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W l }tj H u s t c A c a f r e m g J f l a & r a sD evoted to the A dvancem ent o f the Science and Art o f M usic

Vol. 83 2012

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" / not in Vaikunta, nor in the hearts of Yogins, not in the Sun; (but) where my Bhaktas sing, there be I, Narada !"

Narada Bhakti Sutra

EDITORPappu Venugopala Rao

THE MUSIC ACADEMY MADRASNew No. 168 (Old No. 306), T.T.K. Road, Chennai 600 014.

Email [email protected] Website www.musicacademymadras.in

mailto:[email protected]

http://www.musicacademymadras.in

Copyright © The Music Academy Madras

December 2012

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All Correspondence relating to the journal should be addressed and all books, etc., intended for it should be sent in duplicate to the Editor, The Journal of the Music Academy Madras, New 168, T.T.K. Road, Chennai 600 014.

Articles on music and dance are accepted for publication on the recommendation of the Editor. The Editor reserves the right to accept or reject any articles without assigning reasons.

Manuscripts / soft copies should be sent to the editor either by courier or by email to [email protected]

The Editor of the Journal is not responsible for the views expressed by contributors in their articles.

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Price ? 150/- US $ 12

Published by N. Murali on behalf The Music Academy Madras at New No. 168, TTK Road, Royapettah, Chennai 600 014. Typeset by Compuprint, Chennai 600 086 and Printed by N. Subramanian at Sudarsan Graphics Offset Press, 14, Neelakanta Mehta Street, T. Nagar, Chennai 600 014. Editor Pappu Venugopala Rao.

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(See Rule 8)1. Place of Publication - New No. 168, T.T.K. Road

Chennai 600 014

AnnualMr. N. SubramanianIndianYes N /ASudarsan Graphics Offset Press 14, Neelakanta Mehta Street T Nagar, Chennai 600 017

Sri. N. Murali IndianYes N /A260 A, T.T.K. Road, Alwarpet Chennai 600 018

5. Editor's Nam e - Dr. Pappu Venugopala RaoNationality - Indian(a) Whether a citizen of India ? - Yes(b) If a foreigner, the country of origin. - N /AAddress - 2, RR Flats, Anthu Street,

Santhome, Chennai 600 004.

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IN. Murali hereby declare that the particulars given above are true to the best of my knowledge and belief.Date: Dec. 15,2012 N. Murali

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Nationality(a) Whether a citizen of India ?(b) If a foreigner, the country of origin. - Address

4. Publisher's Name Nationality(a) Whether a citizen of India ?(b) If a foreigner, the country of oirgin. - Address

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EDITORIAL BOARDDr. Pappu Venugopala Rao (Editor)

Sri. N. Murali, President (Ex. Officio)

Dr. M alathi Rangaswami

Dr. Chithra Madhavan

Dr. S.A.K. Durga

Dr. N. Ramanathan

Sri. V. Sriram

Mrs. Sujatha Vijayaraghavan

CONTENTS

1. Our Contributors 7

2. Editor’s Note 11

3. 85th Annual Conference & Concerts - December 2011

Welcome Address by Sri. N. Murali, President 13

Inaugural address by Sri. S.R. Nathan 20

Speech of Sri. Trichy Sankaran 22

Welcome address by Sri. N. Murali, President at the Sadas 28

Speech by Sri. Y.V. Reddy 31

Awardees 2011 34

Note on Dance Festival 41

4. Proceedings of the Conference 2011 42

5. Sankaradas Svamigalin padalgalil candangal - Arimalam Padmanabhan 59

6. Tracing the History of Sanglta in Kashmir - Advaitavadini Kaul 73

7. Persian and urdu sources for music - Najma Ahmed 88

8. From Music in Stone to Music in Motion - Suvamalata Rao 97

9. Raga clusters in Hindustani music - Deepak Raja 112

10. The musical significance of BargTt in the context of Indian raga sanglta - 119Pabitrapran Goswami

11. Role of Gamaka-s - Sumitra Vasudev 125

16. Book Reviews and New Arrivals 131

17. Obituary 140

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THE MUSIC ACADEMY • JOURNAL 2012 • VOLUME 83

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OUR CONTRIBUTORS

ADVAITAVADINI KAUL

Dr. Advaitavadini Kaul is Chief Editor and Head of the Publication Unit in the Indira

Gandhi National Centre for the Arts (IGNCA), New Delhi. Here, she has about fifty

publication projects to her credit. These publication projects accomplished in co

ordination with eminent scholars of international fame are mainly related to the three

fundamental publication series of IGNCA viz. on (i) Indian Key Concepts (Kalatattvakosa)

(ii) Fundamental texts on Arts (Kalamulasastra) and (iii) Analytical and Interpretative

writings on Art (Kalasamalocana Series). She has gained the experience of understanding

Indian Culture and Arts at the level of interrelation and interdisciplinary approach. Her

personal research is on cultural traditions and arts of Kashmir.

An alumnus of the Panjab University, Chandigarh (MA Sanskrit) and the University of

Kashmir (M.Phil & Ph.D in Buddhist Studies), her book: Buddhist Savants of Kashmir

their Contribution Abroad has been well received by the international community

of scholars. She has also three edited volumes to her credit. Amongst these is the most

prestigious volume of the Kalatattvakosa (Vol. IV) on Manifestation of Nature: Srsti

Vistara. She has contributed about forty research papers/articles on various topics, many of

which were presented by her at National and International Seminars in India and Abroad.

DEEPAK RAJA

Mr. Deepak Raja (Bom 1948) has studied Hindustani music (Sitar and vocal music) for

over 50 years. His pursuit of music has been guided by eminent musicians: Shri PB Dev

Burman (a disciple of the legendary sitarist, Ustad Enayet Khan), Pandit Arvind Parikh

(a disciple of the sitar maestro, Ustad Vilayat Khan), and Vidushi Dhondutai Kulkami

(a disciple of the legendary vocalist, Kesarbai Kerkar).

He is an alumnus of Delhi University, Indian Institute of Management, Ahmedabad, and the

Watford College of Technology in England. He has published two well-regarded books on

Hindustani music, and edited an annual volume for the Indian Musicological Society. He

has been associated with the academic / publishing activities of the ITC Sangeet Research

Academy, Calcutta, the Sangeet Natak Akademi, Delhi, and Sruti magazine, Chennai. In

2009, he was awarded a two-year Senior Research Fellowship of the Ministry of Culture,

Government of India.

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NAJMA AHMED

Prof. (Dr.) Najma Perveen Ahmad, former Dean and Head of the Department of Music

(Faculty of Music and Fine Arts), University of Delhi, is a scholar, teacher and a performing artist of Hindustani Classical (Vocal) music. She has been Senior Professor at the Faculty

of Music & Fine Arts, University of Delhi, fully dedicated to teaching, research and

institutional development. During her long association with the Faculty, she has been

deeply involved in teaching, research, and development of the Department.

She belongs to the Delhi Gharana and has obtained her vocal music training (Taleem) from

the renowned vocalist Ustad Naseer Ahmad Khan of the Delhi Gharana.

About thirty five doctoral research scholars and more than thirty M. Phil, students have

completed their research work and have been awarded the Ph.D. and M. Phil, degrees under her supervision.

At present she is UGC Emeritus Fellow at the Faculty of Music and Fine Arts, University of Delhi.

PABITRAPRAN GOSWAMI

Dr. Pabitrapran Goswami, Principal, Jorhat College, Jorhat, Assam, is a popular Bargit singer.

He did Ph.D. from D.U. on Bargit: a Study of its Literature and System of Music. A teacher,

performer and researcher, has published books like: Bargit: a Musicological Exploration

and book in Assami dealing with an elaborate work of notation of ten ragas of Bargit in

Assamese along with relevant theoretical discussions.

SUMITHRA VASUDEV

Sumithra Vasudev is known for her classism, melody and adherence to tradition.

Trained under Sangita Kalanidhi Smt. R. Vedavalli for over two decades, she has performed

in many of the music festivals like Bharat Sangeet Utsav, Hindu’s November Fest, The

December Music Season and the Cleveland Tyagaraja Aradhana. This year Cleveland

Aradhana has honored her with a Title: Sangeeta Kala Rathna.

Sumithra received the Ustad Bismillah Khan Yuva Puraskar from The Sangeet Natak

Akademi in 2008, ‘Yuva Kala Bharati’ and ‘Nada Oli’

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Sumithra has a deep passion for literature, especially Samskritam and Tamil. With a keen

interest in research Sumithra has presented articles in seminars and was also involved in

projects related to music research and translation of texts, including the SSP translation of

The Music Academy.

SUVARNALATA RAO

A performing musician of North Indian classical music (sitar) and a musicologist working

in the area of computational musicology and organology, Suvamalata Rao’s main area

of interest is the analysis of North Indian vocal music with an objective to study certain

aspects of raga like intonation and melodic movement. Her research on acoustical

perspective to the esthetical concept relating to the raga and rasa and post-doctoral work

in the area of organology involving issues relating to making of Indian instruments are

great contributions to the field.

She is a guest Professor and researcher at the Rotterdam Conservatory (CODARTS) &

University of Amsterdam in the Netherlands since 1995.

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EDITOR'S NOTE

On behalf of the editorial board, the President of the Music Academy Sri. N. Murali

and on my own behalf, I welcome the readers to the Music Academy Journal 2012.

There have been enquiries from scholars across the globe about the earlier issues of the

journal. We are happy to inform our readers that we have uploaded journal from 1929 to

2002 to our website www.musicacademymadras.in. The website also carries an article and

keyword index compiled by Dr. V. Premalatha of SV University, Tirupathi.

In this journal, apart from the details about the 85th annual conference and the summary

of the lecture demonstrations during the year, we have many interesting articles. Two

articles, one by Dr. Advaitavadini Kaul and another by Dr. Pabitrapran Goswami deal

with Kashmiri and Assamese music respectively. Prof. Najma Ahmed wrote an article on

Treatises of music in Persian and Urdu. Dr. Suvamalata Rao contributed an article about

how computer technology helps in notating music. Apart from these there are scholarly

articles by Arimalam Padmanabhan, Deepak Raja and Sumithra Vasudev each one of them

dealing with different dimension of music.

There are four book reviews, two English, one Tamil and one Telugu. There is also a list

of new arrivals.

The President Sri. N. Murali has been a constant source of inspiration, so have been the

other members of the executive committee.

The Editorial Board is grateful to all the contributors. It acknowledges the cooperation of

Ms. Latha R, Research Assistant at The Music Academy who has been helpful in bringing

out this journal.

I am sure readers will find this year’s journal interesting and useful. Please feel free to

write to me at [email protected]

Pappu Venugopala Rao

http://www.musicacademymadras.in



84th Annual Conference and ConcertsThursday, 15th December 2011

Welcome address by Shri N. Murali, President

Shri S.R.Nathan, Prof. Trichy Sankaran, other awardees of this year, Sangita Kalanidhis, Vidvans and Vidushis, my colleagues on the committee, members of the Music Academy,

distinguished invitees, ladies and gentlemen,

On behalf of The Music Academy it gives me immense pleasure to extend a very hearty welcome to everyone of you to this Inaugural function of our 85th Annual Conference and Concerts.

I extend a very special welcome to Shri S.R.Nathan, former President of the Republic of Singapore and a very distinguished member of our diaspora. Our standing invitation extended to Shri Nathan when he was the President of Singapore to participate in our annual festival, has resulted in a happy outcome this year.

It is most fitting that such a distinguished personality and a statesman is inaugurating our flagship annual music festival. Shri Nathan’s career and life hold a fascinating and remarkable lesson for those aspiring to public offices particularly in India. By his sheer abilities and by dint of his hard work and determination he has risen from a humble background to the highest constitutional office of his country.

Shri Nathan started working even as he was pursuing his studies. He remarkably completed his secondary education through self study and entered the Univaersity of Malaya (then in Singapore) where he graduated in 1954 with a diploma in Social Studies (distinction).

He joined as a medical social worker in 1955 and thus began his glittering career in Singapore Civil Service. He was actively involved first in Labour Welfare and then in Labour Research Unit of the Labour Movement. In 1966, he was transferred to the Foreign Ministry where he made good strides before moving in August 1971 to the Ministry of Defence as Director with the rank of Permanent Secretary. He returned to the Ministry of Foreign Affairs as its First Permanent Secretary in February 1979 until he left in February 1982 to become the Executive Chairman of the Straits Times Press (1975) Ltd., the large Singapore newspaper publishing company. Between 1982 and 1988 he also held directorships of several other companies. From 1983 to April 1988 Mr. Nathan was Chairman of the Hindu Endowments Board. He was a founding member of SIND-Singapore Indian Development Association and its Trustee until 1999.

In April 1988, Mr. Nathan was appointed Singapore’s High Commissioner to Malaysia and he served as Ambassador to the United States of America between July

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1990 and June 1996. On his return, Mr. Nathan was appointed Ambassador-at-large and was concurrently also Director of the Institute of Defence and Strategic Studies at the famous Nanyang Technological University.

He was deservedly elected to the highest constitutional office in Singapore as President in August 1999 and was re-elected for a second term in August 2005. His term as President ended in August 2011.

Mr. Nathan represents and stands for far more than just a reflection of his career statisticalrecord.

He is a keen observer of International and Current Affairs, particularly relating to Asia. He has passionately promoted enhanced India-Singapore relations and also Indian heritage and culture among the diaspora as well as other citizens of his land. Mr. Nathan is widely travelled and a voracious reader. He is also the author of 3 books.

Mr. Nathan was conferred the Public Service star in 1964, the Public Administration Medal (Silver) and the Meritorious Service Medal.

He is a warm human being, a very good friend and engaging conversationalist, conducts himself with great dignity and decorum and is above all a humane person. His keen interest in our culture and heritage is well known.

We are indeed grateful to Shri Nathan for spontaneously and graciously agreeing to come from Singapore specially to be with us here today. I find no words to express our appreciation to him for this very kind gesture.

It is also noteworthy that Shri Nathan is the first distinguished personality from overseas to inaugurate our Annual Festival and we are indeed deeply honoured.

I also extend a special welcome to the members of his family and other distinguished guests from Singapore who are with us here today.

The Margazhi music festival in Chennai has evolved into such a wonderous phenomenon that it has greatly enriched the cultural underpinning of this city over the last eight decades and more. The Music Academy can proudly take credit for pioneering this unique festival which is unparalleled anywhere in the world for its sheer size, aesthetics, quality and undiluted classicism.

Amidst the prevailing uncertainty and negative sentiments abound, this year’s festival comes as a breath of refreshing and mellifluous air and is all set to provide an uplifting experience.

