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tT b e J o u r n a lOf
^Tbe / I f t u d c H c a b e n n p/Ifoa&ras.
A QUARTERLY
DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC.
Vol. II] 1931 [No. 2
THE JOURNAL COMMITTEE.
Editor.Ml*. T. V. SUBBA Row, B.A., B.L.
Editorial Committee.,, Vidwan T iger V akadachakiak.„ M. S. Ramaswamy Aiyau.„ P. S. SUNDARAM AlYAR.,, Pandit S. Subramanya SaStri,,, T. L. V enkatarama Aiyau, b.a., b.L.
Manager.„ K. S. V lS W A N A T H A SA S T R I, B.A., B.L.
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Contents.PAGE.
My Musical Reminiscences—By Mr. T. Lakshmana Pillai, b.a. (Continued frompage 244). 81
T he E arly W riters on Music—By Mr. Vinjamuri Varaha Narasimhachary,Cocanada {Continued from page 262) 85
Sangita SUDHA—Sanskrit {Continued from page 44). 89
Sangita Sudha—Translation {Continued from page 212). 113
T he Super Veena.—Invented by Prof. S. M. Jayaraj Pillai, Vellore. 116
Correspondence:—Mr. P. Sambamurty {Germany). 118Mr. T. R. Viswanatha Sastri Mayavaram: T he Katapayadi Chakram
and the Mela Karta Ragas.—Some inconsistencies. ... 119
L ectures delivered by Mr. P. S. Sundaram Aiyar, Tanjore, under the auspicesof the University of Madras {Tamil Translation). 122
Venkatamakhi oa Veena.—Tamil Translation of “ Veena-Lakshana in Chatur- dandiprakasika,” {Vide) p. 24 Vol. II, No. 1 by Pandit S. Subramania Sastri Tanjore. 131
Sruti determination (Sruti Nirnaya)—[Tamil). By Sangeeta Vidwan Umayal-puram Swaminatha Iyer. ... 135
H ari Keertana Vimarsa {Continued from page 57)-{Tamil). By GayanaPatu Keertana Patu Srimati C. Saraswati Bai. 138
Xist of portraits.F acing Page
Maha Vaidyanatha Aiyar 81Raghava Aiyar DoThe Super Veena
Illustration 1 116Do 2 & 3 117
MAHA VAIDYANATHA AIYER.RAGHAVA AIYER.
91
TEbe JournalOf
ZEbe /Ibusic Hcabemif? flbabras.A QUARTERLY
DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC.
VOL. II ] ^ 3)® - I 931 - & 1® [NO. 2.
MY MUSICAL REMINISCENCES.
Ill
Mr. T. Lakshmana P illai, b. a.
(Continued from page 244.)
We shall now make a brief reference to the career of Maha Vaidyanatha Iyer (popularly known as Maha Vaithi), a Brahman of Tanjore and a famous musician, who was one of the combatants in the celebrated musical duel which took place during the time and in the presence of His Highness Ayillium Tirunal, Maharajah of Travancore. Young MahaVaithi, while he was in his teens, underwent a sound training in music under the guidance and supervision of the then Pandarasannidhi* of the Tiruvaduturai Matam, Tanjore, which is one of the celebrated seats of Tamil learning and Carnatic Music in South India. It may be known that some time afterwards, the great Nagaswaram player Natesan, underwent a similar training at the said matam. As for Tamil learning, Maha Mahopadhyaya V. Swamina- tha Iyer, the great Tamil scholar received his Tamil instruction first under the auspices of this matam. Maha Vaithi Iyer, through this training, came to possess a sound knowledge
of the theory and commendable skill in the practice of music. During the latter part of his life, he lived at Tiruvayar (Tiruvadi), the native place of the great Tyagayya, where also lived the celebrated composer and musician, Patnam Subramania Iyer.
Almost the first time that Maha Vaithi Iyer gave a public performance after his training, was at the temple Mantapam, Tinnevelly, before the deity Nelliyappan. “ Is there any Mridangam player hereabouts, who can accompany me in my singing?" he enquired, “ for I have not brought one with me.” He scarcely expected that any.playerin Tinneve- velly could keep pace with him, for he was a fast and fertile singer, and with all,conscious of his superiority as such. None came forward and this fact of itself raised him in the estimation of those around him. But there was one ill-clad, unpretentious man of the name of Sundaram Iyer of Shermadevi,-a player on
* Maha V aidyana lha Aiyar is said to have learnt all his music at the feet of his fa ther and this may be seen from a publication of his life in 1894 by his b ro th e r Ramaswamy Aiyar.—Ed.
82 T H E JOURNAL OF T H E MUSIC ACADEMY
the Ghata Vaidyam, who offered to accompany the singer on that instrument. This was not the Ghatam Sundaram Iyer of recent fame. “ Can you indeed accompany me, with that poor unpromising instrument ?” asked Maha Vaithi.
“ With your benediction, Sir, I shall make a trial ”, answered the man. The fact that no Mirdangam player was bold enough to offer to play with him and that a player on a subordinate and a rather contemptible percussion intrument like the Ghatam, had the audacity to do so, raised a smile of scorn mingled with pity in Maha Vaithi, and he felt that he could make an easy prey of this player, But what was his surprise when he actually played on that instrument! Sundaram Iyer showed that he was not merely' superior to any Mridangam player, but that he was more than a match for the singer himself! In his Tani Avritam performance especially, Sundaram Iyer carried the applause of the audience and evinced such consummate skill that it turned the feeling of disdain on the part of Maha Vaithi, into one of open admiration. “ Well done, Sundaram Iyer!” said he, “ I never expected that so much could come out of that earthern pot.”
Maha Vaithi paid three visits in all to Tra- vancore during the reigns of three successive sovereigns, H. H. Ayillium Tirunal, H. H. Visakham Tirunal and H. H. Moolam Tirunal Maharajahs. It is the musical duel that took place during his first visit that is here described. It was in the year 1047 M.E. (1873 A.D.) during the Poojayeduppu (Das- ara) festival in the month of Purattasi. When he first sang, he produced a magnificent impression on His Highness, so much so, that the latter called his chief musician Paramcs- vara Bhagavatar in the evening and enquired, “ Is there any of our musicians in Travan- core who can sing as a compeer of Maha Vaithi in pallavi ? ” The Bhagavatar who had heard
Maha Vaithi, felt that neither he nor any other musicians then in Trivandrum, could come forward and sing so as to match him in pallavi. That being the case, to name any one would be to expose himself and that one to imminent danger. So, with a tremor in his lips, he answered, “Your Highness, I must confess that there is none in Trivandrum at present who can come forward as a rival to Maha Vaithi.” “ Is there none in the whole of Travancore?” asked His Highness again. The Bhagavatar reflected for a moment; a. thought flashed across his mind and he then replied, “ There is one, Your Highness, at Haripad, by name Raghavan. who, I think, can meet Maha Vaithi on equal footing. There is none else. That’s certain.” “ O! Raghavan ! I know him. Is he not still one of our Court Musicians ? ” queried his Highness. “ He is, your Highness,” was the answer, “nominally, for he receives the usual allowances. But^he is an exile at Haripad under command”. “ Then,” said His Highness, “ let him be recalled. Write to him under my command and ask him to come to Trivandrum forthwith. Let a cabin boat be sent at once for his use.” When Parames- vara Bhagavatar’s letter and the cabin boat reached Haripad, Raghava Iyer had not yet fully recovered from a late attack of fever. Still in obedience to the Royal command he started and reached Trivandrum in ten hours,
He went straight to his old guru Parames- vara Bhagavatar and fell prostrate at his feet. The latter, on sight of his gifted pupil, felt greatly relieved and wept tears of joy and said, “Oh, Raghavan ! you are a godsend to me. You must save the situation now, and the country’s honour which is at stake. There is none else who can do this. Maha Vaithi has been working wonders before H.H. and it is you alone that can play the saviour now for us, for, otherwise we fear we shall lose our profession.” “ Revered Guru!” said
MY MUSICAL KEMINISCENCES 83
Raghava Iyer, “ Pray, do not talk in this fashion to your own pupil, but give your benediction and take me to this wonder worker and let me do my best.”
