaminatha Aiyar was not for going beyond ‘rsabha’ in the ‘tarasthayl.’

Mr. Tiger Varadachariyar stated that the ‘tarasthayl sancara' up to ‘madhyama’ was to be found in the Kamalaksi Varna of Thiruvathiyur Thyagaiyar.

Mrs. Sithapathi Aiyar sang the Varnam. Mr. Mudikondap Venkatarama Aiyar was of

the same opinion and sang ‘Parthasarathi’ in support of it.

Vidvan Ponniah Pillai expressed the same opinion and sang the Varnam.

In “Tyagarajam bhaja re" sung by Mr.T. L. Venkalarama Aiyar, the ‘sancara’ in the ‘tarasthayl’ went up to ‘madhyama.’

The Conference was accordingly of opinion that the ‘sancara’ extending up to ‘madhyama’ in the ‘tarasthayl’ had bearing in some compositions.

There was also a discussion as to whether in the ‘mandrasthayl’, the ‘prayoga’ was sa ni pa or sa sa pa. The Conference was of opinion that the regular ‘sancara’ was sa sa pa dha sa and that slight shade of ‘kakali’ was to be found in that ‘sancara.’

‘B egada’ Ag a in .In the discussion on “Begada", the

admissibility of the ‘prayoga’ sa ni dha ni sa was further considered.

Mr. Sama Sastri sang a Klrtanam of the composer Sama Sastri and said that sa ni dha dha sa was in use and not sa n i dha ni sa.

Vidvan Ponniah Pillai favoured the ‘prayoga’ sa n i dha ni sa, but Mr. Chikka Rama Rao did not favour it.

The Conference was inclined to the view that the ‘prayoga’ was a rare one found in certain compositions.

T H E NINTH DAY.31—12— 36.

‘B egada’

The laksana of ‘Begada’ was resumed*Mr. Harinagabhushanam Pantulu was of

opinion that dha ri ni was not admissible.The Conference, after further considera

tion, confirmed the conclusion already reaced that the ‘prayoga’ sa. ni dha ni sa was a rare one found in certain compositions.

A P a per

Srimati Seshamma next read a paper on the life of Ghatam Krishna Aiyar.

N e w C o m positions

Dr. E. Sankaranarayana Aiyar of Kal- lidaikurichi sang some of the KIrtanas

a v /iu .

composed by him in apurva ragas as also in familiar ragas.

Ano t h e r P a pe r

Mr. Hubli Krishnamachariyar read a paper on the “ Mela Scheme of Venkatamakhin.”

T H E LAST DAY.1— 1— 37.

A L e c t u r e o n ‘Svaras and Sr u t is ’Mr. P. Venkatasubrahmanya Sastri,

Research Scholar, delivered a lecture on “ Srutis and Svaras” . He traced the genesis of the ideas relating to these terms since the days of Ratnakara down to Venk^amakhin and fully explained the. significance)Of the terms met with in the various text-books,

A L ecture o n 'N o t a t io n ’Mr. V. Narasimhacharlu then spoke on

“ Notation” . He suggested that a common script, preferably Devanagari, might be utilised for writing down Carnatic music so that it would be capable of being sung throughout India. He also suggested a number of additional signs to represent the 'guru', ‘Iaghu’ and other components of an 'avarta' (bar); as also special marks to denote the various gamakas and other nuances peculiar to South Indian music, in view of the fact that the signs at present in use were insufficient to represent the various shades of melodies. For some 'gamakas' the signs given in works like the 'Sahgita Sampradaya Pradarsini' appeared to be superfluous and in some cases the lecturer preferred simpler forms.

The Conference was of the opinion that some KIrtanas and Padas might be reduced to the notation propounded by the speaker and that the Conference might consider it subsequently.

An o t h e r L e c t u r e

Mr. Hari Nagabhushanam Pantulu then spoke on the origin and real purpose of music as conceived by the ancients, namely, a means for the attainment of salvation by ‘bhakti’ expressed and felt through music. He pointed out that the modern renderings of the old compositions of Sri Tyagaraja lacked clarity in the mater of

sense and explained how, owing to want of knowledge of the Telugu language, the performers were occasionally mutilating the ‘krtis’. He admitted that even the Telugu musicians were guilty at limes of the same irregularity. He said that professional musicians had to yield to the popular demand in the matter of taste, and adjust their songs accordingly. As this was to some extent unavoidable, he pleaded for separate performances by classical experts open to vidvans, critics and connoisseurs only so that the ancient music might be kept alive in all its pristine purity to the extent possible.

O FFIC E BEARERS FO R T H EYEAR, 1936.

P r e sid en t

Rao Bahadur K. V. Krishnaswami Aiyar.V ic e - P r e s id e n t s .

Mrs. Alamelu Jayarama Aiyar.Dewan Bahadur M. Balasundaram Naidu.Mr. S. Satyafnurti.„ K. Srinivasan.„ T. V. Subba Rao.

Lady Venkatasubba Rao.

T r u s t e e s .Mr. K. Balasubrahmanya Aiyar.„ P . Rangaswaini Chettiyar.

Se c r e t a r ie s .Mr. A. Damodara Mudaliyar.,, T. L. Venkatarama Aiyar.

T r e a s u r e r .Mr. T. S. Venkatesa Aiyar.O t h e r M em ber s o f t h e E x e c u t iv e

Co m m it t e e .

Miss Bhavani Swaminathan.Mr. K. S. Jayarama Aiyar.Mrs. Kalyanasundari Sitaram.Mr. E . Krishna Aiyar.„ S. Rajagopalachari.

„ P. Sambamurti.Mrs. R. V. Sastri.Mr. R. Satyamurli Aiyar.

„ K. S. Viswanatha Sastri.„ T. S. Vaidyanatha Aiyar,

The Journal of the Music Academy, Madras

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The Indian Express: “ The resumption of the Journal is an event of the firstmagnitude in the musical world. The very capable Board of Editors may be trusted to produce issues of the same quality as the one under review.”

The Hindu: “ The revival of this valuable Journal devoted to the study andpromotion of Indian Music will be welcomed by all lovers and exponents of the art.”

The Madras M ail: “ We are glad to note the revival of the Journal of the MadrasMusic Academy (a quarterly devoted to the advancement of the science and art of music) * * * Fulfilling as it does a real need of music lovers, we are sure all lovers ofart and culture will support it.”

H. H. ~ThfoMaharaja of Dharampnr: “ * * His Highness is also delightedto read the i;.a^icles in your magazine which are undoubtedly very interesting and instructive. He is also pleased to read the proceedings of the Academy’s Music Conference * * .”

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O U R E X C H A N G E L I S T

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