The festival’s resounding success in the recent years has been mainly due to the unwavering support and co-operation of our members and rasikas and the spontaneously generous support of our sponsors and advertisers. The unquestioning involvement and team work of our colleagues

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on the Executive Committee aided by the sincere and tireless work of the volunteers and staff of the Academy have contributed in no small measure to the success of our flagship annual festival. It is indeed no exaggeration to say that the whole hearted participation, support and outstanding recitals and Lec-Dems by musicians, musicologists, scholars and dancers have greatly contributed to the Academy’s hard earned standing and success.

As members are aware a new Executive Committee consisting of outgoing members was elected unopposed yet again in June 2011 as in the elections of 2008. The Committee is overwhelmed by the unflinching faith and trust reposed in it by our membership and will strive its best to uphold the high standards and cherished values of this iconic institution, ever endeavouring to take it to greater heights.

We acknowledge with appreciation the excellent contribution to the Academy of Ms. Lakshmi Viswanathan, a long standing committee member who later became one of our Vice- Presidents, and who has not sought re-election to the Committee.

As members are aware, the phased infrastructure upgradation and improvements programme of the last five and a half years has brought about vastly enhanced facilities and ambience leading to superior listening experience and comfort. All this would not have been possible without the spontaneous and generous contribution from enlightened organizations and well wishers, whose munificence has been acknowledged individually earlier.

With a major and remaining part of the renovation of the main auditorium being completed before the last season, the committee then turned its attention to the mini-hall whose renovation was long overdue. The Academy is indeed very fortunate that Shri Shiv Nadar on behalf of the Shiv Nadar Foundation has given a very handsome and in fact the single largest donation in its history, towards this major project. With this and another generous donation received from Shri Brahmal Vasudevan through the good offices of our Vice-President, Shri R.Srinivasan, the comprehensive renovation and modernization of the mini-hall was taken up from June 2011. We are glad and proud to inform you that this major undertaking has been accomplished by November 2011. We now have a ‘brand new’ state-of-the-art auditorium with a capacity of 250. It has modem acoustics, where there was none earlier, a fine new sound system, new comfortable seating system in a gradually sloping gallery arrangement, new air-conditioning, new stage with elaborate light fittings, pleasing aesthetics and a larger and more pleasant foyer, modem toilets and access to differently abled persons. Most fittingly, the new facility was opened with the HCL series concert on November 12.

We wish to emphasise here how fortunate the Academy is to receive the benefit of the immense expertise and experience of our very fine Architect Shri P.T.Krishnan in all its modernization projects. With his deep commitment and involvement, he has been so generous with his time and efforts, that no words of appreciation and gratitude would do adequate justice

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to his tremendous work of passion and labour of love. He has now even surpassed himself in miraculously transforming our earlier ‘bare’ mini-hall into a totally new world.

We have not neglected the academic side either. As discerning members have noticed there has been an added thrust and impetus given to academic activities in the last three years with Dr. Pappu Venugopala Rao, musicologist and scholar and one of our Secretaries, anchoring these activities.

The Advanced School of Carnatic Music aiming at very high standards of excellence was started in August 2010 with the help of a very eminent Academic Council and faculty, both regular and visiting. Sangita Kalanidhi Smt. R.Vedavalli is the Director and Prof. Ritha Rajan, the Academic Coordinator. It has been very encouraging to note that it is functioning very well and a generous grant for the second year in a row by Shri P. Vijayakumar Reddy, son of late Shri P. Obul Reddy, our long time patron and a Vice-President, goes to support the expenses of the school. The first batch of students has successfully completed Year-I and have been promoted to II year. New students have joined the course in year-I. Apart from the existing eminent teachers new teachers of repute have joined the faculty this year.

The Academy has published compositions of Veena Seshanna transliterated in to Tamil with notation. Last year the Academy has started the major project of Translation of Sangita Sampradaya Pradarshini (SSP) into English under the Editorship of Dr. Pappu Venugopala Rao with a team of eminent musicians and musicologists on its Editorial Board. SSP Volume I covering up to Mela 14 was released last year. SSP Vol II covering Melas 15 -24 is being released by our Chief Guest at this inaugural function.

Consistent with its record since 2008, the Journal of the Academy is ready for release today.

To facilitate research and easy accessibility the Academy has uploaded Music Academy Journals right from 1930 till the year 2000 to its website. There is also an index of articles and keywords.

Due to the renovation of the mini hall the Academy could not conduct a workshop in each quarter as earlier envisaged. However, a workshop on ‘Annamacharya Compositions’ by Sangita Kalanidhi Shri Nedunuri Krishna Murthy was organised for 3 days in the last week of November which attracted an overwhelming response.

The Music Academy - TAG Digital Listening Archives set up over three years ago through the generosity of Shri R.T. Chari, member of our Committee and Shri R.V.Gopalan of TAG Group, has now about 4000 hours of music on touch screen monitors. The on-going project envisages digitization of nearly 20,000 hours of music. In this effort, we record with appreciation the valuable role of Shri Mathew Chacko, Director, Precision Informatics Pvt. Ltd., in developing new software free of cost. Many connoisseurs and well wishers of the Academy have come forward to donate to our archives, the recordings in their valuable collection. A special mention must be made of Shri ALARC Narayanan who has donated about 8000 hours of recordings from his vast collection.

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The Second Indira Sivasailam memorial concert in association with the “Indira Sivasailam Endowment Fund” instituted by Smt. Mallika Srinivasan, was organized successfully on 6th October 2011. The renowned musician chosen this year for the concert, medal and citation was Shri Sanjay Subramaniam.

Thanks to the generosity of Shri P.Vijaykumar Reddy, son of late Shri P.Obul Reddy, who has instituted awards in the memory of Shri P.Obul Reddy and Smt. P.Gnanambal the award money for the Sangita Kalanidhi and Sangita Kala Acharya awards has been doubled from last year. The other two awards TTK Award and Musicologist award have also been significantly enhanced from last year.

The Academy has also taken serious steps in looking beyond our borders in trying to contribute to the cause of Carnatic music education and scholarship among our diaspora. The Academy is entering into a MOU with the Singapore based Singapore Fine Arts Society (SIFAS) for academic support by the Academy to SIFAS. The academic support involves guiding SIFAS in the drafting of syllabus, selection and training of teachers, sending external examiners to SIFAS to evaluate the candidates, giving SIFAS students and teachers access to Academy’s Library and Digital Listening Archives, etc. This historic MOU will be exchanged in the presence of ShriS.R.Nathan later during this function. A similar arrangement will also be entered into another organization Kala Kruthi School of Music based in Melbourne, Australia, during the close of the festival on January 1, 2012.

During the season every year, The Music Academy confers special honours on outstanding individuals who have contributed immensely to the preservation and enrichment of our fine tradition of classical fine arts. This year the Academy is proud to have chosen for its prestigious Sangita Kalanidhi title, the mridangam maestro Prof. Trichy Sankaran.

Prof. Trichy Sankaran began training at the age of four on the mridangam as his penchant for rhythm was spotted even then. He later came under the tutelage of the legendary Palani Subramania Pillai, the foremost exponent of the Pudukottai School of Mridangam. He soon established a name for himself as a mridangam artiste of outstanding ability and was a much sought after accompanist. He became widely accepted as a true torchbearer of the Palani style.

In 1971, at the invitation of Jon B. Higgins he moved to Canada and co-founded the renowned South India Music Programme at the York University. He later became the Founding Director of Indian Music Studies and continues to this day as one of the seniormost professors in the Fine Arts Department of York University.

He has published many articles and two major text books “Rhythmic Principles and Practice” and “Art of Konnakkol”

Though known for adherence to tradition and at the same time a commitment to innovation, Prof. Sankaran has trained several students and collaborated with artistes belonging to diverse genres of world music. Over these four decades, Prof. Sankaran has been unfailingly participating in the Chennai December music festival every year.

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Prof. Sankaran is the fist mridangist from the Pudukotttai Parampara of Palani Subramania Pillai to be chosen for the Sangita Kalanidhi Award. It is also only the second time in our history and the first in over 23 years that we are honouring an Indian musician resident abroad for a long period of time. I may also add that however great a Carnatic musician’s accomplishments may be overseas, to get due recognition he or she needs to make a distinct mark in Chennai, the citadel of camatic music. And that is what our distinguished awardee has been able to achieve in such abundant measure.

In recognition of his outstanding accomplishments and by his contribution to Camatic music, including at a global level, The Music Academy takes special pride in the choice of Prof. Trichy Sankaran for its highest award.

Prof. Sankaran will also be receiving from our esteemed Chief Guest later this evening, the “Sangita Kalanidhi M.S. Subbulakshmi Award” instituted by The Hindu in 2005.

The Sangita Kala Acharya Award goes to Vidushi Neela Ramgopal and Vidushi Rama Ravi. They have contributed immensely to Camatic Music and The Music Academy takes pride in honouring them.

The two recipients of the TTK Memorial Award are the two veteran musicians, Vidushi TR Navaneetham (Flautist) and Vidvan Mayavaram G.Somasundaram (Kanjira exponent). Their significant contribution to camatic music is being recognized by the Academy.

The Musicologist Award, introduced three years ago, goes to the leading musicologist and scholar Dr. M.B.Vedavalli.

A new award called “Natya Kala Acharya Award” will be given starting this year at the inauguration of the Dance Festival. It also carries significant award money and has been instituted by Drs. Engikollai Krishnan and Leela Krishnan based in Kansas City, USA, in the memory of Smt. Meenakshi and Mysore Asthana Vidvan Engikollai Chidambara ganapatigal. The first recipient of this coveted award will be Dr. Padma Subrahmanyam, the renowned Bharatanatyam exponent, choreographer, gum, scholar-researcher and writer. The Music Academy takes special pride and pleasure in conferring on Dr. Padma Subrahmanyam its first “Natya Kala Acharya Award”

This year’s programme like in the recent years, will feature over 80 performances by stalwarts as well as young and talented artistes all of whom always like to give their best at this hallowed stage on which previous generations of musicians have shone brightly.

The morning conference sessions would also be very interesting. Over the last three years, thanks to the efforts of the Convenor of the Experts’ Advisory Committee, Dr. Pappu Venugopala Rao and the other eminent members of that Committee, not only have the standards of the Academic sessions been raised significantly but there is also more variety and depth.

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As we are honouring a percussionist this year, I am happy to announce that we have just received two endowments for percussion award in the annual festival. Our Sangita Kalanidhi designate Prof. Trichy Sankaran has instituted an endowment in the name of his gum Shri Palani Subramania Pillai for a Senior mridangist. Another endowment has been instituted by Shri Sridhar Chari and Smt. Geetha Chari from Australia for an award to a sub-senior mridangist in the name of Sangita Kalanidhi Umayalapuram Sivaraman. The third endowment has been created by Dr. S.A.K. Durga, musicologist in the memory of her father Shri S.A.Venkatarama Iyer for an annual workshop on percussion.

During the festival there is an exhibition at our digital Listening Archives of pencil sketches of over 30 musicians by Shri Sankaranarayana, Retired Station Director, AIR which have been given to the Academy. You are invited to take a look at your convenience.

The former Governor of the Reserve Bank of India Dr. Y.VReddy will preside over the Sadas on January' 1, 2012 and confer the awards.

The 6th edition of our highly successful Dance Festival is being held between January 3 and January 9, 2011. In this year of Germany in India, Dr.Stefan Weckbach, Consul General of the Federal Republic of Germany in Chennai, has kindly agreed to inaugurate the Dance Festival and confer the first “Natya Kala Acharya Award” on Dr. Padma Subrahmanyam on January 3, 2012.

This year the world of music lost three stalwarts - Sangita Kala Acharya Kalpagam Swaminathan, Sangita Kala Acharya Chingleput Ranganathan and more recently Sangita Kalanidhi T.K.Govinda Rao, the veritable musician’s musician. We salute their tremendous contributions to Camatic music and are extremely thankful for their long association and support to The Music Academy.

On behalf of all of us at the Academy, I wish you all an enjoyable and exhilarating music season and Dance Festival and a very joyous New Year.

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THE MUSIC ACADEMY • JOURNAL 2012 * VOLUME 83

Inauguration of the Annual Music Festival85th ANNUAL CONFERENCE AND CONCERTS

The Music Academy, Madras

Thursday, 15th December 2011

by Sri. S.R. NATHAN

I am deeply honoured to be invited to inaugurate this prestigious Annual Music Festival that is now in its 85th edition, since it was first established.

There are no words I can find to express my deep sense of gratitude, to the Academy and its participants in this year programme and more importantly, the honoured recipient of the Academy’s award this year.

This Academy had honoured many other distinguished personalities - men & women of scholarship in music and the arts - during past Annual concerts.

The Sangita Kalanidhi Award given annually by the Academy is known to be the most prestigious and coveted award in Carnatic Music. I offer my warmest felicitations to Prof. Trichy Sankaran, mridangam maestro and distinguished recipient of the award this year. I learn that Prof. Sankaran moved to Canada in 1971 to set up the well known programme of South Indian Music at the York University jointly with Jon B.Higgins. Remarkably, he continues there even today as one of the senior most professors in the Fine Arts department of the University. Over these four decades he has been in the unique position of sharing the culture and musical tradition of India with a global audience, while at the same time training several students and collaborating with musicians from other genres of world music. And he has also been participating in the Chennai music season year after year. His accomplishments have been truly manificent indeed.

I also offer my hearty congratulations to the eminent musicians receiving other awards during this festival.

I am particularly humbled by this invitation from Murali, your President to be chief guest to this year festival. As a third generation Singaporean of Indian origin or more correctly Tamil origin, having been separated from the Motherland, I did not have the privilege to know intimately the many faceted splendours of my Indian heritage of which Carnatic music and Classical dance form an important component.

Many performing musicians, composers and accompanying instrumentalists have been part of this well known Festival. Brought up as I was away from this country, my appreciation of Carnatic music only started later in life, beginning with the cinema. It is only then that I was exposed to eminent vocalists like the late M.S. Subbulakshmi, who sang in Telegu, Tamil and other

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Indian languages. It was also from her various films like Seva Sadhanam, Sakuntala and Meera that I became increasingly conscious of my ignorance of traditional South Indian music.

From such a history, you can see why I consider myself ill qualified to address this distinguished Academy, whose Annual December Festival has traditionally provided opportunities for not only young and aspiring talent from all over India but more importantly provided a distinguished platform to perform, as many eminent vocalists and musicians had done before over the Academy’s 85 years of history.