Paramesvara Bhagavatar lost no time in intimating the arrival of Raghava Iyer to His Highness who fixed the very next afternoon for the duel between Maha Vaithi and the new comer. It was to take place in the great hall of Ranga Vilas, H.H’s palace. It may here be mentioned that the reign of H.H. the Maharajah was one of the most brilliant periods in Travancore history as regards the practical side of music. If the reign of H. H. Swati Tirunal Maharajah was great as regards musical composition, that of Ayillium Tirunal was famous for producing the greatest exponents of practical music, both vocal and instrumental. There was then a galaxy of some of the most brilliant musicians that Travancore ever produced, as for instance, Paramesvara Bhagavatar, Raghava Iyer and Ganapati Bhagavatar for vocal music, (to some extent the first and the last named were composers also), Mahadeva Bhaghavatar, Ananta Pillai Bhagavathar and -Mahalinga Bhagavatar for violin, Kalyanakrishna Bhagavatar, Sattu Bhagavathar for Veena, Violin, Swa-rabit and Jalata- rAngam, besides vocal music. In addition to music, there was, for the art of poetry, exponents like Elathur Ramawamy Sastri, known as Abhinava Kalidasa. Sanskrit learning was represented by Raghava Iyengar, Kadayam Subba Sastri and Tiruvisanallur RamasWami Sastri. Katha performance flou- ished under the famous Meruswamy and Ramaswami Gosayi son of Maha Meruswamy, Maharatta Brahamans, whose voices could range between four octaves. The Mridangam players were Seturama Rao of Tanjore, Sankaran and Somasi of Trivandrum, who easily topped the list of master players in the whole presidency. To crown all His High
ness himself was no ordinary vocalist as testified to by so great a master as Maha Vaithi himself, whom he out-rivalled in speed and facility of singing. Imagine the magnificence of a Court in which the King himself shines as one of the best vocal musicians of the day, with a deep, personal interest and enthusiasm in music, attracting great musicians to his court and rewarding them with a lavish hand. What a glorious epoch would it be for music ! All the musicians would try to vie with one another in earning the good graces of the King and thus advancing the art and practice of music. Such was the court of H.H. RamaVarma Avillium Tirunal. Besides the ve- - >teran musicians above named, there were rising stars like Raghupati Iyer, Rama- swamy Bhagavatar and Ramachandra Bhagavatar who were then drinking deep at the fountain of music that daily poured from the lips of the greatest musicans of the day to enable them, in their own turn, to shine as the greatest musicians of a later day. Of course, Paramesvara Bhagavatar, the Guru of Raghava Iyer, with his mellifluous voice, was the veteran leader of the whole band who, by his proficiency, saintliness and piety, commanded ithe admiration and respect o f one and all. All these musicians and learned men graced the hall of Ranga Vilas on that memorable day, as its high walls resounded with one of the greatest musical performances, South India had ever heard or was ever to hear. All were asked by H. H. to take their respective seats. Near Maha Vaithi sat his own brother, Ramaswamy Iyer, a Tamil poet (the author of Periyapuranam Kirtanas). Raghava Iyer sat alone on the opposite side. The figures of the two great, handsome'musicians, surrounded by the other musicians and scholars, looked like two shining brilliants, symmetrically placed in a necklace, while H. H. the Maharajah, with his superbly charming personality, sat on a green velvet cushion, facing
84 T H E JOURNAL OF .THE MUSIC ACADEMY
the whole audience like the main, central sparkling gem of its pendant. Then there followed a calm such as would prevail before the breaking of a terrible storm. The scene held the audience in the deepest silence and attention. The ice was broken by H. Highness saying, “You may begin now ”. Raghava Iyer then opened the performance by elaborating the Raga Sankarabharana in his own majestic style and then singing a pallavi in it in Ata Tala which ran thus. ‘ Vinavayya Pan- chandeesa.' The pallavi was taken up by Maha Vaithi and sung with wonderful ease and fertility. The singing which kept the audience spell bound for three hours, closed at 5 P.M. It was resumed after sunset, at about 7 O’clock and lasted till half past ten. Kalyani Raga was elaborated by Maha Vaithi and a pallavi in it beginning ‘Taraka Brahma’ was sung by both the musicians.
* How shall we describe the scene of that glorious musical combat, wherein the greatest of the Eastern singers was pitched against the greatest or the to be greatest singer of the times in Travancore ? Shall we compare them to two prowling fierce lions that, shaking their proud and shaggy manes, rush against eaoh other like the furies and fight to death ? Or shall we liken them to two Roman gladiators, feeding the eager curiosity of the spectators with the giant exhibitions of their strength ? How can we picture to the reader the excellence of their singing ? Shall we say they were two musical fountains sprouting perpetually, rising one above the other, and falling in magnificent showers on the greedy ears of the audience ? Or shall we say they were two sky-seeking musical rockets, which, leaving the sullen earth, one after the other, coursing through the silent air, and reaching their point of culmination, suddenly burst
into a hundred brilliant starlike melodies and combinations by which the ear was flooded ? The scene was one more to be witnessed or imagined, than described.
The tug of war was continued on the next day. Todi raga was elaborated and a Pallavi in Adi Tala beginning with, ‘ Emani-matladi- neevit Rama Rama Rama !’ was sung. A pa llavi in Kharaharapriya raga, being the initial portion of Tyagayya’s Chakkaniraja, was sung. It must be remembered that Maha Vaithi was no easy opponent to deal with, being the master of many ragas which were yet unknown in Travancore, and gifted with a voice unrivalled in clearness and sweetness, coupled with a special capacity for rapid performances. Raghava Iyer, on the other hand, could not boast of these natural endowments and facilities. But all the same he impressed the audience .with his originality, manly vigour and ready resourcefulness. His voice, though somewhat gruff, was yet strong and seemed to suit the boldness and majesty of his style. His method was Ghanarn, while Maha Vaithi’s voice was ‘ Nay am.’ Ghanarn means gravity and Nayam means persuasiveness; the one forces admiration, the other lures it; the one may be characterised as a tower of strength, the other as a well-laid-out garden; the one a mighty river, the other a fresh water lagoon; the one was imposing and sublime, the other mellifluous and dazzling. Indeed Raghava Iyer was so much admired for his sublimity that he seems to have founded almost a school of his own. Whatever he sang was stamped with his individuality. He was a man who despised the beaten grooves of singing and cut out his own way, as it were, through rugged mountain heights and pathless forests.* It was difficult to say which
*Tlie following is quoted from iny essay on of " E nglish Essays."