I am also aware that for many eminent vocalists and instrumentalists, it has been a matter of prestige to be invited to perform on this dias during the Annual Music Festival. Thus the Academy and the occasion of its Annual Festival has not only offered opportunities to the talented but has been the bedrock for ensuring that Classical South Indian performing Arts remain alive and flourish.

You can well understand why I am still very much an amateur when it comes to appreciating Carnatic music. Those brought up in this tradition find it our uplifting experience to enjoy it and its highly evolved system embodying its own grammar, raga, melodic dimension, lyrics and rhythm. Listening to good Carnatic music is always soul satisfying to a layman and even discerning listener. For its deep philosophical and religious roots go a long way to help one’s emotions and heighten one’s devotion, divinity and spiritual bliss.

In South East Asia, where I come from, consciousness of Carnatic music was only aroused in the 1960s, with the past performances in Malaya and Singapore by some of the great maestros from India. In more recent years, Singapore has been a major venue for Carnatic music, singing and classical dancing. I can see from this Academy’s list of artistes for this year that almost all the senior personalities are recognised names among South Indian music connoisseurs in Singapore and Malaysia. For this, we in Singapore owe a special debt to the Singapore Indian Fine Arts Society (SIFAS) who have struggled hard over the years, with their limited funds, to bring a wider consciousness and following for the Carnatic musical traditions. Literally against the odds, they have worked exceedingly hard to promote South and North Indian arts to a wider audience. Their contributions in this area is much appreciated now than in the 1960s when they began to address this formidable challenge. I am indeed happy to learn that a formal memorandum of understanding will be signed during this Festival between SIFAS and the Academy to foster closer co-operation in the education and training of our young talent, with the help of this Academy. With this collaboration, I hope the standards of education and appreciation for Carnatic music in Singapore, will expand and flourish in the days ahead. I also hope the day will not be far off when trained camatic musicians from Singapore will reach such standards as to fit into the Chennai annual festival.

I wish you all a very enjoyable festival.


Presidential Address by

Mridanga Vidwan Prof. Trichy Sankaran

at the 85TH ANNUAL CONFERENCE AND CONCERTS at The Music Academy, Madras (15-12-2011)

Honourable Mr. S.R. Nathan, President of the Music Academy Sri N. Murali, Vidwans and Vidhushis, ladies and gentlemen, my namaskarams to you all.

At the outset, I wish to express my gratitude to the President Sri N. Murali, the Executive Committee and the Advisory Committee Members of the Academy for having chosen me for the rare honour of presiding over the 85th Annual Conference of the Academy and conferring the most prestigious title of Sangita Kalanidhi this year.

At this great moment, first and foremost I want to thank my parents the late Sri Subbaraya Iyer and Smt Subbalakshmi (aka Ammalu) Ammal who have supported my musical career with love and affection. My heartfelt pranams to them.

Next, I wish to thank my cousin Sri Poovalur A. Venkataraman who was my first guru, under whose guidance I grew up to be a musician. He gave me such a strong foundation in the art of playing mrdangam that enabled me to learn the intricacies of layam and receive advanced training under the legendary Mrdangam maestro Sri Palani M. Subramania Pillai of the Pudhukottai Parampara. I place this honour at the feet of my guru Sri Palani and Sri PAV.

I had a fascination for drumming from my early childhood. I used to listen to my cousin practice. He discovered my innate skill for playing mrdangam at the age of 4. Starting at the age of 5 , 1 began studying under him regularly. I was introduced to the legendary maestro Sri Palani at the age of 7. Upon hearing me play he was so impressed that he immediately wanted to take me under his wings, but was requested to wait for few more years as I was too young at that time. Looking back, I can very well say that the Guru’s grace fell on me at that very moment which I can never forget.

When my cousin moved to Delhi to take up a job as staff artist of All India Radio, I was left under the loving care of the late Sri M.N. Kandaswamy Pillai, another senior disciple of Sri Palani for an interim period. I am ever grateful to him for the love and affection and the mentorship he offered in those formative years.

I went to Delhi to continue my studies with my cousin for a year, and at age 1 0 ,1 made my debut in a Harikatha performance for which Violin Vidwan Sangita Kalanidhi the late Sri T.K. Jayarama Iyer had presided over. It was a customary practice in those days for many mrdangam vidwans including the great Sri Dakshinamoorthy Pillai to perform in Bhajanas and Harikathas

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■Li.

before embarking on a career as a concert musician. It was divine will that it happened in my career as well.

Afterwards, I came under the direct tutelage of my guru Sri Palani Subramania Pillai. I had my formal concert debut at the age of 13 in the concert of the famous Alathoor Brothers with Sri Lalgudi Jayaraman on violin at the Nanrudaiyan Piilayar temple in Trichy in the year 1955. I played in tandem with my guru Sri Palani in that concert. Again, by the divine will the concert was held inside the temple due to heavy rains, and that too right in front of Lord Nandhikeswara, the presiding deity for the art of mrdangam. From then onwards, there was no looking back for me. That concert marked the auspicious beginning of my professional career in the art of mrdangam.

Then for 7 years (1955-62), I underwent gurukulavasam and performed in many concerts of the stalwarts of yesteryears along with my guru, while playing concerts on my own as well. I was blessed to have had the opportunity to perform with great artists of that era that included Ariyakkudi, Semmangudi, Musiri, Mudikondan, Alathoor, GNB, Madurai Mani Iyer, and others, along with my guru as double mrdangam. I have performed with all these artists and many others on my own in subsequent years.

It was my good fortune to come under the illustrious Parampara of the Pudhukkottai tradition that is known for intricacies of layam, unique patantharam and art of accompaniment, thanks to the titans of that era Sri Manpoondiah Pillai, Sri Dakshinamoorthy Pillai and their contemporaries. The finer quality of classicism in the art of Mrdangam reached the heights in the hands of my guru Sri Palani who hails from this tradition. He was such a great master of layam and gumuki techniques that he gave a new definition to the art of mrdangam playing. He could distinguishably augment the essence of layam while building an array of rhythmic patterns and take the listeners to the near transcendental plane. I not only leamt the unique patterns, special moras and korvais of Pudhukkottai tradition from Guru Palani, but also the dignity (gauravam) with which this profession ought to be carried through. The master was an exemplary model for the ideals and values of the art. Sri Palani was my IDEAL GURU.

It was Sri Palani and another legendary mrdangam maestro Sri Palghat Mani Iyer who raised the status of mrdangam to its current position with their extraordinary vidwat and distinct styles. I have equal respect to Sri Palghat Mani Iyer as that of my guru. I cannot forget my early days when I performed in front of him at the age of 8 at Alathoor Venkatesa Iyer’s house in Trichy and received his blessings. Also I fondly recall at this juncture the affection with which he introduced me to the audience in Thiruvaiyaru Thyagaraja Aradhana and asked me to play a solo in the year 1956. Palghat Mani Iyer himself had high regards for Sri Palani and they both have performed together on mrdangam and kanjira respectively in many concerts.


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I gradually built-up my reputation in the field in the 60s and got to be acknowledged as a top rank mrdangam artist in the Carnatic music field. Alongside my professional career in music, I studied at Vivekananda College and graduated with B.A. and M.A. degrees in Economics. I thank my professors who were very supportive to my artistic endeavours. In fact, the post graduate degree came as a blessing in disguise for my academic teaching in music at York University in Toronto, Canada, later on.

My shifting to Canada happened in the early 70s. I am so thankful to late Jon B. Higgins under whose initial invitation I went to Toronto to teach in the music department at York University in 1971. We both were the cofounders of Indian music program at York University. After Higgins left Toronto in 1978,1 took over as the Director of Indian Music Studies. The years I had spent performing with Jon Higgins and T. Viswanathan, and my concert visits to Wesleyan University during the time of T. Viswanathan and T. Ranganathan, were most memorable in my life. The departure at the pinnacle of my musical career from India to Toronto made a big difference and in that it enabled me to get seriously involved with academic teaching, research, composing besides performing. I am proud to say that I have trained numerous students in the history, theory, and performance of Indian music, many of whom have become professional performers and educators over the years. Also my interest in collaborating with world music artists resulted in many successful new creations with noted world musicians in the genres of Western Chamber orchestra, Jazz, African, Indonesian, and other world music ensembles.

At this juncture, I don’t think it is out of place to thank my wife Lalitha Sankaran who has not only been behind the success of my professional career, but also has been very supportive to all my artistic and academic endeavours. She has been a pillar of strength to me.

Even though I miss staying in India all the time, as you all know, I have been coming to the December music season every year purely out of passion for music. The constant touch with the roots of my tradition has enabled me to delve further in enhancing my art. Living, teaching, and performing our Carnatic music abroad has given me a unique perspective to look at my own culture and the music of India and share it with the global audience. It is thanks to my good fortune, god’s grace and my gurus’ blessings that I was able to enjoy the benefits of the best of both worlds. I am overwhelmed, at the same time humbled to be recognized and honored in a big way by the Academy for all the contributions I have made.

Music Academy is one of the oldest and the most prestigious institutions that has been doing yeoman service for the cause of Carnatic music. I feel very fortunate and proud to have had the association with the Academy for a long time. My first performance at the Academy was in the year 1956 with Sangita Kalanidhi Flute Sri N. Ramani and V.V. Subramaniam on the Violin. I was thrilled to see my illustrious guru Sri Palani and the famous flute legend Sri Mali present in the audience. Since then I have performed innumerable concerts with stalwarts and also given

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lec-dems and participated in the discussions and seminars. Of the many concerts, I fondly recall the late Sri Semmangudi Srinivasa Iyer’s concert in 1988, commemorating his 80th birthday in which Sangita Kalanidhi Prof. T.N. Krishnan and I performed together along with Harishankar on the Kanjira. This was one of many most memorable concerts in my musical career.

What is highly significant and gratifying is the fact that the Academy has given priority for Lay am this year. Lay am pervades the whole universe. The time cycles, macro and micro rhythms of the cosmos, nature, human civilization and the divine arts of music and dance are all based on layam. The abundance of rhythms manifested in the percussion music and the tala principles related to performance practice play an important role in our music. Layam can be looked at from the spiritual, melodic, and rhythmic perspectives. The spiritual sadhana, yoga, and musical training are all associated with layam. As the saying goes:

“JAPAKOTT GUNAM DHYANAM DHYANA KOTI GUNO LAYA:

Melody has as much rhythm in it, as rhythm has melody in it. Even though the art of drumming is considered predominantly rhythmic in character, it can be made to sound lyrical, poetic and narrative in the hands of a master drummer. Familiarity with the song repertoire and the style of rendition of various musicians in the field enables a mrdangam player to come up with different ways of accompanying music. Saint Thyagaraja in his Kriti “Sogasuga mrdanga thalamu” beautifully describes the importance of rhythm and its eloquence in enlivening the ensemble.

On this note, I would like to say a few words about the art of accompaniment. The music should be accompanied in an unobtrusive way. The aesthetics in the choice of sarvalaghu patterns and punctuations for different sections of the song should be given sincere attention. The accompanist should feel the melodic progression at every stage, and be able to respond and provide enhancement through the appropriate choice of patterns and mode of application. The art of mrdangam accompaniment involves many subtleties. The underlying principles of variation and proportion are constantly in effect and are carried out at three basic levels simultaneously: 1. The relation of the drumming to the tala. 2. The relation of drumming to the melody. 3. Appropriate rhythmic permutation. Sensitivity to music, a thorough understanding of musical structures, the mood of the piece and the sustaining balance are the key factors for a good accompaniment and the sarvalaghu plays an important role in all of them. Silence at appropriate places in musical accompaniment is equally important as it has a profound significance in aesthetic enjoyment.

Thani avarthanam is an important feature of a concert. I fully support the idea of thani as an extension of the song in a regular concert. Thani can be treated as a separate entity and can also be an extension of music. In the latter, the thani can follow the mood of the Kriti; follow the svara korvai, also possible to carry the overall pervasive mood of the song and the improvisation, which requires a deeper and subtle understanding to be able to appreciate.


We should be proud at the fact that our tradition has contributed a most sophisticated and scientifically developed system of rhythms. The elaborate theory and astonishingly complex drumming styles of Carnatic rhythm have become the most interesting and intriguing areas of musicological studies and performance practice for scholars and musicians worldwide.

The percussion tradition evolved over centuries and the present form of it reached its peak during the time of Pudhukkottai Sri. Manpoondiah Pillai and his contemporaries in Tanjore. Tanjore Narayanasamy Appa, a descendent of Maratha tradition, has been accredited as the forefather of mrdanga tradition. A clear line cannot be drawn between the schools as the masters of both traditions have been influenced by each other in laya aspects and percussion aesthetics. It is quite evident from the fact that Pudhukkottai Sri Dakshinamoorthy Pillai himself came under the tutelage and influence of Narayanasamy Appa, when he switched over to mrdangam from his earlier ghatam playing. I have heard that during the time of Sri Dakshinamoorthy Pillai, particularly the concerts of Konerirajapuram Vaidhyanatha Iyer and Kanchipuram Naina Pillai used to be mostly laya oriented. The percussion ensemble of the great laya exponents of that era known as ‘full bench’ used to be part of these concerts. While the founder of Pudhukottai School Sri Manpoondiah Pillai gave an impetus to kanakku orientation, the Tanjore School laid emphasis on other percussive aesthetics. The two schools were never totally apart, but only the individual styles remained quite distinct. Interestingly, my first teacher Sri P.A. Venkataraman studied under Mylatoor Sri Sami' Iyer of Tanjore tradition before coming under the tutelage of Sri Palani. I was fortunate enough to experience the best of both traditions, even though my style is predominantly based on that of my guru Sri Palani Subramania Pillai.

Tradition is like a multi-imaging mirror; through skillful use it can be made to mean many things. Individual styles evolve from a particular tradition that we call ‘bani’ The styles project the individual artistry, artistic experience, and an authoritative stamp on the relevant patantharam. The styles (via tradition) stand on their own merits. The success of a style is judged by its merits and survival. Sri Palani’s style is a testimony to the success and merits of the Pudhukkottai tradition.

Mrdangam epitomizes the laya aspects and the layam does not have to be always kanakku oriented. There is beauty even in simple sarvalagu patterns. Even the most difficult korvais can be played with much ease with a command of layam and sunadham. I personally have enjoyed the beauties/arrangements in korvais of both simple and complex in structures. It is the sollu development that I have carried through, a trait of Sri Palani, in my playing. I remember playing thanis without any korvai excepting at the end. Korvais ought to be played at the appropriate places in thani and should be meaningful in terms of overall presentation. I only wish that measures would be taken to preserve the authorship and acknowledgement of korvais in both Tanjore and Pudhukkottai traditions as I consider them important rhythmic compositions. This is good for posterity in my humble opinion.

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It is interesting to consider the ways in which the art of playing mrdangam has been enriched and developed from time to time. The theatrical drumming in early times (during the Natya Sastra period), then the temple dance and its continued development, the Prabandha Sangita of the medieval period, the Bhakti movement and its associated musical forms in Bhajanas and Harikatha traditions in the Tanjore district during Maratha rule - all these have immensely contributed to the repertoire, laya aspects and styles. Tavil playing especially in the last 150 years or so has also had a tremendous impact on the laya aspects of the mrdangam, an important influence that cannot be overlooked. In fact, many notable mrdangam and Kanjra artists have had their initial training under tavil masters, Palani Muthiah Pillai, and Manpoondiah Pillai included. Likewise, some mrdangam vidwans have also had their initial training under nattuvanars (dance masters). Thus the nattuvanars, tavil players, mrdangam and kanjira players - all have shared their rhythmic traditions, while upholding their artistry and distinct styles. The Carnatic drumming tradition has remained strong all through the history of accommodation, changes, and transformations. Tradition has much to offer, yet it is the individual artistry and creativity that brought the artists to the limelight and secured them an exalted position in their respective fields.

What is even more gratifying is the fact that I have been chosen the first and foremost recipient of the coveted title of Sangita Kalanidhi in the Pudhukottai Parampara of Sri Palani Subramania Pillai School. It is God’s grace and Guru’s blessings that I am being honoured with this title and award for maintaining, enriching and propagating this tradition with my own creative artistry. This particular style with my own imprint has reached far and wide through my global performances and academic teachings at York University and other universities in North America and I feel privileged to be one of the main contributors to that effect.

I feel it is the divine will and also coincidental that I should be receiving this honour at the start of the new year 2012, which marks the birth centenary year of the great mrdangam legend Sri Palghat Mani Iyer. It is the 75th memorial anniversary of the late Pudhukkottai Sri Dakshinamoorthy Pillai and the 50th memorial anniversary of my guru Sri Palani Subramania Pillai as well.

In conclusion, I wish to thank once again the Music Academy for giving prominence to layam and honoring laya vidwans. I request the President of the Academy, members of the Experts’ Committee, the Advisory Council and all the Vidwans/Vidhushis to assist me in conducting the proceedings of the 85th Annual Conference and make it a grand success.

Thank you all. Namaskaram.

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WELCOME ADDRESSof Shri. N. Murali, President

The Music Academy, Madras a t th e Sadas, January 1st 2012

Dr. Y.V. Reddy, Sangita Kalanidhi awardee Prof. Trichy Sankaran, other awardees of this year, Sangita Kalanidhis, Vidvans and Vidushis, my colleagues on the Committee, members of

The Music Academy, rasikas, distinguished invitees, ladies and gentlemen,

It is my particular pleasure and privilege to extend a very hearty welcome to everyone of you to the Sadas and to extend my New Year Greetings as well.

We are greatly honoured and delighted to have Dr. Y.V. Reddy, a very eminent person and a high achiever presiding over the Sadas this evening and confer the awards.

Dr. Reddy obtained M.A. in Economics from Vivekananda College in Chennai and holds a PhD. from Osmania University, Hyderabad. Dr. Reddy served for five years as the Governor of the Reserve Bank of India and retired in September 2008.

Prior to being Governor of the Reserve Bank of India, he was Executive Director of IMF and was earlier Deputy Governor, Reserve Bank of India. He was Additional Secretary, Ministry of Commerce and later Secretary, Ministry of Finance, Government of India. He had served Government of Andhra Pradesh in several capacities like Principal Secretary, Secretary, Finance and Planning, Collector, District Magistrate, etc.

He has been a member of the Commission of Experts of The President of the U.N. General Assembly on Reforms of the International Monetary and Financial System.

Sometime during the end of the year 2008, at a meeting of Prime Minister Manmohan Singh with his British counterpart Gordon Brown, the latter is known to have lavished praise on Dr. Reddy for his handling of the financial sector in India, which was one of the few economies to emerge unscathed from the crisis in overseas credit markets. Indeed, Dr. Reddy won wide international acclaim for his deft handling of India’s monetary and external sector policies that famously saved the country from the worst consequences of the global financial and economic crisis of the period 2007-2009.

Ironically, during the better part of his tenure as Governor of Reserve Bank of India, Dr. Reddy was considered by his critics as being somewhat conservative in his stance on a range of issues - opening up the Indian Banking sector, free flow of capital, placing fetters on real estate sector, the use of country’s foreign exchange reserves, innovation in financial products and so on. But, in hindsight, several of his moves appear prescient. Dr. Reddy’s calibrated approach has been more than vindicated.

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During his stewardship of the Reserve Bank of India, Dr. Reddy tried to blend continuity with change and did a deft balancing act of fulfilling several objectives. And he did succeed in very large measure, considering that the economy grew at over 8% during the better part of his tenure with average inflation remaining at a little over 5%. Our foreign exchange reserves have also grown by leaps and bounds.

Although RBI is not fully independent, he came across as a person determined to stand his ground. More importantly, he had the courage of his conviction to go that extra mile. Counting among Dr. Reddy’s very significant achievements are ensuring a reasonable degree of autonomy for the Central Bank and underlining fiscal profligacy as the prime factor behind inflation.

Dr. Reddy belongs to a disappearing breed of civil servants who not only know what they are doing but are also willing to make timely decisions and accept the responsibility for them. To the chagrin of his detractors he knew macro economics well and far more than those attempting to pre-judge his approach.

After retiring from his post, he has chosen to be an academic and is now Emeritus Professor, University of Hyderabad, and is widely consulted and listened to by many international organizations on contemporary economic issues. He has written many articles and books, noteworthy among which are his recent books “India and the global financial crisis: Managing Money and Finance” and “Global crisis, Recession and Uneven recovery”

As a recognition of his tremendous achievements India’s leading business daily “Economic Times”, conferred on him the “Lifetime Achievement Award” just a couple of months ago. In 2010, he was awarded the country’s second highest civilian honour, the Padma Vibushan.

I extend a very special welcome to Dr. Reddy and sincerely thank him for spontaneously accepting our invitation to be with us here today.

The curtain comes down on the two week-long music festival today. It has been remarkably successful in many ways like the quality and variety of performances, the large response from members and rasikas, the wonderful performance of all the artistes at the concerts and the musicologists and scholars at the morning academic sessions, the generous and ever increasing sponsorship and advertising support from enlightened organizations. Due credit for the successful conduct of the festival should go to our whole team including our dedicated volunteers and staff who worked tirelessly. Special words of appreciation go to the Programme Committee members and its Convenor, Shri K.V.Krishna Prasad and Dr. Pappu Venugopala Rao and his colleagues on the Core Committee of the Morning Academic sessions, for their meticulous planning and unstinted efforts.

I offer my warmest felicitations and congratulations to this year’s recipient of the prestigious Sangita Kalanidhi award, Prof. Trichy Sankaran, about whom I spoke in detail on the Inaugural

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day. I must also express my appreciation for the scholarly manner in which he presided over the interesting and high quality morning academic sessions.

I offer my warm congratulations to the other major award winners - Sangita Kala Acharya awardees Smt. Neela Ramgopal and Smt. Rama Ravi, recipients of “TTK Award”, Smt. T.R.Navaneetham and Mayavaram Shri G.Somasundaram and Dr. M.B.Vedavalli, the recipient of the Musicologist Award. I also congratulate the artistes who would be receiving prizes for their performances in the festival.

The Music Academy continues to be the fortunate recipient of the spontaneous generosity of several donors and well wishers. I have been acknowledging them individually from time to time, including at the inaugural function of the current festival. I have also presented a detailed report at the Inaugural function on the happenings this year. Therefore, in the interests of time, I would be very brief now. During the festival Sangita Kalanidhi Shri R.K.Srikantan has instituted two generous endowments for annual endowment programmes featuring the compositions of eminent composers from Karnataka.

As stated at the inauguration, the Academy has initiated serious steps to extend academic support to select organizations abroad in order to contribute to the cause of camatic music education and scholarship. An MOU has been signed today with Kalakruthi School of Music, based in Melbourne, Australia and will be exchanged in the presence of our chief guest later at this Sadas.

In conclusion, we would count on the continued and unwavering support and participation of members, rasikas, well-wishers and friends to help preserve and strengthen our fine tradition and values of classicical fine arts, in respect of which the Academy has proudly stood as the bed rock over the last eight decades and more.

Let me end by once again wishing you all a very joyous New Year and reminding you of our Dance Festival that begins on January 3, 2012.

Thank you very much.

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ADDRESS OF CHIEF GUESTDr. Y.V. REDDY, former Governor o f Reserve Bank o f India

At the Sadas, January 1st 2012The Music Academy, Madras

Mr. Murali, President of the Academy, Sangita Kalanidhi Professor Trichy Sankaran, Sangita Kala Acharyas, Smt. Neela Ramgopal, Smt. Rama Ravi, TTK Award Winners, Smt. TR

Navaneetham, Mayavaram Shri G. Somasundaram, Musicologist award winner Dr. M.B. Vedavalli, Respected awardees, Esteemed artists, Office bearers and members of the Executive Committee, Distinguished Musicians, rasikas, Ladies and Gentlemen, I am grateful to the organizers for inviting me to participate in this significant event. I am aware of the great honour conferred upon me, and I deeply appreciate it.

For me, participating in this event in The Music Academy is a unique experience. There are no tradeoffs or quid pro quos in this Sadas. Everyone in this gathering benefits by participation, and no one anywhere looses.

The Music Academy, Madras, I believe, has been doing yeomen service in reviving, maintaining, propagating and developing classical music. The December Music Festival is perhaps the largest music festival in the world. It certainly is an event that attracts music lovers from maximum number of countries in the world.

Classical music, all over the world, requires support from the general public and no where is it a commercial proposition. India is no exception. Hence, the donors who support the Academy should be congratulated.

Above all, selfless and devoted organizers of the Academy deserve gratitude of all of us here. Kindly join me in applauding them, in particular, Mr. Murali.

I notice that the best compliment for the work of Music Academy has been paid by Sangita Kalanidhi Professor Trichy Sankaran. “I yearn for Madras. I come every year to recharge myself. I feel at peace after playing here”

Professor Sankaran is a multifaceted genius. He is great in classical music. His presence and contribution is global. He is also a great teacher, not just a great teacher in music. He is a great teacher, period. He won the best teacher award among the teachers of all fields of instruction in the University in Ontario, Canada.

I bow with great admiration to you, Sir, Professor Sankaran, and to all other distinguished awardees.

One of the great contributions of Professor Sankaran is what I may call globalization of classical music, and I feel that we do not have enough of it.


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But, in money and finance, the area where I come from, there is too much of globalization and too much of finance. The global crisis that many people are currently facing is mainly due to excessive financialisation, which is resulting in economic crisis. It is also turning out to be political crisis and also seems to be erupting into crisis in social cohesion in many countries.

There has been excessive financialisation of commodity markets, where commodities are treated like financial assets. That imparts excessive volatility in prices irrespective of underlying demand and supply conditions.

There has been excessive financialisation of household budgets, particularly in Western economies. Demand for cars, houses or consumer goods depends on credit conditions and interest rates, not merely income elasticity and price elasticity of demand that we were taught.

There has been excessive financialisation of corporates, who operate on a large scale in treasury operations. They take risks that impacts main line of business. One company in Chennai faced it recently.

There has been, above all, excessive financialisation of financial sector. Financial transactions multiplied, because incentive was to multiply them, as participants get commission on transactions. Up to a point they are good but excesses create systemic problems, especially when some of them play with others’ money.

There are unhealthy incentives in many non-bank financial institutions and non-traditional banking operations. The bonuses are huge and based on short-term gains but not sharing in losses. In some of them, the fund managers get income on two and twenty system: two per cent per year on the total fund that they manage; twenty per cent of profits with no sharing by them of losses.

In the financial system of many advanced economies, the classical principles of traditional banking were ignored. Exotic finance became dominant with disastrous consequences for the system. They had forgotten that traditional banking is the core and the essence of financial sector. After the crisis, there are global efforts to protect and strengthen traditional banking within the financial sector.

Like traditional banking is the core around which the whole world of finance revolves, world of music revolves around classical music. Keeping in mind the integrity of the classical music is very much like maintaining the integrity of traditional banking.

Globalisation of finance has not lead to flow of money from rich countries to poor but other way about. It financed consumption in U.S.A, say with savings from China. However, globalization of finance has led to globalization of risks. India is also facing consequences, as Prime Minister pointed out in his New Year day address.

There is a serious debate now on the values that seem to govern some of the participants in financial sector, which could have caused the global crisis. The concern is about greed for money as depicted by the saying “greed is good”

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This leads me to the question that Saint Thyagraja raises:

“Nidhi chala sukhama, Ramudu sannidhi sukhaka nijamuga palakave, manasa”

my submission is: it is time we roll back too much finance.

It is time we roll forward classical music; music that blends discipline, balances values and promotes devotion.

I feel that:

We must enhance finance for classical music,

We must enhance classical values in finance.

I am aware that there are many brilliant financial experts in this gathering, who happen to be lovers of classical music. So, my request is:

Please get some finance for classical music and

Take the values of classical music to finance - to all nooks and comers of the world.

That will enrich all people globally.

Thank you again.

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Awardees 2012

Sangita Kalanidhi Award

Prof. Trichy SankaranPresident of the Conference

Born on 27th July 1942 at Poovalur to Subbalakshmi and Subbaraya Iyer, Trichy Sankaran began training at the age of four on the mridangam under his cousin P.A. Venkataraman. His debut took place when he was 10, at a Harikatha performance in the presence of Sangita Kalanidhi T.K. Jayarama Iyer. He was later apprenticed under the mridangam maestro Palani Subramania Pillai, the foremost exponent of the Pudukottai style of mridangam playing.

While training under Subramania Pillai, he also graduated with a BA and later on MA degree in Economics from the Vivekananda College, Madras. Rapidly establishing a name for himself as a mridangam artiste of outstanding ability, Sankaran became a much sought after accompanist. Audiences and artistes considered him to be a true torchbearer of the Palani style. In 1971, at the invitation of Jon B. Higgins, he moved to Canada, to set up the renowned South Indian Music Programme at the York University. He later became the Founding Director of the Indian Music Studies and is now one of the senior-most professors in the Fine Arts Department at the York University.

Building on the Palani style, Sankaran has created a niche for himself in the field. Known for his technical skill and his adherence to tradition and at the same time a commitment to innovation, Sankaran has trained several students, and collaborated with artistes belonging to diverse genres of world music. The Music Academy is proud to confer on him the title of Sangita Kalanidhi.