T rav an co re Music and M usic ians" — vide p. 127 of my book
T H E EARLY WRITERS ON MUSIC 85
of the combatants carried *the day, but it was proved beyond doubt, that Maha Vaithi for the first time discovered his most formidable rival. Both the musicians were treated with equal courtesy and equally honoured by his Highness, who gave them pairs of bangles, laced shawls and other valuable presents> besides a monetary reward of 1500 Rs. each. There was no doubting that His Highness gained his object which was to show that Travancore could meet Maha Vaithi on his own ground. This incident added wings to the fame of Raghava Iyer, which from this moment knew no bounds. Everyone was
applauding him. Kalyanakrishna Iyer, the greatest Vainika of the day, by his genius and perseverence, so successfully reproduced many of the splendid combinations of Raghava Iyer on a later day, as to compel the admiration of the latter. Mahadeva Iyer, another genius, equally distinguished himself on the violin. Not a week passed, but Raghava Iyer’s music was heard before His Highness, or elsewhere in Trivandrum. Thus lived this great musician, admired and honoured by all till he retired of his own accord to Haripad.
THE EARLY WRITERS ON MUSIC.By
Mr. Vinjamuri Varaha Narasimhachary. Coconada.
(Continued from page 262).Till now we saw how the few above men
tioned authors on music, out of a galaxy of classical writers, were independent in their writings and produced their own theories and explanations on ~the subject. They only quoted, here and there, their predecessors either to support their views of to criticise them in order to make their own theories absolute. This period might have run up to the 5th or 6th century, when the great commentators like Lollata, Udbhata, Sankuka, Abhina- vagupta and others took upon themselves the task of commenting on the works that already existed. This commenting business continued till the 12th century, when the great Nanyadeva brought forth his monumental work “ Bharata Bhashyam,” which is almost an independent work, although it strikes one as a commentary on Bharata’s work. In the next 13th century, the great Sarangadeva again brought forth his original
work on music, even though, it was consr dered, that he drew much of his information from Abhinavagupta and Nanyadeva.
So we see, even in the early period and during a considerable part of it, there flourished original writers like Bharata, Kohalk, Matanga and others, while the remaining period up to the 12th century, witnessed commentators like, Lollata, Udbhata, Abhinavagupta and others. It is to be noted that, as in every case, the original works shone bright in the musical firmament, only in the light shed by the numerous commentators. Thus,the above works became popular only in the hands of the able interpreters that lived for 6 or 7 generations, when again, the old order changed and new theories had to find place in accordance with the taste and suscep- tibilites of the people of those times.
But it is a curious irony that many of. the commentators took upon themselves the task
• Note .—W e learn tha t an eye-witness to the combat, Mridangam Seturama Row of Tan jore , remarked th a t R aghava A iy a r’s music contained a l it t le admixture of Desiya style compared to the pure Carnatic one of M aha Vaidyanatha Aiyar— (Ed.)
T H E JOURNAL OF T H E MUSIC ACADEMV
of commenting only on Bharata, as if his were the only work worthy of their task. Unfortunately, for an unknown reason, the other works of Kohala, Nandi, Kasyapa and others were not given due consideration, so much so, the original works existed for some time and then passed away into ‘dark oblivion.’ We cannot trace any single writer on music in the six centuries that followed the last writer Matanga, attempting to scan the classical works, other than that of Bharata. His was the only work they took up for consideration. There were none to follow or criticise the other works in toto. Only a few stray quotations are found, from the works here and there, in their commentaries on ‘ Natya- Sastra'. And it is no wonder that ‘ Natya Sastra’ acquired a great fame in the hands of the commentators, while the other works were gradually unrecognised and unremembered, till at last they found a place in the unknown regions, which it is too difficult for us to explore, living as we do, at a great distance of time. Yet, happily, some glimpses of a few of these works are now to be seen in some libraries, where the enthusiastic explorer had secured, for the information of the curious. Even these are not complete or clear, or accessible to the avaricious music lover.
To comment or criticise an original work was not the only task of the later critics, as we can presently see, but they had their independent opinions and theories inserted in all their works. Some of the works appear to be compositions full of the theories of the author, although they purported to be commentaries on the original one. The grand work of Nanyadeva is thus an independent composition like Ratnakara. Nanyadeva introduced new matter in his treatment of the various subjects. In commenting upon the theories of Bharata he even deviated from him in some places, where he could not agree with the author and was bold enough to introduce
86
his personal theories into his commentary. In order to support his views, he even quoted some instances from old authors like, Kohala, Dattila and others, whenever he could see that they agreed with his views. These works are therefore neither commentaries, nor original compositions and, for that reason, have occupied a place secondary to the real commentaries like that of Abhinavagupta.
The above facts go to show that the art of music, as every other art in India, was changing from time to time, in order to be in conciliation with the changing minds of the people. Nowhere do we find a better application of the saying,
" T he old o rde r changeth yielding place to new And God fulfils^ H im se lf in many ways,L es t one good custom should co rrup t the w o r ld .”
than in the domain of our Music. As tastes and sentiments of the people varied from time to time and from country to country, new theories and principles had to be introduced into the art. The views of Bharata, which were once agreeable to the people, were distasteful to those that lived in the 12th or 13th century. Even those who followed him could not agree with him in all his views and so many authors ljke Sarada-tanaya, Bhoja- deva, Rudrata, Bhatt'anayaka, Mommata and others have at times differed from the sage and introduced their own views into their works. The early commentators on Natya Sastra, Lollata,Udbhata, Sankuka and others, also had introduced their own theories here and there into the original works of Bharata. This throws some light on the process of gradual interpolation and recasting of the text of ‘ Natya Sastra ’. The process of introducing new matter into their commentaries continued for sometime, till at last, original works like those of Natya Bhupala, Sarangadeva, and others appeared in the musical world.
T H E EARLY W RITERS ON MUSIC 87
Till now I have been taking a bird’s eye view of the conditions and the circumstances that led to the various commentaries and original works based on ‘ Natya Sastra And it is for me to substantiate the above fact by mentioning each of the commentators in an orderly form.
In my last article in this Journal, on page 194, I have mentioned Lollata, Udbhata. Sankuka, Kirtidhara, Bhattanayaka, Bhatta- yantra, Matrigupta and Abhinava, were the great commentators on the ‘Natya Sastra of Bharata. Sarangadeva has testified that Lollata, Udbhata, Sankuka, Bhatta, Abhi- riavagupta, Kirtidhara were the real commentators on the work. He says,
;qr^TiTTRT w rcffa i
The other authors mentioned by him viz. Rudra.ta, Nanya Bhupala, Bhoja Bhupala, Paramarthi, Somesa, Jagadeka Mahipati and others, might have been independent writers, according to him, on dramaturgy. But it is to be seen that even these writers, were not independent in tjte execution of their subject, and some, either followed, or criticised, the topics in the 'Natya Sastra' of Bharata. There are no doubt independent passages of their own in their works and they only called in the evidence of Bharata whenever they needed him to support their cause. These were not thus almost idependent in their dealings with the subject. Taking into account all those authors (other than Bha- rata’s commentators) that followed Bharata or only called in his evidence whenever they found it necessary, we get a good many of them. It is important to note here that many who were interested in Alankara Sastra, a part of dramaturgy, owed their allegiance to our Bharata and built up their works in his
wake, in that line. So we come across two kinds of followers of Bharata; first, those' that were fond of drama, histrionics and music and second, those that were interested in Rasa Bhava and all that was connected with poetics. Some laid stress on the importance of Rasa in poetry, an important section of dramaturgy, while, some elaborated and magnified the ennobling musical section of it. Authors like Bhama, Udbhata Rudra, Rudrabhatta, Bhattanayaka, Dhanan- jaya, Bhoja, Sarada-tanaya, Mommata and others had advocated and enlarged that portion of Bharata’s ‘Natya Sastra’ which treated of dramaturgy and Rasa ; while waiters like Abhinava, Nanya, Lollata, Kirtidhara, Matrigupta, Somesvara, Sankuka and others had developed the histrionic and musical portion of the same ‘ Natya Sastra ’. The works of the former authors have been useful to all Rasa Vadins and to those interested in Alankara Sastra, whereas, the treatises of the latter, have been advocated by all who are in sympathy with dramaturgy and music.