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Sangita Kala Acharya Award

Neela Ramgopal

Bom on 25th May, 1935 in Madras to Rukmini and T.V. Krishnaswami Iyer, Neela Ramgopal had her training in music under N.M. Narayanan, the well-known music critic of The Hindu and T.K. Rangachary. She then embarked on a career as a vocalist and has since given performances all over India and several places in abroad. Her performing career has spanned five decades. She has also released several cassettes and CDs.

An ‘A Top’ artiste of the All India Radio, she has conducted numerous workshops and training programmes over the media, at educational institutions and other forums. Known for her extensive repertoire of songs acquired from authentic sources, she imparts her knowledge to several students and is a much sought-after guru, especially in Bangalore which has been her home for several years. Her teaching emphasises on correctness in rendition, an uncompromising quest for perfection, and adherence to tradition. Neela Ramgopal has been honoured at various Sabhas all over the country and also abroad. In recognition of her work, The Music Academy, Madras confers on her the title of Sangita Kala Acharya.

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Sangita Kala Acharya Award

Rama Ravi

Bom on 12th February 1943 in Madras to Thulasi and M.R. Subramania Iyer, Rama spent her initial years at Kalakshetra, learning Bharatanatyam from ‘Periya’ Sarada, Rukmini Devi and Sangita Kala Acharya Sarada Hoffman. She trained in music under stalwarts such as Sangita Kalanidhis Mysore Vasudevachar and Budalur Krishnamurthy Sastrigal and also M.D. Ramanathan. She later trained under Sangita Kalanidhi D.K. Jayaraman.

A post-graduate in music, Rama, under the guidance of Sangita Kalanidhi T. Viswanathan, qualified for the M Litt degree from the University of Madras. She received the Sangeet Natak Akademi fellowship in 1975 and trained in Dikshitar kritis under Sangita Kalanidhi B. Rajam Iyer. Considered a true representative of the Dhanammal School of Music, Rama was guided by Sangita Kalanidhi T. Brinda, Sangita Kala Acharya T. Muktha and musicologist and historian T. Sankaran. She has also trained in Hindustani Music under Pt. Vinay Chandra Mudgalya and is proficient on the veena and mridangam besides. Rama’s performance career has spanned four decades and she is an ‘A Top’ artiste at the All India Radio. She has also performed under the auspices of several organizations the world over. The Music Academy, Madras confers on her the title of Sangita Kala Acharya.

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TTK Memorial Award

T.R. Navaneetham

Bom circa 1923 at Tiruvidaimarudur to Mahalingam and Rajamanikkam Ammal a dancer and singer, Navaneetham is from a family traditionally devoted to the arts. At the age of five she was enrolled to learn music and dance from Peruncheri Muthu Pillai and he trained her as a flautist. Her debut concert was at the age of six in her hometown. She later trained under Paravakkara Srinivasa Iyer, Tiruvizhimizhalai Subramania Pillai and Sangita Kalanidhis Tirupamburam N.Swaminatha Pillai and Maharajapuram R.Viswanatha Iyer.

Having pursued a busy career as a flautist, Navaneetham is an ‘A Top’ artiste with the All India Radio. She was an executive committee member of the Tiruvayyaru Thyagaraja Aradhana for several years. She has served as a lecturer at the music college run by the Tirumala Tirupati Devasthanam. Subsequently, she was a lecturer and later a visiting professor at the Isai Kalluri run by the Government of Tamil Nadu. The Music Academy, Madras confers on her its TTK Award for 2011.

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TTK Memorial Award

Mayavaram G. Somasundaram

Bom on 10th December 1928 to Tiruvonattammal and P. Govindasami Pillai, Somasundaram trained in percussion under tavil maestro Tirumullaivayil Muthuvir Pillai and mridangam exponent Kuthalam Sivavadivel Pillai. Starting off his concert career as an mridangam artiste, he later switched to the kanjira in which instrument he made a name for himself. Beginning with his debut at a concert of M.K. Thyagaraja Bhagavatar, Somasundaram came to the limelight of several maestros and became their accompanist of choice. In this context, his association with Madurai Somu is legendary. His having accompanied four generations of artistes must be a matter of record.

A quintessential accompanist who is known to enhance any music performance, Somasundaram has travelled all over the world and won acclaim. His advice is today much sought after by musicians and dancers alike, on matters concerning lay a. His efforts in teaching his art are praiseworthy and he continues to train students on percussion even now. The Music Academy confers its TTK Award for 2011 on him.

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Musicologist Award

Dr. M.B. Vedavalli

Bom on 8th June 1935 at Madras to Yedugiri and M.B. Shama Iyengar, Vedavalli trained in music initially under her sister M.B. Singamma and later while studying for her BA degree in music at the Maharanis College, Mysore, under Sangita Kala Acharya Titte Krishna Iyengar and M.A. Narasimhachar. She acquired an MA degree in music at the Stella Maris College, Madras where she was trained among others, by Sangita Kalanidhis Prof. P. Sambamoorthy and T. Viswanathan. She also underwent a special course in pallavi singing, conducted by Sangita Kalanidhi Mudicondan C. Venkatarama Iyer. Her PhD thesis, Mysore as a Seat of Music, in which she was guided by Dr. S. Seetha, remains a landmark work on the subject. She was awarded a DLitt by the University of the Madras in 2004.

Dr. Vedavalli has had over 30 years of experience in music research and teaching. She has taught at several institutions including the Music Department of the University of Madras. She has presented numerous papers at various symposia and is also the author of several books. She has also significantly completed the Dictionary of South Indian Music and Musicians, the unfinished work of Sangita Kalanidhi Prof. P. Sambamoorthy. Dr. Vedavalli has been on the Board of Studies of Madras University and is a member of the Advisory Committee of the Music Academy, Madras. She receives the Musicologist Award of the Music Academy, Madras for 2011.

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Music Academy Dance Festival 2012 - A ReportThe sixth Dance Festival of the Music Academy was held from 3rd to 9th

January 2012. A total number of 26 performances were staged. This comprised of 17 solo and duo dances and 9 group presentations. Of the 26 performances 11 featured artistes and troupes that have performed earlier, some of them more than once. The remaining 15 were featured for the first time. There were 13 solo and one duo and 3 group presentations in Bharatanatyam. For the first time Therukoothu was presented at the Academy in fusion with Bharatanatyam, in Sudharani Raghupathi’s group production Mammuda. Other styles presented were, Odissi, Mohini Atttam, Kathak, Kuchipudi and Yaksha Gana. There were three Odissi performances, one solo, one duo and one group presentation. Kuchipudi was featured twice in one solo and one group performances. There were two solo and one duo performances by male dancers.

Three local troupes and one outstation troupe performed to recorded music and the quality of the recordings were good. There was a good turn out for all the performances, including the morning sessions. A brochure was brought out on the occasion giving details of the artists, troupes and the programmes with photographs. The cover featured photos of Natyacharya Kancheepuram Ellappa and his disciples, Chandralekha, Chitraleka, Lakshmi Viswanathan and Udupi Laxminarayana, who have performed or given lec dems at the Academy.

The festival was inaugurated by Dr.Stefan Weckback, Consul General of the Federal Republic of Germany, Chennai. The Award and title of Natya Kala Acharya was bestowed on Dr.Padma Subrahmanyam. She donated the Award money of One lakh rupees to the Bharatha - Ilango Foundation. The other speaker on the occasion was Sreedhar Potarazu, the main sponsor of the festival.

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MORNING SESSIONS AT THE MUSIC ACADEMY

December 16, 2011

The first day of the morning lecture demonstration sessions, chaired by the Sangita Kalanidhi designate Vidvan Sn Trichy Sankaran, started with group vocal performance by the students of the Advanced School of Carnatic Music, The Music Academy.

This was followed by the first lec-dem of the season on ‘Tayambaka’ aptly scheduled, as the President of the conference is a lay a vidwan.

Cenda, Tayambaka

The first lecture demonstration was about Cenda, Tayambaka’ by Mattannur Sankarankutty Marar and his team from Kerala. Marar began his lecture by saying that the drum ‘Cenda’ was initially used in temple rituals in Kerala, which has now come into the stage performance. First, he demonstrated ‘ganapatikai’ set to ‘cembada’ taja equivalent of adi tala. He then explained the other tala-s namely, ‘cemba’ equivalent to khanda capu, ‘adanda’ equivalent to misra capu and ‘panjari’ equivalent to rupaka. He said only these tala-s are used in tayambaka with various styles employed. He then explained about the parts of cenda. The cylindrical drum is made with jack wood with cow’s leather covered on both the sides and bamboo ring to join the drum and the leather cover. Idandala of Cenda is mostly used and Valandala is used as rhythm support. For Cemba melam, 4 speeds are employed. The first speed of Panjari melam consists of 96 aksara-s. In Panjari melam 5 speeds are employed.

Tayambaka: Tayambaka starts with cembada vattam - 8 beats. Tayambaka involves arithmetical progression and not mathematical progression. Then it moves to kuru - cemba kuru, which is in khanda nadai, Adanda kuru comprises of 28 aksara-s in one circle and then on to Edavattam - Eka tala and so on. Marar restricted his lecture and elaborated the demonstration part of the Tayambaka.

Sankaran Kutty Marar was accompanied by Mattanur Srikanth, Mattanur Sriraj, Mattanur Sriraman, Paiyanur Sudhi, Velinilai Raman Unni, Kottaram Vinu, Mattanur Ajith Marar, Mattanur Srijith, Mangalam Unni.

After complementing Marar, Dr. Pappu Venugopala Rao opened it to the experts to make comments and compliments. Dhananjayan complimented Sankaran Kutty Marar. V. Sriram’s questions: what is the weight of the instrument and what is the material with which the stick is made. The drum weighs about 12kilos and cappangam wood is used to make the stick answered Marar. Prof. Trichy Sankaran ended the session with his observations and complimentary remarks.

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December 17, 2011Lavanya Balasubramanian, student of the Advanced School of Carnatic Music began the

day with AndaJ’s tiruppavai ‘Margazi tingaj’

Riga transformations and compound raga-s in Hindustani music

The first lecture demonstration was on raga transformations and compound raga-s in Hindustani music by Sn Deepak Raja. He made a very well structured power-point presentation with recordings of yesteryear musicians for demonstration. The lecture in the form of a detailed article is published elsewhere in this journal.

Pappu Venugopala Rao complimented that it was a systematically crafted presentation. N. Ravikiran and TR Subramaniam made their observations and Sankaran concluded the session with his complimentary remarks.

My experiences with Music over the last 75 yearsThe second lecture was a talk by Prof. TN Krishnan on his experiences with music over

the last 75 years. After elaborating his learning and performing experiences, He moved to the demonstration part. To demonstrate, TN Krishnan played Saveri raga and explained the position of suddha rsabha, the movement from madhyama to pancama. Referring to Ariyakkudi Ramanuja Iyengar’s sankarabharanam alapana, he demonstrated phrases that are to be played as a chain without taking out the bow and a sample of tanam.

Pappu Venugopala Rao and Sankaran complimented the speaker.

December 18, 2011Savita Sriram, disciple of Sangita Kalacharya PS Narayanaswamy began the day with an

abhang.

Mood and Music in Tamil KuttuDr. VR Devika and troupe presented a lec-dem on ‘Mood and Music in Tamil Kuttu’ The

Terukuttu is generally performed in the night in front of Draupadi Amman temple and mainly focuses on epics like the Mahabharata and the many off stories of MahSbharata exclusive to rural Tamil lore. It is the music that beckons the audience. For the musical theatres of the Tamils (Kuttu), music is the soul. There is a lot of integration of music, dance and dialogue in Kflttu. The whole structure of Kuttu is poetically conceived. In a conventional Kuttu the first entry is that of a kattiyakaran - narrator. Before proceeding to the demo part, Devika mentioned about E. Krishna Iyer’s initiative on creating space for informal art forms like Kuttu in the Academy. The demonstration was done by the artists of RenukambSl Kafiaikuttu Najaka Mandram, Sirumanjipet. Mr. Seetharaman played the role of Duriyodana and demonstrated the emotions of Duriyodana when he lost most of his supporters in the Kuruksetra war. Music for this mood is either set

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in subhapantuvaraji or mukhari. Devika said it is the music that helps the actor to enrich his action. Nadanamakriya, Kanada, Nattai, Bhupajam, Kambhoji, Kedaragaula, Athana and Todi are employed regularly in Kuttu. They also sing a raga called Mahanandi which they say is close to subhapantuvaraji. The importance is given for the composition and lyric rather than the technique and raga laksana. Next was a song in Nattai depicted by Klcaka in srhgara mood. The music ensemble includes petti (harmonium), mrdariga tabla (drum), mukha vlna and the tajam. The earliest references to Kuttu are found in Sahgam poetry, anthologies and the Tolkappiyam. Devika elaborated about Kuttu in temple festivals and concluded with a demonstration of Draupadi character in Kuttu.

While answering to R. Vedavalli, the artist said that for each drama there are prescribed songs set by their ancestors and they follow the same, but some changes in the tunes are allowed. In ritualistic kOttu it is only the stories from Mahabharata that are enacted

Devika clarified a doubt. Prof. Sankaran concluded the session with his complimentary remarks.

Influence of Indian rhythmic system and Solkattu in Jazz and Mediterranean music

The second lecture was on the influence of Indian rhythmic system and Solkattu in Jazz and Mediterranean music by Suresh with percussion artists from all over the world. The presentation was more on demonstration. The instrument Kahol, which is from South Africa and adapted by Spanish artists was played incorporating the Solkattu. Then followed some information on foreign instruments and musicians influenced by Carnatic classical system. Suresh played few recordings of foreign musicians who adapted Solkattu in their system. Ms. Carola Grey (Jazz Drummer from Munich, Germany), a Mediterranean Percussionist Miguel Hiroshi (Kalimba, a polyrhythm instrument), Mr. Vasilis Sarikis (Frame drum, Darbucka and Riqq player from UK) and Ghatam player from Japan, Takaaki Kuno shared their experience on learning and adapting the Solkattu system in their instrument. Prasanth Radhakrishnan from USA on Saxaphone also joined the percussion artists.

Prof. Sankaran shared his thoughts on Solkattu and complimented the artists.

December 19, 2011

Savya Dakshina, disciple of Vidvan AKC Natarajan began the day with Syama Sastri’s Parakela in Kedaragaula.

Syama Sastri, Subbaraya Sastri and Annasami Sastri

Smt. Seetha Rajan began with an introduction about the biographical details of Syama Sastri. The demonstration part started with Kamaksi, the Yadukulakambhoji svarajati of Syama

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Sastri. Pallavi covers the mandrasthayi. Step-by-step development of the raga is very well seen in this composition. Elongation / oscillation of ri & ma indicates the jlva svara of the raga. In the 2nd and 3rd carana he indicates how both ‘ri sa’ and ‘ga sa’ are used. Mandra dha to madhya dha jaru prayoga in the 4th carana is seen. In the 8th carana, phrases with vadi samvadi poruttam has been incorporated. Syama Sastri’s svara passages pattern in the svarajati in one passage is spaced out with dlrgha svara-s and the next filled with hrasva svara-s like tana. The final carana shows the range of the raga from tara madhyama to mandra pancama. Foil wing this was a brief demonstration on the bhairavi svarajati. 5 glta-s of Syama Sastri are available. There are two sahitya syllable per tala aksara is seen in his gita-s. Seetha Rajan sang the Paras raga glta as an example. Then followed statistical information of His compositions. She elaborately explained the style of Syama Sastri’s lqti-s. She said Syama Sastri seems to have had a special liking for anandabhairavi. In the krti-s of Syama Sastri, sahitya syllables are spaced out and do not necessarily conform to the equal number of syllables in the avarta-s. Svara-sahitya is an integral part in Syama Sastri’s compositions. Some krti-s are packed with syllables throughout. He has also composed in rare raga-s like Cintamani, Kalgada etc. The talk about the style of Syama Sastri’s compositions ended with the analysis on the lay a aspect in his lqti-s.

Subbaraya Sastri: All his compositions are in Telugu. The expression of words is very similar to those of his father’s. For example, harihara suramunivarulaku nldu mahima pogaduta tarama in Emanine is similar to that of a line hariharadulaku nl mahima ganimpa tarama in the Bhairavi svarajati. Even the phrases are similar as can be seen in the initial phrases of Emanine and Palimpavamma. 8 out of 11 krti-s of Subbaraya Sastri have svara-sahitya part. The uniqueness of his songs is the inclusion of a madhyamakala line as the last line of the carana.

Annasami Sastri: 10 krti-s and 2 varnam-s are available. He is said to have composed the svara-sahitya part of Palincu Kamaksi in Madhyamavati. Seetha Rajan concluded her demonstration by singing a few krti-s of Annasami Sastri.

Seetha Rajan was accompanied by Ms. Jyotsna Krishnamurthy as vocal support.

Pappu Venugopala Rao complimented the speaker and said ‘though the topic has been dealt with earlier, for the reason that we are on the threshold of 250 years of the birth of Syama Sastri this year (he was bom 1762), the lecture on Syama Sastri and his descendents has been organised’ PS Narayanaswami complimented the speaker. P. Vasanthkumar raised a doubt on svara-sahitya part of Syama Sastri krti-s and mentioned that GNB and MLV have not sung svara-sahitya for Palincu Kamaksi krti. N. Ramanathan said the svarajati of Syama Sastri cannot be compared to a krti. He also mentioned that Balamuralikrishna used to sing Cintamani as a janya of 52nd mela. He said Syama Sastri did not conform to the mela system. The discussion was going on. The session was concluded with Sankaran’s compliments.

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Musical Instruments in ancient times as seen from Literature and Archeological sources

The second lecture was on the musical instruments in ancient times as seen from literature and archeological sources by Sn Kudavayil Balasubramanian. The lecture began with an introduction to the topic and archeological traditions. From the references available from archeological sources, it is evident that women have played all kinds of musical instruments. A picture of the instrument Tudi in the Lord NatarSja’s hand was shown first. In the Kumbakonam Nagesvaran temple, a sculpture depicts Siva and Parvati with tudi and tajam and a sculpture of Venugopala Svami with flute. Siva playing the vlna is seen in Pazaiyarai Vadatali near Kumbakonam. Siva playing kudamuza is seen in EllOra. Only in the D&rasuram temple can Siva can be seen playing the flute. In Kazugumalai, He plays the mjdanga. In a temple in Tirutturaipundi, the pancamukhavadyam itself is considered as deity with each of the mukha representing Siva’s five faces namely Isanam, Agoram, Tatpurusam, Satyojatam, Vamadevam. He then gave statistical information on instruments in Sangam literature and later works like Pancamarabu etc. He then shifted again to sculptural references. Yaz is seen in the Tirumayyam temple. Reference from the Kudumiyamalai inscriptions was explained next. Reference to parivadini vlna is available here. Vina in temple sculptures was listed in detail. Tanjai Rajaraja’s inscription has reference about the instrument Padavlyam. It is inferred from the sculptural evidence that padavlyam must have been an instrument which is played as a support while singing. References to kudamuza were listed next. Kalladam is the only text has reference to this instrument. Nadasvaram in the form as seen today has reference from the 15th century sculpture and inscriptions. In Kumbakonam Nagesvarar temple, sculptures of ladies playing flute and percussion instruments are seen. From the sculptural evidences it is seen that for the dancing ladies, only lady artists have accompanied. A copper plate written on 5.4.1734 in King Tulaja’s period has an engraving of more than forty instruments.

The session concluded with compliments by Trichy Sankaran and questions from the audience.

December 20, 2011

The morning session began with a prayer by Aishwarva Sankar, disciple of Sangita Kalacharya Suguna Varadachari.

Ta|a-s in Treatises

Both the lectures of the 5th day of the morning session were planned on the Tala-s. The first lecture was on Tala-s in treatises by Dr. N. Ramanathan. He made a very detailed power point presentation. He began the lecture by quoting the verse ‘Tajah kalo va’ - which means taja is time. Tala creates time either by alternating actions of hand with non-action. Ramanathan listed with details (author, date, language) of the treatises, which dealt with tala. Identification of different traditions of tala practices visible in the treatises was detailed next. Different genres in which taja

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were used in musical presentation was discussed. Ramanathan said, in the line from Silappadikaram ‘adalum padalum paniyum tukkum’, the word pani is interpreted by commentators as tala, but doesn’t seem so as there is no mention about taja earlier in the original work. Next to samagana, gandharva is the earliest art tradition. Gandharva had a very elaborate taja system. An example of a song from the madrakaglta was explained with the help of power-point. Next, he explained the taja system in asarita glta, another form in gandharva tradition. In the gandharva tradition, the taja did not have sections. In the marga tradition, the theatrical presentation encompassed music, which included Tala-s like pancapani. The desi tradition borrowed the theory from the marga tradition. In the desi tradition the tala system had a cyclic structure. Ramanathan explained this with an example. Then the prabandha stage was taken up. Taja in Hindustani music was explained next. Further Sajadi was explained. In the post-sujadi period, two streams of taja system developed. After explaining the evolution of present day taja system, Ramanathan concluded with a summary.

Dr. Akella Mallikarjuna Sharma, Dr. BM Sundaram, Dr. Pappu Venugopala Rao and Prof. Trichy Sankaran concluded the session with their observations.

Taja-s In practice

The second lecture was on Taja-s in treatises by Sangita Kalanidhi Smt. R. Vedavalli. She started by stating that ‘Layam’ is ‘control’. She said she would start from sOjadi sapta taja-s, where Dr. Ramanathan concluded his lecture. She discussed about capu taja next. Capu tala is a recent inclusion into the system, which was earlier as misra eka or tisra triputa. In bhajana sampradaya, this Taja is played as 3+2+2 to maintain the atmosphere thereby influenced the 7 aksara taja-s transforming as misra capu. Next discussed was the desadi being changed to adi. As examples, Giriraja suta tanaya, Nannu palimpa and Dinamani vamsa were sung in desadi & adi. 108 tala-s and canda tala was discussed in brief. She concluded the demonstration with Simhanandana taja tillana.

Some of the expert committee members and audience made their observations and comments. Prof. Sankaran concluded the session with his remarks.

December 21, 2011

Janani Aiyer, disciple of Sangita Kalacharya PS Narayanaswamy began the day with a prayer song.

Tavil and its role in Carnatic music

The first lecture was on Tavil and its role in Carnatic music by Dr. BM Sundaram, accompanied by Sri, Tanjavur Govindarajan. BMS began the lecture by defining the word ‘tavil’ as “In Tamil language the syllable ‘ta’ means ‘blemish’ and Ml’ means ‘without’ and thus the word ‘tavil’ means blemish less” The instrument is called as ‘dolu’ in Karnataka and Andhra.

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THE MUSIC ACADEMY • JO URNAL 2012 • VOLUME 83

Mention has been made about this instrument both in the Saiva and Vaisnava cults. The work Umamahesvarabharatam mentions tavil as one of the instruments among the eighteen most superior instruments. Sundaram explained about the playing of tavil in various occasions. Govindarajan demonstrated the sollu-s and jati-s employed in tavil playing. He said that according to the verse in periyapuranam written by Sekkizar, nadai and gati are two different aspects in tala system. He then explained the tani of tavil. Recordings were played to demonstrate the sound quality of earlier tavil vidvan-s.

Prof. Trichy Sankaran shared his experience as being from the tavil tradition.

At the end of the session BM Sundaram presented his father’s portrait to the The Music Academy, which Sri. N. Murali, President of the Academy received.

Role of Nadasvaram in shaping vocal music

The second lecture was on the role of Nadasvaram in shaping vocal music by Sri.S.R.D. Vaidyanathan. He began his lecture with a brief introduction to Mallari and demonstrated Ragamalika mallari in misra jati ata taja, composed by him. Trikala ragam, which is played after mallari was demonstrated next. He demonstrated the three speeds employed while singing alapana and how the bhava should be expressed. Raktimejam was explained with a recording. He sang a pallavi in vacaspati.

Prof. Sankaran concluded the session with his compliments.

December 22, 2011

Divya Padmanabhan, disciple of Sri. V. Subramaniam began the day with a prayer song.

Thumri and its allied forms

The first was lecture by Sandhya Kathavate on Thumri and its allied forms. She began the lecture with an audio recording of Barkhat Ali Khan’s thumri rendering. She elucidated about the Thumri form. Earlier, Thumri was a dance form. She sang Bandi? thumri, which almost has syllable at every beat. Lyrics of Thumri are in Brij bha§a / Bengali / Urdu / Hindi. She said that not all the raga-s are conducive to Thumri form. Kamaj, Tilang, Pllu, Pahadi, Bhairavi, Sivaranjani and Kapi are the popular raga-s associated with Thumri. It is allowed in Thumri to use foreign notes for the sake of bhava or emotion of the song. Tin tal, addha, dlpcandi are the tala-s employed in Thumri. Light form of Thumri is dadra. Caiti, Khajri, Jhflla and Savan are the folk and allied forms of TTiumri. Thumri singers are from various schools like Purab bas, Banaras bas, Lucknow

bas, Pathiala bas.

To V. Sriram’s question on the content of the thumri, Sandhya said that there are a very few songs have the content as man pining for woman and predominantly the content is woman pining for a man. The session concluded with Prof. Sankaran s compliments.

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KaccSri Paddhati - Panel discussion

The second programme was a panel discussion on Kacceri Paddhati. The panel had musicians Sangita Kalanidhi Sri. RK Srikanthan, Smt. Aruna Sairam, Smt. Pantula Rama, Sri. Chitravina Ravikiran and Sri. RK Shriram Kumar with Prof. Trichy Sankaran as Moderator.

The discussion started with the introductory remarks by Trichy Sankaran. He said that this panel aims at discussing several issues surrounding the Kacceri Paddhati and hopefully come up with answers that are concrete and mutually satisfying to the artists and rasika-s. RK Srikantan, in his introductory comments explained about the yesteryear and present day Kacceri Paddhati with reference to the song list. He said GNB used to say that Muttusvami Dlk$itar’s lqti-s are prabandha-s and TySgaraja and SySma Sastri’s are kavya-s. One of the panelists, Aruna Sairam discussed psychological aspect of a concert. Pantula Rama voiced her views on the present day Kacceri style focusing on the audio effects. Ravikiran said a student should get on to the concert platform only after a good repertoire of compositions to be able to sing 10 concerts without repetition of songs. He also said that no changes should be done for the sake of attention in the format of a concert. RK Sriramkumar spoke about the content of a concert and emphatically made a point that the quality of the content is more important than the list. Pappu Venugopala Rao intervened and requested the panelists to discuss based on the background sheet prepared by Dr. N. Ramanathan, which was sent to all the panelists. The panelists in the second round of the discussion discussed variety and proportion of concert. Role of accompanying artists was also discussed here.

The discussion concluded with question and answer session.

December 23, 2011

Jayakrishnan, a disciple of Sri. Neyveli Santhanagopalan began the day with a prayersong.

Music in Motion - computer transcription of Music

The first lecture was by Smt. Suvamalata Rao on Music in motion - computer transcription of music. This lecture was a visual presentation, which is published in the form of a detailed article elsewhere in this journal.

Kacceri Paddhati - Panel discussion

The second session was the continuation of the panel discussion on Kacceri Paddhati by artists. The panel had reviewers Sri. G. Swaminathan, Sri. Charukesi, Sri. Ramanarayan, Sri. Veeyesvee, Smt. Lalitha Krishnan and Smt. Sita Ravi with Dr. SAK Durga as the moderator.

SAK Durga listed four points that are to be discussed: 1. Duration of the concert, 2. Large number of compositions than manOdharma sangita, 3. Changes in the presentation of the

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compositions at the post pallavi period, 4. Whether the reviewer ought to have musical knowledge or whether a musician can review better and finally, how the reviewers view the changes that have been tried in the paddhati. Ramnarayan suggested that the accompanying violinist could be given a role equivalent to that of the vocalist and post-main composition can be more of viruttam and ragamalika. Sita Ravi said experiment in changing the paddhati could be done without breaking the dharma. Lalitha Krishnan made her observations based on the brief that was written by Dr. N. Ramanathan: 1. in the context of forms which are component of a concert such as varna, krti, alapana, niraval etc., - does a concert lie in each of the individual item separately or in the collective presentation of the all the item? She said the answer is both. 2. Regarding violin accompaniment: can aesthetic unity be achieved by clubbing the two alapana-s of the vocalist and violinist. Lalitha’s response was ‘yes’ Veeyesvee said RTP is not required for a two hours concert, as the time devoted to RTP is very less. He feels that the reviewer needs to have only a limited musical knowledge. Carukesi said success of a concert relied on the whole team. Singing allied raga-s can be avoided, he said. Swaminathan said percussion in a concert is essential as it elevates the entire performance. SAK Durga asked if a concert were started with a Gltam how would the reviewer view it. Unanimously the panel responded that a concert would be reviewed in totality.