It is said that Bharata in his 'Natya Sastra' had dealt equally and adequately with all topics concerning dramaturgy, in all his 37 chapters. But he divided his work into 4 main sections viz, i. Satvika, ii. Angika, iii. Vachika, iv. Aaharya*. Of all the later writers and critics on 'Natya Sastra ’ some had, as has been said till now, developed either Satvika or Angika or both, while some had enlarged portions of Vachika and Aaharya of Bharta’s work. So the treatment of the sub-A-ject of Sangeeta in the classical works may generally be on the following heads, i. Sva- radhyaya, ii. Ragavivekadhyaya, iii. Prakir- nakadhyaya, iv. Prabandhadhyaya, v. Ta- ladhyaya, vi. Vadyadhyaya, vii. Nartanadh- y ay a, as in Sangita Ratnakara of Sarangadeva. But the topics may still vary in all the works.
See the Journal of the Music Academy, Vgl. I. No. 3. Page 194.
88 T H E JOURNAL OF T H E MUSIC ACADEMY
Matrigupta.or
Matriguptacharya.Numerous quotations are to be found, in
many of the works on damaturgy, including that of the great Abhinavagupta, from the work of Matrigupta, which might have had its eminence by the fact, that it was the first commentary on Bharata’s ‘ Natya Sastra.' He was considered not only as a poet and a writer on poetics, but also as an author on music. F rom the work of ‘Natyapradipa’ of “Sundara Misra " we understand his work on music was only a commentary onNatyaSastra. He has been assigned to the 6th century A.D., and considered as a contemporary of Siladitya Pratapasila of Malwa (who lived between 550 A.D. and 600 A.D.). Matrigupta’s work is not available now and only some stray quotations are given from it in many of the musical works of later writers. It is considered that it shared the same fate as that of Kohala and others. Yet, some hold that one ‘ Ralna Kosamrita ’ was the work of Matrigupta. Some extracts from Matrigupta’s work are given in ‘Manasollasa by the king of Venkatagiri, about 4 decades ago. Yet some consider ‘ Sangita Kalpavalli' was the work of our author. It is therefore for us, to secure the above copies to have an insight into their authorship.
Udbhata.
Udbhata was recognised as the next writer on music and poetics and was assigned to the 8th century A.D. Although his work on Music, as in the case of that of the above Matrigupta, has been lost in oblivion, yetf his other work on poetics, ‘Kavyalanbara Sara Sangraha’ is now extant. But many stray quotations from his work on music have been since given by many of the later writers on music. Rudra or Rudrabha- tta followed his theories in regard to poetics when he introduced Santi Rasa among other Rasas. So much so, he was considered as a representative of the Rasa school in poetics. In his time the Rasa school gained sufficient importance and was regarded as the worthy revival of the Alankara school. His work on music was considered nothing but a commentary on ‘ Natya Sastra,' which unfortunately, is not available now. He was often quoted by Mommata in his illustrious work * Kavya Prakasa.’ During the five centuries intervening between the time of Udbhata and that of Sarangadeva, there existed a large number of eminent authors like Nanyadeva, Bhojadeva, Somesvara, Abhinvagupta, Sarada-tanaya and others who composed large works on dramaturgy and built up a grand literature. Sarangadeva testified to the fact that his work on music was a commentary on ‘ Natya Sastra.’
{To be continued.)
II II
II n
(Continued from page 44),
— imvrpft s rrft: —
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SANGITA SUDHA 107
— 3to tttRt: —
UT g ITT ^ ^^t?T Iwq: wc- qgq qq qiqf ^rarg^rsr qg^q^: iq ^ 11 \&a 11R55tqq: qT^qinr ^ RguirTrqf gqisTRrerT: i^ qrcriqq irqRcr iR Rql ?tot q^qsiqqf q II %$< 11
iqiqr irq?cqq- R qr^rR iqrlRqiq$iTq;iq qfq: iitt JT^mjrmvrcrT g crcqf irRfRqq H ^R q .r q- ittR: n
(snit qr55p) qsrqqr qR gqrqT RRqfrrq iTTPJTiiTnTt «TT*T 3^PT Tf ft T^TT frTt q rR IT W n q II
— arq y w i i : —
1. q T q R iff q f ITT T T ifT T T*s
£ T q ^ q
2. i f 6 UT IT T R l T ITT U TIT R qrf R q IT 55
3. q f i f f i f f q f i f f i f f i f f i f fIT
VIT 55 3 ^ 3
4. i f f sft q q ITT R q R q q r q T
$ 3 ^ R if
5. qT <TT IT i t a i f i f
IT T i f f q; i f i
6. ITT R q IT T T P T i f f i f f i f f i f fq 5 R s it qrf Rr
7. ITT »TT q f IT T q T q T ITT ITT
IT 5T T IT W R t
8. ITT q T it t f o r i f f q f IT T IT T
TT IT $ q
9. IT q T it t q R q r q r q r q r
S i t R r t j TT it Rr 55
10. ITT U T U T R i T q r n r q r q r
IT ITT 3T sr q %
108 T H E JOURNAL OF T H E MUSIC ACADEMY
11. ITT nr ITT *TT iff sft iff iff
* f t f t HT 512. ITT ’TT JI «rft*T ITT ITT ITT ITT
IT f t 5T *T
13. ITT ITT ITT ITT m f t * iff iff% if 3TT ?r IT t:
14. iff iff STT ITT f?m f t * *T *T
* IT «T if
15. a ITT m TT ITT f t * f t iff iffif * «rf q=q
16. r>.in1 iff STT »TT *T *T ITT ITTIT IT T * nr
- iftcTU
% ? ^ II %C\ II
— sm m roforf siTfcr: —
*»>r a t e f f 55%c u r g - « a f ^ .v m n H i t f t ^ i^ ^ ^ n r ^ n r s s i i
iTTmTisftsmmiTgfim: m i^ r-w rc ru n fite *riift«r i-e|fj^55: 3T^T Wld*hM5jm$ II \<% II
it t ^ w ^ p t t ^ t tt^ t T T « m ? T n m g ^ i « n ‘ Iq^HTf^ITT TJ sflPTTT ^rg’ff H im : JST: ^IflT «m 5TFITq;il^<2«ll
: ^ ,jnfcTT f fr^TQ’T^T •
— am s m n u —
i. * a # e a a a^ m i 5 *r f e ?r
SANGITA SUDHA 109
2. ST ITT ST ITT ST a ■ a aST ITT IT s S>
3. if t m a ITT ST ' l l ITT ITTIT fir
V
S 3T: IT S *
4. ITT s t ITT TT a a a as i SIT *rr fir
5. a ITT ST a a ITT a ITTST far IT fir s m
6. ITT a ST a si fir ST ITTS a f t 3 s ST IT
7. ST ST ST s f t s HT ITT ST ST* f i l S
8. a ITT SIT ITT ST ITT ITTf ir S S IT it 3 *
9. ST ST ITT i r f i s ITT ST ITT STS fir a S
10. SIT a ST ITT STT a ST ST* " 3 s ft a *
11. sft if f a a a a a a* S 3 a 3
12. ST ITT SIT a s f i i f i r SIT ST STfi* f s ST s a S
13. ST ST ST s f i s *TT ST ST ST
S f s a S14. a ST Slfil ITT ST ST ST
IT or ST f ir * S
15. ST a ITT ST a a a a?T a IT a a
16. 5ft a SIT STT ITT tt ITT «TT
S
l ib T H E JOURNAL OF TH E MUSIC ACADEMY
— iftcrq; —
ft ^sn^faTTroTW^TTrTfa^TSTTfaHTTfjrrTffa T rfarfaipT Tdfag^reTTm fifoH faar'sfafjfiTfasJTJrTii; i
M u g ^ fa ^ T^MEFTT ^gfafasrereft^irfaftT?Turinfa Mr TsaTT^tfajrn 11 n
— am TrTFyrnrgifT sn fa : —
T ^ f t^ T m S T : gir: T^IT TT SfTfq1; |w nsTfart: ^ n f a r 1? Mrr fa«r: sfanr ii 11rrsrfa^TTfa ^ itwitct f a r : ^j<< r r»A^a ^ n : 1
T g ^ o r e r s r e l ttsst ijM sfarrr faftfaT n ii
m j r « « n r a n r o g ^ r g » n ^ i R ^ ^ ^ tR uttstt i 3% ga^ l ^ t t it ^ t »tt% wtttt fa fa r ta ft ^ ir g n \<z<z II
5TT5YTTTT7T ?TTCT sMTfafttST^Tml' TSITTITTgiTl ^ I
— am srenr: —
tt ITT t t 5ft TT ITT TT iftT>T
*rfafa TT TT <TT TT TT TT TTft
TT sft STT m ITT ITT TT TTTT IT TT * 5T
5ft 5ft sft 5ft ft* 5ft- 5ftV
sr 5-rt 5T ITT 5T
5ft sft TT ITT fa r fa r TT TTt: IT 5T fa IT
tt TT 6 a a 5ft 5ft
T 5! 3 * fa IT
ITT ftiT m T T 5ft 5ft Tft 5ft
ft TT fa TT fa
sft *TT fa r 5ft a 5ft a
T IT 5Tt ST8.
Sangita sudha
9 . ift ITT ITT f t m IT T ift ift i f t5T IT I T 3T * 3
1 0 . ftr ITTf\
H I ITT 57T 5TT U T ITTi fft I T IT I IT IT
1 1 . 3TT <TT ITT 5TT f ft f ft ift ift■*N
5ft ¥ ST1 2 . ITT 5TT ITT s r fiiT ITT ITT ITT ITT
K 5ft ft ft13. =ft ift tTT SIT i f t ITT ITT ITT
ST OT ITT fir ft ft1 4 . 3ft ift' i f t f ft sft ift
»>H i ift
ft ? Ti
ST ft fft15. ITT ITT SIT f t l nfftfft SIT 37T ITT
cT fft 55T i r r f t 5516 . ITT 5TT ITT 5 rfiiT ITT U T ITT ITT
iT fft ftT ft
— iftrN^ —
?ETift
HOWT^r ftft ^srTftirfa^fft^TIT3rft55iTfftift3[II, II %&* II
— 3T»J STTisft STTfft: —
3 1 # ! ^ ^ T oriW^T 'gqT W T fiPTT ftlT’TiJIlTSJ | U T m K ^ S JT 5!! f l f t l fiPTr?: ITsNrT: ^ n f g T J T r g ^ T II \ \ o || STmTITtfHTguiftgTrTt ItTT^ITT^qT'^TrTT Im rm «nT«Tfir*^^5TT'yr iftf tT fm ^ iT f e * irw infft: n ^W r^z^rnr FT T ^r^r ^isncTsr u rn s ; i3% g ftft jtt^ w irrft s£?tftt fftf?ifttaft i u t ^ n 11«TF«nr^r f^T^r rctfftftt.s?TT «Tsr???TT?m^?T?ir srftifTr: i
— am stictti: —
i . m r< 6 ' i t 6 ' 3ft 3ft
5T * or I ^ ^ *T
TH E j o u r n a l o f t h e m u s i c a c a d e MV112
2. a ITT a nr a a a aqT R rT 5T i
3. a a m qT a a itt qTfq R q q ifY TT 5!
4. a *TT q fq a a a aq 3 a
5. a a a a q R q R qr qTq IT 3 q q q
6. ITT qT ITT R q qT qr ITT ITTq 3 R fq
7. a a *tt *r q m qr qr qrq R OTT R 3 R q
8. ITT qT ITT KIT qr itt itt ITT5T 55 3 s:
9. VTT a ITT a qr itt itt ITTar 3 q q q
10. <TT qr ITT R q ITT qT ITT qT3 <n t: R q
11. a a a a a a a aq q q R T R 5T R l
12. a a ITT a ht m a asq ^ q 3T 55 q q q
13. qT qr ITT R q qT qT qT qTIT IT q q 3
14. a a ITT qq itt qT qr qT5T * wr q 3TT R
15. qT ITT a a 5TT a qT qrq q R ? q R s
16. R q ITT ITT ITT qr itt qT itt
q
— —
R q s re R R q q a n f a ^ q W r p r q ; iq q T j jq q q ^ R f q qR orrR rjR q trey^cn n
3T rfq<M JpJTT R q qqqR'AR?TRi'J'':«<?W^<SH'H«iqHa»j5RHT sn rrR g q q R s r q R ^ q q : II W II
{Translation)(Continued from page 212).
SANGITA SUDHA.
Sadharana.
(346-7) The modulated (Sadharana) notes if used in actual singing, effect the differences in Raga and similarities in variety. Hence we proceed to show what the Sadharanas are with reference to Svara & Jati.
Svara-Sadharana.(348-50) Svara-Sadharana (modulation) is
the basis of differentiation of Ragas e.g., Ni takes two Srutis from Sa and becomes Ka- kali Ni, as also, Ga becomes Antara Ga with two Srutis taken from Ma. These two are called Sadharana or common because their position belongs to two Svaras—Ga and Ma, or Ni and Sa.
(351-2) When Ri takes one Sruti of Sa, it is Sadharana between Sa and Ri. The Svara is Shadja-Sadharana. This occurs in the Ma- dhyama Grama.
353. When Ga takes two Srutis of Ma, Ma takes one Sruti of Pa ; and then we have Madhyama Sadharana.
Jati-Sadharana.354. The common feature between two
Jatis of the same Grama is termed Jati-Sadharana by the musicians. Some say that they are different Ragas of the same Jati.
(355-60) W hat' Sadharana means—with reference to the use of Ni and Ga— and how the other Svaras are thereby affected, we have studied. There is neither discord nor Raga-deviation when Ni is Kakali as when you pronounce ^T -(ft) ^T. Some say that it is SIT ( f t) sn by way of explanation. As
a matter of fact, you pronounce OT, touch Kakali f t in the middle and pronounce *TT in the end. Then you see in this group it is Kakali Ni that occurs.
Similarly, you pronounce H I , touch *T
in the middle and pronounce in the end. Then you have Antara *T in the middle.
361. You pronounce ’ll touch the notes in the middle and pronounce f t in the end; then too, there is neither discord nor Raga- deviation.