BM Sundaram, MB Vedavalli and TR Subramaniam expressed their views and shared their experience. The session concluded with Trichy Sankaran’s concluding remarks.

December 24, 2011

Apama and Harini, disciples of Sangita Kalanidhi TK Govinda Rao, began the day with Sobillu Saptasvara, a krti of Tyagaraja.

Sri Harishankar style of Kanjira playing

The first lecture was by Sri. Amrit on Sri Harishankar style of kanjira playing. He briefly spoke about the instrument and Pudukkottai School of kanjira playing. He elaborated the playing technique that Harishankar formulated. He demonstrated the style of playing of various sollu-s. He played videos of Harishankar playing the kanjira. It was more of demonstration.

Prof. Sankaran shared his experience with Harishankar and complimented the artist.

Palani’s Style - Tribute to Guru Sri Palani Subramania Pillai

Prof. Trichy Sankaran paid tribute to his Guru by presenting a lec-dem on Palani Subramania Pillai style. He began with biographical details of Subramania Pillai. Rest of the session was fully on demonstration of Palani Subramania Pillai’s style by Sankaran. A recording of Subramania Pillai and Sankaran playing sanklrna kuraippu in misra jampa taja was also played.

Umayalpuram Sivaraman shared his experience and with that the session concluded.

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December 25, 2011

Rukmini Kannan, disciple of Dr. SAK Durga began the day with a prayer song.

Voice culture for musicians with particular reference to Carnatic musicians

The first lecture was on voice culture for musicians with particular reference to Carnatic musicians by Ananth Vaidyanathan. He began with an introduction on the term culture with relevance to voice. He then discussed about general problems of a singer. The tonal quality of a voice was discussed in detail. Sound production from various parts of the body according to the requirements was explained in detail. Finally, he called on a few singers and demonstrated on how to rectify the problems in their voice.

A few questions from the audience were answered. Prof. Sankaran concluded the session with his compliments.

Panel discussion on allied raga-s: Bhairavi, Mukhari, Manji and Huseni

Dr. Nagendra Sastry, Dr. Sachi Devi and Sri. Anoop Krishnan discussed Bhairavi, Mukhari, Manji and Huseni raga-s in the second session. Nagendra Sastry began by elucidating historical details of the above raga-s, Mukhari is seen from 16th century. This raga is attributed to Sarngadeva, but according to Prof. Sambamoorthy this view is debatable as there is no reference to Mukhari found in Sangita Ratnakara. Sachi Devi demonstrated Mukhari, the janya of Kanakambari. Muddu Venkatamakhi is the first to mention both the Mukhari (Suddha mukhari as janya of Kanakambari and Mukhari as janya of Nariritigaula). The present Mukhari is confirmed by GovindScarya, Tiruvenkatakavi and Kannada Sangita Ratnakara. Huseni was taken then. Huseni seems to have been derived from Persian music. Somanatha mentions that Turuska Todi is same as Huseni. Muddu Venkatamakhi places Huseni under sriraga meja. Paramesvara quotes that gandhara is vakra in aroha and varja in avarohana. In pndns catusruti dhaivata is used extensively. Manji is associated with the svastika symbol. Manji is differentiated from Bhairavi by introducing antara gandhara and prayoga in order as ‘srgnT. Manji is famous through the Syama Sastri’s Brovavamma. In Pandari Vitthala’s text, he mentions Bhairavi as janya of dhanyasi. Some of the yesteryear musicians’ Bhairavi rendering is very much close to Todi. It is mentioned either as the janya of Natabhairavi or Nariritigaula. Sachi Devi took over to demonstrate the above raga-s with examples of compositions. She said all the twelve sruti-s are heard when Bhairavi is sung. In Manji, all the notes are one sruti lower than the svara sthana. Anoop Krishnan summarized the points that were discussed by Nagendra Sastry and Sachi Devi and asked a few doubts being a student.

P. Vasanthkumar’s query: while playing Bhairavi on the vlna, prati madhyama will not be heard and therefore how can one say that prati madhyama occurs in Bhairavi? Sachi Devi explained that while employing sphurita and llna gamaka, prati madhyama would be heard. Ravikiran shared his views on anusvara-s within a phrase and said svara-s, which are not there in a raga and heard,

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THE MUSIC ACADEMY • JOURNAL 2012 • VOLUME S3

as anusvara should not be considered as part of the raga. Discussion on the topic extended between TM Krishna, N Ravikiran, R Vedavalli and Seetha Rajan with the speakers. The session concluded with Prof. Trichy Sankaran’s remarks.

December 26, 2011

Usha Padmanabhan, disciple of Sangita Kalanidhi R. Vedavalli began the day with a prayersong.

Mahabharata Cudamani

The first lecture was on Mahabharata Cudamani (MBC) by Dr. Abhiramasundari. The book with two volumes was published in 1955 by U.Ve. Svaminatha Iyer. 1st volume has the 1st three chapters and the 4th chapter is presented in the 2nd volume. The 5th chapter on tala is not available to us. 1st - nattiya upayoga avayava beda viniyoga laksanam, 2nd - muhurtadi ezhuvagai toua laksanam, 3rd - sabhanayakadi sarva patra laksanam, 4th - sangltadi raga meja laksanam, 5th - taladi mattira ganita laksanam. Analytical introduction to the 1st volume is written by R. Visvanathan and for the 2nd by Mudikondan Venkatrama Iyer. The author of the work Mahabaratacudamani is not known to us. Abhiramasundari gave details about the period of the book and also mentioned that Mudikondan Venkatrama Iyer inferred that the book could have been written around 18th century. He also inferred that the author could have referred to Sangraha Cudamani and other early treatises. She explained the contents of each chapter in brief. The focus of the lecture was on the 4th chapter of the book. The fourth chapter has been divided into three prakarana-s. 1st prakarana describes laksana, svara, 22 sruti-s etc. The 2nd prakarana has details about purusa-stri raga-s. And the 3rd prakarana deals with 72 mela and their janya-s. The theories on laksana in this work reflect the work Bharata Cattiram, says Abhiramasundari. She said there is no mention of bhasanga or anya svara. 17 raga-s that are found in MBC is not found in SangrahacOdamani. Some of the raga-s, which are found in SangrahacOdamani is not found in MBC. Saurastra and Gaulipantu are given under 28th mela in MBC. She gave statistical information like these in detail. She concluded her lecture by summarizing the important points.

The session concluded with N Ramanathan’s clarification on some of the points made by the speaker.

Persian and Urdu sources for Music

The second lecture on Persian and Urdu sources for music by Prof. Najma Ahmed is presented in the form of a detailed article elsewhere in this journal.

December 27, 2011

Deekshita, disciple of Sri. TR Subramaniam began the day with a prayer song.

5 2


Role of Gamaka-s

Smt. Sumitra Vasudev

The topic of today was on Gamaka in Carnatic music. The first lecture was on the role of gamaka-s. The lecture in the form of a detailed article is published elsewhere in this journal.

Notational system for Carnatic music, “Gamaka Box”.

The second lecture was by SrT. Ramesh Vinayagam on his creation ‘gamaka box’ He explained the notation system that he has created which will have the detailing of gamaka and anusvara-s within a note and will be self-explanatory for the students of music. This was out and out a visual presentation with PPT.

The session concluded with Prof. Trichy Sankaran’s compliments.

December 28, 2011

Dharini and Raginisri, disciples of SrT. P. Vasanthkumar began the day with a prayer song.

Uniqueness of ‘Suvai’ in Kuttanul

The first lecture was on ‘Suvai’ in Kuttanul by Smt. Lakshmi Ramaswamy. She gave general information about the work Kuttanul. The author of the work Kuttanul is Sattanar. Kuttanul has nine sub-texts and for this lecture Lakshmi took the ‘suvai’ part in Kuttanul. Suvai is the word used by Sattanar for rasa. Suvai nul has 9 classifications. Suvai, vettiyal, poduviyal, izai, ujjalam, alatti, najatti, paduppu, toduppu were some of the aspects of suvainul, discussed in detail. Sattanar gives stages of growth of suvai like a tree from karu to kani. While the Natyasastra lists 8 rasa-s, Kuttanul lays down 9 suvai-s. Sattanar says that in every human mind there are 3 basic natures and 6 qualities that arise out of the basic three. These nine qualities of the mind manifest as 9 suvai-s (for the purpose of vettiyal). Natyasastra also lists 33 vyabicari bhava-s that contribute to rasa along with 8 Satvika bhava-s and 8 Stayi bhava-s. Kuttanul lists 48 ‘izai-s’ (vyabicari bhava-s) along with 9 agam-s (Satvika) and 9 suvai-s (Stayi). To the ‘body’ of Kflttu, suvai is the ‘heart’ and agam is the ‘life’ says Kuttanul. Natyasastra mentions two modes of performance, Natyadharmi and Lokadharmi. These are denoted as Vettiyal and Poduviyal in Kuttanul. Sattanar says, ‘that which is enjoyed in actual experience is Poduviyal and that which is enjoyed as aesthetic pleasure is vettiyal’. Alatti and Najatti - Expansion and contraction of emotions & Rise and fall of emotions: While explaining suvai, Sattanar indicates that they do not stay in the same manner. According to the given situation and mode of performance, an emotion can expand or contract as well as rise or fall, says Sattanar. Paduppu and Toduppu - Layers in each emotion: Kuttanul indicates that each emotion has multiple layers and that they also differ in their intensity. These are called as izai-s. Sattanar says that, it is not only the izai-s that contributes in enhancing or twisting an emotion, but the main emotions themselves could be employed as izai-s to each other.

5 3


With the sharing of views by Pappu Venugopala Rao, BM Sundaram and Raghuraman, the session concluded with Prof. Trichy Sankaran’s complimentary remarks.

Commemoration of guru Ramaiyya Pillai’s centenary

In the second lecture Smt. Kamala Lakshmi Narayanan shared her experience about her guru Ramaiyya Pillai. It was more a demonstration on her guru’s style. She demonstrated along with her disciples. The demonstration started with a prayer before moving on to the main item ‘Sadincene’ where the story of Kjsna was performed. With her students performing two tillana-s the demonstration concluded.

Prof. Trichy Sankaran complimented Kamala and concluded the session.

December 29, 2011

Vidya Raghavan, a disciple of Vidvan TM Krishna began the day with a prayer song.

Gamaka-s in Hindustani Music - with special reference to Sitara

Prof. Indrani Chaterji began her lecture on Gamaka-s in Hindustani Music with the verse ‘svarasya kampo gamakah srotri cittah sukhavah’ - definition of Samgadeva in Sanglta Ratnakara on Gamaka. She gave an introduction to the gamaka-s that are employed in Hindustani music. Mind, kan, gamak, kampan, andolan, krintan, hasi, murki, khatga, ghasit, sunt and zamzama are the prominent laksana-s in Hindustani gamaka system. She then explained each of the gamaka-s in detail. Further, she demonstrated each gamaka by playing phrases on the sitara.

The session concluded with the compliments of Trichy Sankaran.

The musical instruments of Rajasthan

The second lecture was by Prof. Suneera Kasliwal on The musical instruments of Rajasthan, A background of various types of cultures of Rajasthan and associated various instruments formed the introductory part of the lecture. The songs presented in the Rajasthani music can be classified under four heads - entertainment, ceremonial, ritualistic and devotional. The unique feature of its folklore is that these are sung and played by the professional castes whose livelihood is singing, playing and dancing. Each of these castes has a distinctive style of its own which is quite different from others. Out of so many, some of these musician castes are Damami, Dholi, Rana, Mirasi, Dhari, Langa, Manganiyar, Kamad, Kalbeliya, Bhop, Gujar, Nayak etc. All these castes have preserved their singing styles, their repertories and even their instruments intact. The techniques used in playing these instruments have neither changed nor intermixed for the last so many years. Sarangi-s, Cikara-s, Surinda, Kamaica and Ravanhatta are the bowed ones whereas Ektara, Dutara, Cautara, Ravaj and Rabab are the plucked chordophones. Jantar is an ancient instrument and resembles the Jogi Kinnari (a folk instrument of Andhra Pradesh) and also the classical musical

54


instrument Rudra Veena. Bhapang and Duchco are of the ‘Tat-Vitat’ category and resemble the Gupgupi of West Bengal. These are of variable tension and can emit four - five notes. However, the aerophonic instruments are also quite popular. Some of them are quite unique like Satara (a variety of double flute) and Murla (a double reed instrument). Morcang or Mukhcang, a small metallic instrument, is very popular amongst the musician castes residing in western parts of Rajasthan, i.e. Jodhpur, Banner, Jaisalmer and who consider this as an aerophonic instrument. Amongst the percussion instruments, Pholak is the most popular one but the varieties of DhOl, NagarS and Ma{ka are also found. A unique feature of these instruments is that each of these has been adopted and specifically used by a specific musician community. For example, Langa-s use Singi Sarangi and Gujartan Sarangi. Manganiyar use Kamaica, Sumaya. Langa-s play all the varieties of aerophonics and also Sarinda. Bhopa-s of Pabuji play Ravanhatta whereas Bhopa-s of Dev Narayanji use Jantar for accompanying their narrative songs. DhOlak used by Manganiyars differ from the pholak used by Nat community. Kalbeliya-s use Bhapang and Jogi-s play Pungi.

She played a slide show and explained the instruments’ technicalities in structure and playing style. Recordings of various instruments were played.

N Ramanathan said reference to ravanahatta is sighted in Abhinavabharati and SangTtaraj. The discussion on instruments with sympathetic strings went on between Indrani Chatterji, N Ramanathan and Suneera Kasliwal. Trichy Sankaran concluded the session with his remarks.

December 30, 2011

Gayatri Krishnan and Matangi Swaminathan, disciples of Sangita Kalacharya Seetha Rajan, began the day with a prayer song.

Candam-s in Sankaradas Svamigal’s compositions

The first lecture was by Dr. Anmalam Padmanabhan on candam-s in Sankaradas SvamigaJ’s compositions. The paper is presented elsewhere in this journal.

Importance of Kalapramana in raga alapana and krti rendering

The second lecture was on Importance of Kalapramana in raga alapana and krti rendering by Sff Alleppey Venkatesan. He began with briefing of the topics that will be dealt in detail. The first part on kalapramana in alapana was briefly delineated, kalapramana plays an implicit role in raga alapana. He sang some phrases to demonstrate the mixture of kalapramana with in a raga. Raga-s like ahiri allow scope for phrases in slow tempo only. Though Devagandhari is a slow tempo raga, it allows fast phrase here and there too. In contrast to devagandhari, arabhi is a fast tempo raga. He then switched to demonstrating kalapramana in krti rendering. He demonstrated compositions in different kalapramana.