The Varna.(362-5) We have done with Sadharana. Let us then describe what Varna is. Singing con. sists in the 1 Grouping of notes ’ or Varna, as it is called. It is of four kinds—Sthayi, Aro- hi, Avarohi, and Sanchari. If you repeat the"1 same note thrice and in the Vilamba-Kala (or slow time), it is styled Sthayi-Varna e.g.
or n r n r n r - Arohi-Vama is the regular ascent of notes in their natural order ; while Avarohi-Varna is the descent of the notes in their natural order. And Sanchari- Varna is the promiscuous mixture of Arohi and Avarohi Varnas for singing purposes.
Alankara.(366-7) Let us see what Alankara is, after
having known the nature of Varna. Even as a woman adds to her natural beauty by means of ornaments like Tatanka (ear-ring) and others, the act of singing becomes sweeter to hear with the 36 Alankaras (arrangement of Svaras) added thereto. Others say that there are 60 Alankaras.
TH E JOURNAL OF T H E MUSIC ACADEMY
The Sthayi-Alankaraa.
(368-70) Of the 36 Alankaras let us know about the Sthayi Alankaras first. If the first and the last note are the same, then it is called Sthayi Alankara. They are seven in number.
(371-3) In these Alankaras the following notation is used:—The Mandra (low) note has a dot on the head. The Tara (high) has a vertical stroke on the head. These seven Alankaras are as follow :—
(374-9) ( 0 STSTSTTft— HI STT SIT II I .
(2) srsrsn^T— SIT SIT STTII
(3) STSTSTRTPcT—SIT STT SIT I
/ x 1 • 1(4.) STSTSW T—STT STT SIT I
(5) ^ jftftrrT— STT f t SIT, SIT *T- TTSTT, SIT TOftsTT I
. I ((a) HSrTTT—STT TSSTT, STT *TJTSTT,
SIT TOftrSTT I
(7) TOT?—STT ftsiT, SIT TOTSTT,
sit roftrsiT i
The Arohi-Alankaras.
(380-2) These are twelve in number. Let us see what they are with their names and the Svaras used in singing.
(383-397)(1) Vistirna—STT tf*TT ITT HT STT sft STT I
(2) Nishkarsha (a) STST f t f t *T*T HIT TOstst f tftr i
or(b) STSTST, f t f t f t , etc.
or(c) STciti^, f t f t f t f t , etc,
~U4
Varnas (b) and (c) are also styled as Gatra Varnas.
Note:—The (b) variety is a repetition of No. 12, (where f t is omitted).
(3) Bindu—'STSTST f t , TOTO, T W Iftrftrfa.
I (4) Atyuccha—SHT, ftlT, TO, 3TO, tr f t .
(5) Hasita—ST, f t f t , *T*PT, THTTHT, ’TTT-t o , qsnroT O , ftrftftfftftrftftr.
(6) Prenkhita—STft, ft»T, TO, TO, TO,— (also called—Krama).
AJr r \ !(7) Akshipta—HST, IPT, 'TT f.
(8) Sandhi-Prahcchhadana—^ftlT , STTT'T,TOft.
(9) Udgitha—STSTST, SlftlT I TTTTTT, ITTO I
(10) Udvahita—STft f t f tn , *17 <TTO.
(11) Trivarna—STft *T*T*T, TO «PTO.
(12) Veni—STSTST, f t f t f t , UTO, ITTO, *T-TO, TO*T
In the last four Alankaras, Ni is not to j be sung. These are the Avarohi Alankaras.
(397) If the order of singing is reversed, i.e. Aroha is changed into Avaroha, we have
\ twelve Avarohi Alankaras. e.g.
Vistirna (Avarohi)—«f)', TT, ITT, TIT, *TT, St, STT answering to Vistirna (Arohi).
The Sanchari Alankaras.
(398-480) The twenty-five Sanchari Ala- karas are as follow:—
(1) Mandradi— *Tft, f<H*T, «iM*T, TOPT,TfTO.
(2) Mandra Madhya —*Tsrft, JrftiT, t o -tt, stto, faro .
(3) Mandrantima—f t TOT, TOrft, ITTOT,tott, srfro.
(4) Prasta’ra—TO, far, qq, TO, qftf-
(5) Prasada— - * l f T O , ftqft, *TJT *T , J T T f f ,qqq, qfTO.
(6) Vyavarta—qqftqq , ftqqqft, qq-qqq, qqqftrq.
(7) Skhalita—TOftq q ftqq , ftqTOqroft, qqqvi qqqq, qqqftr ftr- qro , qfthro TOftq.
(8) Parivarta—qTO, ft ITT, qqq, q*T-ftr, q fro .
c - r> j .f (9) Akshepaka—^ftq , ftqq, qqq, qq-
vr, qvrftr, sifter. r \
(10) Bindu—HTO ft*T, ftftft qft, q q qi qq, qq^ qq, qqq qq, vjvpq
ftrq, f t f t f t r *rft- A
(11) Udvahita—'qftqft, ftqqq, qqqq,qqqq, qqfro , qftrqft.
(12) Urmi—t o qq t o , ftq qq ftq, q qq q t o , q ft ftrft qftr, t o t o q*r.
(13) Sama—qftqq qqftq , fttlJN qq-qft, qqqq qqqq, q ro ft ftq - qq, ro ftw *rftqq.
(14) Prenkha—qftftq , ftqqft, qqqq,qqqq, qqqftr, q ftftq .
(15) Nishkujita—^rft^TTO, ftq ftq ft, q .qqqq, qqqqq, qsrq^r«q.
qqqftr, qrofro^r.
(17) Krama—n f t * lftq SlftTO, f tq ft-TO ftqqq, qq qqq qqTO, JTT qqq qqqftr, t o r o f t qq fro .
(18) Uddhaatita—Sift qroft, ftq qTO-q , t o ftrqqq q q srftrqq-
(19) Ranjita—TOft$T q f tq , f tq q f t *T-qft, qqqq qqq, qqqq qqq, qfroq ftrqq, qqftrq *rftq.
w (20) Sannivritta—Pravarttaka—ti^tTOft,f tq q r o , q f tq q q , ro ftrq q .
(21) Venu—t o f tq q , f t f t qqq , q t o
q q , q qq f t q , q t o s if t .
(22) Lalitasvara—Sift q f tq , f tq q q ft,t o vito, qq ftrqq, qq siqq.
(23) Humkara—Sfftsi Sift q fts i, S lftqq q f tq , sr ftq q q q q fts i, S lftqq- q q q ro ftsr , s r ftq q q q ftq q r o ft sr, sr ftq q q q fte ftq 'iq q ftsT .
(24) Hladamana—TO ftsi, ftTO ft, qq-q q , q q q q , qftrqq, q g ftrq .
(25) Avalokita—HTO qf^SI, f tq q Jjqft,7 *tto ftiftr, TOftr' ftrqq, qftsr
j TOq. r.v
These are Arohi Saiichari Alankaras. Wise men could easily form for themselves the corresponding twenty-five Avarohi Saiichari Alankaras by reading these notes in the inverse order-^-vtz., changing the Aroha into Avaroha.
s a K g i t a s u d h a 115
(16) Syena—Hftqq^q, ftqqqftq, qq-
(To be continued).
* f HE SUPER-VEENA.Invented by
P rof. S. M. J ayaraj Pil l u , Vellore. (All Rights Reserved).
“ And this is he for whom the world could find no fitter business than guaging ale barrels,” so wrote Carlyle while estimating the genius of Robert Burns. It is almost a truism that men with ideas suffer in their own days for want of timely help and succour. Somewhere in the last decade, Mr. Fox Strangways remarked that Indian music followed the time-honoured methods, the science of music remained where it was for several generations, and that the Indians were apt to follow the classic musicians with blind faith, and carry on the vocation from generation to generation, either preserving the spirit of the masters, or jealously guarding any of the secrets which they, imparted to them. The criticism levelled against the musicians was either exaggerated or made without reference to the conditions of the country where talents of a high order were either not recognised, or could not be recognised by the patrons of music for obvious reasons.
Feelings such as these, are bound to vanish when one steps into the studio of one Prof. S. M. Jayaraj, a music teacher of the old and historic town of Vellore, to have a look into the superb Super-Veena, lying majestically in a finely varnished wooden box, velvet cushioned and measuring 54" x 13" x 12", The Super- Veena, as it is called, is a big improvement on the old time-honoured Veena, on modern scientific principles. One should be a bold man to alter the Veena in shape and principles, especially in a conservative, and orthodox-ridden musical world. The Veena is held in high esteem, and is patronised by the Goddess Saraswati, the Queen of all musical instru *
ments, and the stringed instruments in particular. Veena playing is certainly a difficult art, and one that has mastered it can give infinite pleasure to the hearers.
The Veena does not produce that richness of sound which is necessary for a big or an overflow audience. The low tonal effects, and the subtleties of the art, could be appreciated only by the musically inclined few, and as such the big audience have but a careless, and indifferent appreciation of the merits of the Veena. The Super-Veena seeks to obviate this handicap. The Veena is constructed on the principle of sympathetic vibrations.
Illustration No. 1, gives a clear idea of the instrument invented by Mr. Jayaraj. This instrument is made from a single piece of finely seasoned and scientifically tested tough jack wood. The selection of the wood was made after elaborate experiments. The wood was preferred because of its toughness, flexibility, and durability. The modern Veena has ivory borders duly ornamented. But ivory, on account of its hardness was known to interfere with high musical effects. In this Super Veena, the ivory was abandoned, and the ornamental work is done in the wood itself.
The ordinary Veena has only seven strings while this new Veena has 23 strings. The form of the Veena is kept in tact, and the seven major svaras are held as usual in the seven strings. Four of the strings run on the top of the bridge, while three run on the side. Underneath the frets are the 16 additional wires. The design leaves nothing to be desired. It is artistically worked out, and
*Described with illustrations by Mr. N. Ramabhadran, B. A.
T h e S u p e r -V e e n a .
Illustration No. 1
T he Super-V eena.
Illustration No. 2.
Illustration No. 3.
THE SUPER-VeENA
■will compare with any of the best factory productions (of the musical instruments) of western countries. In the sound box, (the kudam) are the two presiding deities Saraswati, and Gaja Lakshmi, beautifully carved. The borders are ornamentally decorated with a floral design of the parrot, flower, and leaves. On the sides are carved the Masi-patram, vine stems, and flags. The crown of the kudam, or the sound box has a kodi billai. The gourd shell is dispensed with, and a finely shaped wooden substitute is screwed to the shaft of the instrument. This could be removed from the Veena, and the gourd shell may be substituted quite easily whenever desired.
The Yali, or the face of the new Veena, as will be seen in the illustration, is turned upwards as if it is there to listen to the music emanating from the instrument. It rises from a graceful curve out of the main body of the instrument, and the sparkling eyes tell a great lesson, which is otherwise absent in the ordinary type of the Veena, where the face of the Yali looks down. In the bend are two small boxes fancifully concealed for the musician to keep the ghee, strings, and spare parts. The peacock, the bull, the goat, the paddy bird, the Kuil (@i9ev), the horse, the elephant and the prime beings that are supposed to be controlling the seven notes are finely chiselled round the neck of the Yali. The shaft portion of the Yali accommodates eight of the bigger screws for tightening the strings.
Below the seven major strings and concealed under the Melmn with suitable air escapes, is the second set of 16 wires, which impart sympathetic vibrations to the mother strings. The wires are of varying lengths, and are controlled by side screws. When a noteisstruck, the corresponding lower strings •automatically respond, ~ keeping the sound
continuing for some time, even though the mother string ceases to vibrate.
Illustration 2. The Mela is opened by a simple contrivance after releasing the four major upper strings, running above the frets. The wires are self-tuned according to the Prakriti, and the Vikriti svaras of the parent strings. The 16 strings are intended to amplify and enrich the Madhyama, and the Tara Sthayis by producing the harmonics of each parent note. Each of the 16 wires represents the Suddha and Shatsruti Rishaba, the Sadha- rana, and the Antara Gandhara, the Suddha and the Pratimadhyma, the Suddha and the Shatsruti Dhaivata, the Kaisiki, and Kakali Nishada of the Madhyama Sthayi, and the Suddha, and Shatsruti Rishabha, the Suddha, and the Antara Gandhara, the Suddha, and Prati Madhyama of the Tara Sthayi or the higher octave respectively. The different notes of the scale produced by the vibrations of the main strings resonate through these minor strings for some time.
The Langar, or the head arrangement (illustration 3) is a vast improvement over the ordinary type of the instrument. Instead of the usual beads for maintaining the proper tension there are 23 minor screws made of rolled gold and brass suitably blended to impart tightness, rigidity, and stability. The top bridge accommodates the four major strings, while the lower bridge supports the 16 lower strings. On the side runs the three other wires. All these wires are attached to the fine and delicate 23 screws in four rows. While the big screws on the shaft of the Super Veena adjust the wires to their proper position, the screws at the Langar are used for tuning, and keeping the wires in the required tension while playing on the instrument. Each of the screws has capacity for about seven windings before the final limit of
T H E JOURNAL OF T H E MUSIC ACADEMY
endurance of the wire is reached, and each winding raises the pitch by one higher note. The elaborate arrangement at the Langar is to adjust the tune of the several strings by a mere turn of the screw. Listeners of music are often irritated at the adjustment of the beads by the musicians to get the proper tune, and sometimes the tunes are not to the satisfaction of the player for several minutes and even hours. The beads often slip and the tunes once set require further adjustment at the beginning of every new song, and the patience of the audience is tried to its utmost limit. The mechanical contrivance, which stands on a par with the finest factory production, has the final word on the proper tunes, and it is but just a fraction of a minute for the practised Veena player to have the instrument set to the proper pitch.
The Super Veena is from every point of view an improvement on the time-honoured, never changing Indian Veena. It belies the charge against the Indians that they are not inventive. The instrument when played gives a richer and more sonorous note than the
118
old one. In the hands of a practised player the instrument is bound to give such rich modulations of the human voice as to raise Saint Manickavachakar from his grave once more, to sing in praise of the Supreme Being as seen dwelling in the sweet strains of that queen of the musical instruments, the Super Veena. ( ‘: Jg)6OT6afla« * sffSswraSei) ^esnFiiCSfinear
arame.”) — “ Inttisai Veettayil Isaindon kanga."
Mr. Jayaraj is arranging to give a demonstration of his Super-Veena before the Music Academy, Madras. He is sanguine of success, and wishes to invite an encouraging criticism of his effort. He is also spending his time perfecting and making Veenas on a large scale. He has by his own unaided efforts made some sound boxes for the gramaphone, and has many other schemes on the anvil. It is only a question of time as to when the rising wave of national enthusiasm will come to his aid.
“ Full many a gem of purest ray serene, ” still lies untarnished beneath the unfathomed deep, only to be picked up and raised to their proper places.
Correspondence.
Studentenheim ,58, Turkenstrasse,
Munich. Germany. 19th May '31.
Dear Sir,I reached Munich safely on the 2nd of
May after a pleasant voyage and I have commenced my studies in right earnest here.
The Music Academies here are huge organisations. with several professors and Asst. Professors for the several branches of the theory and practice of music and students flock to them for instruction. I hope one day our Academy also will become one such. At what stage is the Training College Scheme? Please let me have a copy of the first number of the Journal of this year. Kindly convey my respects to the members of the Academy.
CORRESPONDENCE 119
If any of our friends are passing through Munich please let me know. I shall very gladly meet them.
Yours sincerely,(Sd.) P. SAMBAMURTY.
* * # *
Studentenheim ,58. Turkenstrasse,
Munich, Germany.15th July '31.
Dear Sir,Thank you very much for your kind letter
of the 24th June. I am very glad to hear of the further progress made re : ‘ TheTraining College of Music ’. I am herewith sending a message for the opening function, but I am afraid it may be too late. I shall send you a detailed article later on, on the Musical education in Europe, for publication in the Journal. Music professors here evince
keen interest in Indian music, for they have been ignorant of the same till now. At their request I am writing, in staff notation, some of the simple Kritis of Sri Tyagaraja and other composers and they delight in playing them. I would request you to send one or two numbers of our Journal to Dr. E. M. V. Hornbostel, University Professor. Berlin University and Prof. E. J. Dent, Music Professor, Cambridge University. They are both much interested in Oriental Music. I shall later on write to you about other professors and institutions to whom the Academy’s Journal might be sent with profit to us. Thank you for all your good wishes. -Have you received a copy of my book on the musical instruments from the Superintendent of the Madras Government Museum for review in the Journal ?
Yours sincerely,(Sd.) P. SAMBAMURTY.
THE KATAPAYADI CHAKRAM AND THE MELAKARTA RAGAS.
Some inconsistencies.
Dear Sir,The famous Katapayadi formula which is a
device to find out the serial number of any given Melakarta raga, has been in existence and usage from the time of Venkatamakhi down to our day. Some opine that it was being used even before the time of Venkatamakhi. Anyhow it has become a very popular formula to-day, known and understood by one and all of the musicians and music-lovers. There is not at present a single music book which does not treat about it.
The Katapayadi formula which explains itself as Kadi-nava Tadi-nava
Padi-pancha (’TT^TIT) and Yady- ashta is generally applied only to thefirst two letters of any Mela-raga, for finding out their respective numbers. The numbers so found, if reversed, give the rank for the Mela-raga. Now the difficulty lies when we apply the formula to a Mela-raga in whose name, a Samyuktakshara (fcgrfTTSrc) or conjunct consonant occurs in the first two letters or anywhere between them. There are some inconsistencies here, and I shall point out below, such ragas of the 72, which are all alike subject to the Katapayadi application.
120 T H E JOURNAL OF T H E MUSIC ACADEMY
SerialNo. Name. Mela
No. First two letters. Pronunciation as adjusted.1
1 Ratnangi 2 Ra - t - na |f t - * - * ) J
Rat-nan-gi.
*2 Chakra vakam 16 Cha - k - ra j
f t ' S * ) JChak-ka-ra vakam.
3 Suryakantam 17 Su - t - ya )f t ' * ' * ) j
Sur-ya-kantam.
4 Jhankaradhvani 19 Jha - n - ka |0? - ^ - ^T) j
Jhan-ka-ra dhvani.
5 Gangeya-bushani 33 Ga - n - gey j (*TT - ^ - *t) j
Gan-ge-ya bhushani.
6 Shadvidha Margini 46 Sh - d - vi |f t - ^ - f^r) 1
Sha-dvi-dha margini.
* 7 Divyamani 48 Di - v - ya 1
( f t - ? - * ) 1Di-vi-ya mani.
*8 Visvambhari 54 Vi - s - va )
( f t - 5T - <*) JVi-su-vam bhari.
*g Syamalangi 55 S - ya - ma j f t ' - IT) j
Sa ma-langi.
10 Shanmukhapriya.
56 Sha - n - mu 1
f t ' °l - 3 ) JShan-mukha-priya
*11 Si mhendramadhyama 57 Si - m - he j( f t - ^ - %) j
Si-mhen-dra-madhyama.
12 Dharmavati 59 Dha - r - ma 1
f t " * ' |Dhar-ma-vati.
13 Kantamani 61 Ka - n - ta j f tT -* -? T T ) }
Kan-ta-mani.
*14 Chitrambari 66 Chi - t - ra jj
Chit-ta-ram-bari.
*15 Jyotisvaroopini 68 j - yo - ti f t - f t ) (
Jo-ti-svaroopini.
In the above list of 15 ragas, those that are marked with asterisks (*) are one set and the remaining are another. In the former, the formula applies to the first sounding letter of the conjunct consonant, whereas in the latter, to the second of that.
CORRESPONDENCE 121
Examples.
Former set-—Chakravakam ^ ^ ^ (Cha-k-ra)—Cha ( ^ ) is 6, and k (^ ) is 1. 61 reversed gives 16. Here, in the conjunct consonant kra (5 K = ^ + ^ ) * or thefirst letter only is taken into consideration. This application holds good to all the rest of the first group.
Latter set—Dharmavati - r - JT (Dha-r-ma) Dha («r) is 9, and Ma (*) is 5. 95 reversed gives 59. Here, in the conjunctconsonant rma ( * = ?+ *) *T or the second letter only is taken into consideration. The same application is to the rest of the second group.
This sort of applying the formula one way to some ragas and another way to some others is quite against rule and principle. We must stick to only one principle. As such we have now either to change the names of ragas so as to suit the traditional formula, or take away the formula itself from usuage.
The names of the ragas of the first set, as adjusted to the formula of Katapayadi, which
run as ( l) (8) (3)f lrs jW ft (*) (6) ferTCfaftand (6) never occur as suchin Sanskrit language. Besides, Natcibhair- avi , Jhalavarali (srnjssrcifas) andsome such names are also improbable. (In one of the prominent music-books of to-day, I was very much surprised to see the name of Mechakalyani being converted in to Mesha (ita) Kalyani. Why can it not turn even as Sesha ($r*) Kalyani, sometime hence, so long as the number is not disturbed ?) Tradition has it, that the names for all the Melakar- ta ragas were carefully given by Gqvinda Dikshitar, a profound scholar of Sanskrit and the father of the illustrious Venkatatamakhi. He would not have gone wrong. There must have been another set of names for the 72 Melas, I am sure. Under the above circumstances, one has to suspect a foul play in the affair. Will the Vidvat-Goshti or the Expert- Committee of the Music Academy take this matter into consideration, and clear the way ?
T. R. V lSW A N A T H A SA ST R I,
Sangeeta Vidwan.
[Note :—There are two systems of mnemonic mathematical method of computation ^TTO^s?JT*T and The former method is the one used in Melakartanomenclature. In the latter system, »T 'j JJOT «IT,n’ etc., denote the numerals2, 3, 4, 5 etc.
Again another principle is also observed i.e. in Sanskrit syllabification, the consonant immediately preceding the vowel is the important letter. Hence the objection raised against 1, 3, 4, 5, 6, 10, 12 and 13 cannot stand.
The irregularities in 2, 7, 8, 9, 11, 14 and 15 are indeed valid. But out of respect for time-honoured usage and sanction by the Parampara school of musicians—who knew this irregularity and have kept it on—the nomenclature need not be interfered with.]—Editor.
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