55


Prof. Sankaran, before opening it to the experts and audience, shared his thoughts on the topic. Dr. SAK Durga felt that kalapramana is highly individualistic.

December 31, 2011

The day began with a 25 minutes devotional music by TKG gurukulam artists, runners up in the devotion music competition conducted by The Music Academy. It was conducted under an endowment of Rukmani Arts and Music Trust instituted by Smt. Aruna Ranganathan.

Veena Seshanna’s compositions Tamil transliteration with notations - a publication of The Music Academy, was formally launched, though this book was published in August 2011. Sff N Murali, President of The Music Academy released the book in the presence of Veena Sheanna’s grandson Sff Mysore V Subrahmanya. Sff Murali presented the first copy to Prof Trichy Sankaran.

SrT Mysore Subrahmanya presented a portrait of his grandfather Veena Seshanna to The Music Academy, which Sff Murali received.

Mrdangam as leader and follower

The first session was a presentation by panel of mrdangam artists with SrT. Arun Prakash, Sn. J. Vaidyanathan, Sff. Patri Satishkumar and Nellai Kannan. Adyar Balu’s passing away just before the season got Nellai Kannan in his role.

Mrdangam while playing for a composition was demonstrated first by J. Vaidyanathan. Bharat Sundar gave vocal support. J. Vaidyanathan accompanied to the rendering of Mayamma in ahiri in two ways - perfectly and imperfectly. He said the mrdangam artist should only be a follower while accompanying for a composition specifically when one accompanies to a unfamiliar song / artist. The mrdangam artist should understand the kalapramana of the song. Patri Satishkumar spoke about accompanying for niraval. It is important to play soft and long gumki-s while accompanying for niraval. He played the recordings of yesteryear musicians for demonstration. Arun Prakash demonstrated about accompanying kalpanasvara. While accompanying for svara in kiz kalam and mel kalam, the mridanga vidvan should follow the same and not vice-versa. Nellai Kannan demonstrated with Bharatanatyam of Roja Kannan about being a leader and follower in a Bharatanatyam performance. A part of Bhairavi vamam and a tillana were chosen to demonstrate. Radha Badri on vocal and Sharanya on nattuvangam accompanied Roja Kannan.

Trichy Sankaran concluded the session with his complimentary points and compliments to the artists.

Barglta, the classical music of Assam

The second lecture was by Dr. Pabitrapran Goswami on Bargita, the classical music of Assam. The paper is presented elsewhere in this journal.

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January 1, 2011

The day began with 25 minutes devotional music by the winners of the competition. The singers were JB. Keerthana, Sandhya, Srimathi, Srilekha and Akshaya accompanied by Tuticorin Rajamani on Harmonium, JB Srutisagar on the flute, Sathyanarayana on Mridangam and Hariharasubramaniam on Ghatam.

OPEN HOUSE

The following four points were opened for discussion by experts and the audience.

1. Patri Satishkumar’s proposal of a solo slot for mrdangam concert.

2. TM Krisha’s suggestion on naming the abridged version of rflpaka tala.

3. Sruti Janaki’s suggestion to have vlna as accompaniment for vocal concert.

4. Time allotment for lecture demonstration

Patri Satishkumar extended his proposal elaborately. He said when playing tani avartanam it is an extension of the composition that was sung. The solo concert of mrdangam will have full freedom to bring out the mrdangam artist’s ideas in a complete manner. Trichy Sankaran advocated Satishkumar’s suggestion of solo slot of minimum 30 minutes for mrdangam. BM Sundaram said it could be welcomed if the programme will be educative with explanation on what is played. R Vedavalli, Seetha Rajan, SAK Durga were also of the same view as BM Sundaram. Sankaran commented that from the basic level the importance of lay a should be inculcated.

Naming abridged version of rflpaka taja: V Subramaniam said it is not required to rename the rupaka tala (two beats with a wave of hand, which has three kriya-s) as the aksara value is equal to the abridged version as in the rupaka taja of one drutam and one catusra laghu. BM Sundaram and Trichy Sankaran said it can be named as tisra laghu or tisra capu. Instead of renaming the abridged version of rupaka, the compositions can be sung in tisra eka and the abridged rflpaka can be removed said Arun Prakash. Trichy Sankaran said that either it could be named as rflpaka capu or it could be left as it is.

Vina as an accompaniment: Continuity as in violin, cannot be produced in vlna, said R. Vedavalli. Ramani and Vasanthkumar were of the opinion that extension of karvai cannot be produced in vlna and violin is more suitable than vlna as an accompaniment. The discussion by all in the audience was with the same view that vlna can only be a solo instrument. As per the unanimous opinion, Trichy Sankaran announced that violin is the best accompanying instrument.

The experts’ opinion on the 16 days lecture demonstration was discussed. SAK Durga said some of the lec-dems were very good and some were disappointing as they were less analytical.

57

Ritha Rajan was of the opinion that interaction between Hindustani and Carnatic music experts would be nice. Audience expressed their views. Trichy Sankaran concluded with complimentary remarks to Pappu Venugopala Rao. Finally, Pappu Venugopala Rao thanked his colleagues and Prof. Sankaran.

The recordings of all the lecture-demonstrations of 2011 conference are available for listening at the TAG digital archives of The Music Academy.

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7 2


Tracing the History of Sanglta in KashmirAdvaitavadini Kaul

9T^TRt TFTft r|c|4r(< ^ p ^ T ^ c j^ T T t

^ ^ q = r f ^TT ?nTrrf? qrrrfhrif || (Pahcastavl 1.15)

(O Devi !) from Thee blossoms the Matrka performance or the traditional order of the alphabet, called Sabda, in its subjective course In the field of Artha or objective course, Thou art praised as the Goddess of speech. From Thee emanate the perceptible form Visnu, Rudra and others (just as blades sprout from seed). And, That extra-ordinary one art Thou, in whom, at the end of the world-cycle (kalpa), Brahma, the creator and others also get merged. Thy glory and form are beyond conception. Thou art sung by great sages as Para Sakti the Supreme Divine Energy.

f-/r. Pt. Jankinath Kaul ‘Kamal’)

In the Indian tradition, as is quite evident from the above verse cited from a cir. 9th-10th century hymn dedicated to the Supreme Divine Source and one of the most revered hymns among the Kashmiri Brahmans till date, Sanglta1 has remained a means of spiritual realisation. In the whole structure of Indian culture and philosophy, Sanglta is interwoven in a number of ways with Indian world-view and is linked with the basic concept of creation. The Indian system of music is centered around the central notion of (sound) with its dual character known as ahata (vibrant) and andhata (non-vibrant) sound. Ahata is perceived as musical sound and anahata is conceived as musical sound pattern. The former generates pleasure and the latter leads to self realisation. 2 Thus it has physical as well as a metaphysical aspect. On the physical plane the entire human society is dependent on sound and the metaphysical theory of sound shows the position of music in the religious system of India and as such giving rise to the concepts like nadabindu and nadabrahman. The hymns of the Vedas are the earliest examples of the words set to music.

On the vast cultural canvas of India, Kashmir is very well recognized in the spheres of intellectual attainments as also in the literary as well as aesthetic achievements. Sanglta has remained one of the most powerful expressions of man. It seems impossible to disintegrate Kashmir from such expressions. However, the experience of such expressions becomes meaningful only when envisioned in their spatio temporal continuity and multiple relationships. The present cultural scenario of Kashmir has prompted this presentation. Based upon literary references along with vanishing but very important contemporary practices and few archaeological evidences an attempt has been made to trace the history of Sanglta in Kashmir right from ancient times.

73

Vedas in the BackgroundVedas represent the most ancient literature and are rightly considered the repositories of

all branches of learning. In relation to the present context it is the creative word through which the Vedas have been passed on from generation to generation by way of intonation and recitation which broke down the word into its syllabic value in a variety of permutations and combinations. The variety of recitative systems is recognized sakhds. It was at a later stage that the Vedas were put to writing with the notices of gradations indicated by udatta, anudatta and svarita. This helped in maintaining the system of the chantings and also avoided any alteration to affect its correctness. Here in lies the basis of the strong oral tradition that has made it possible to preserve and bring down to us the basic nuances of the Indian tradition through a period of bygone ages.

The rgveda sings the praises of the forces of nature. By that it also reveals the vision of the R§is and their intimate communion with nature. Performing of yaga-s was an integral part of the daily life and the various types of yagas incorporated in the Yajurveda present the details of the preparations for the performances and the act of the performance of each ritual during the yagas. Such descriptions bring to our notice the activities of the performers of these yagas who were quite familiar with various arts and sciences that was integral to the whole process. In this way, there are the details of the use of appropriate mathematics and the geometrical designs in the making of the vedls for the yagas and employing several measures in constructing them. As the source of ritual and body language and gestures the Yajurveda incorporates the seed of performing arts. Finally the Samaveda finds a definite place in the history of music. It is the poetry of highest order and consists of selections from the rgveda which are made use of in the performance of rituals. Thus the Samaveda is the source of the sung note, identical with the musical sound - dhata nada.

In the present context it may be pointed out that Kashmiri brahmans always revere the Vedas and Vedic paddhatis have remained undoubtedly prevalent in Kashmir. There are references to various Vedic performances found in the NTlamata PurSna3 also. It is said that the Kathaka Sarhhita of the Yajurveda was preserved and followed in Kashmir till late. Also the Paipalada recension of the Atharvaveda is known as the Kashmiri Atharvaveda.4 Interestingly there is a distinct way of singing (chanting) by the women folk known as vanvun still existing but very rarely prevalent among the Kashmiri pandits. This way of singing takes place during the occasions of various ritual practices performed for a marriage as also for the upanayana (yajnyopavlta) ceremonies. Some elderly ladies who have great faith in the tradition consider it an obligation to chant vanvan during the ‘kanyadana’ and other such ceremonies. Through these songs the blessings are invoked from the gods. There is no recorded history to trace the period of its existence in Kashmir but the connections with that of Vedic chantings especially with the Samavedic chants remain to be investigated.5 Significantly, the names of Vedic deities like Pusan and Sinivall6 also occur in the chantings apart from the names of the common deities viz. Narayana, Rama, Krsna,

74


Han as also the local deities as Sarika, Rajnya, Jye$tha, Nandekesvara and so on. The NTlamata Purdna (v.741)refers to the listening of the chanting of Samaveda on the occasion of SravijI Sarangadeva while giving his lineage from the beautiful valley of Kashmir in the introductory verses of his Samgltaratnakara refers to the Brahmans of Kashmir as “masters of the Vedic lore”

Nifyasastra as the BasisThe Natyasdstra (Nt) of Bharata placed between 2nd century BCE and 2nd century CE is

described as Natyaveda. It states that Brahma created Natyaveda out of the four Vedas, borrowing pdthya from the Rgveda, glta from the Samaveda, abhinaya from the Yajurveda and rasas from the Atharvaveda. (Nat 1.17). After the Vedas it is the earliest available treatise that lays down the foundations of the theory and the practice of the Indian arts viz. drama, theatre, poetry, music and dance in a broader perspective. One can also trace the developments in the fields of medicine, mathematics as also in linguistics, prosody and architecture. As such the Natyasdstra represents the continuity of the perennial flow of Indian tradition at many levels.

The text is of highly inter-disciplinary nature. In relation to the present context the chapters 3 and 5 of the Natyasdstra refer to many technical terms of music and musical structures. Their meaning and elaborations are contained in many later chapters where single components of sound, music, musical instruments, structures and compositions are elaborated upon. The chapter 4 is known as Tdndavalak$anam and it deals with the cadence of movement called karanas, larger sequences called angahdras and their composition in choreographical patterns called pindibandha. These descriptions can be further understood with the aid of chapters 8, 9 and 10 which deal with the macro and micro movements of the body. Further, chapters 28 to 33 of the Natya$&stra are completely devoted to music. There is reference to distinctive terminology of music viz sruti (micro - intervals), svara (notes), grama (scales), murcchana (modes), jatis (melodic forms), tala (rhythm) etc. The extraordinary knowledge of the material for making of musical instruments and of the natural sounds, notes, consonance, assonance, dissonance and melodic forms are displayed. Vocal music has been divided into two types of varna (consisting of only notes) and g<?ya(with words). Details of different types of instruments and their respective characteristics are given. Reference to dhruva songs is made so is identified a category of music called gandharva distinguishing it from gana. Different types of talas (time measures - rhythm, metrical cycles) are enumerated. At another level the Natyasdstra is the inquiry into the nature of drama that unfolds the origin, theory and technique of drama and theatre with its components of speech, word, body language, gesture, costuming, decor and the inner states (bhdvas).

A few noteworthy scholars who flourished between the 7th to the 14th centuries CE in India and established respective doctrines of literary criticism, mainly hailed from Kashmir. The most prominent names associated with their respective doctrines are Bhdmaha of the alahkara,

75


VSmana of the rlti, Aandavardhana of the dhvani, Kuntaka of the vakrokti and Ksemendra of the aucitya doctrines. Interestingly, Bhamaha in his Kavyalahkara (1.5) while discussing the fourfold objective of the poetical composition adds further that its objective is also to become skilled in different arts and by that attaining fame and expansion.8 There also emerged yet another line of scholars in Kashmir who wrote commentaries on the above noted doctrines to explain them further. They were Abhinavagupta, Udbhata, Lolata, Sarikuka, Bhattatauta, Rajanaka Tilaka, Pratiharenduraja, Rajanaka Ananda, Ratnakantha, Jayaratha, and so on. Mammata (11th cen. CE) was such a versatile scholar who assimilated the doctrines of his predecessors and produced a consolidated compendium with essential additions and alterations. His Kavyaprakasa extensively quotes Bharata’s Natyasastra.

In the philosophical aphorisms of the Saivism of Kashmir known as Siva Sutras there are the interesting similies available in which Atma is compared with a dancer (HTcPT: sffrprr sutra9), AntaratmS with theatre (T^rri^TRpn sutralO) and Indriyas with spectators sutra 10). These sutras are also known as Spanda-sutra, the aphorisms that vibrate with a persistent rhythm. Vasugupta (8th CE) is considered the author of these sutras and Kallata (middle of the 9th CE) was the first preceptor of the Spanda Sutras (Baljinath Pandit p.141).

The Kashmir Saivism, is based upon 36 tattvas and the arrangement of the Natyasastra in 36 chapters is believed to harmonise and correspond with the basic principles of the Kashmir Saiva thought. The Pratyabijha thought offers 12 new tattvas to the already existing 24 tattvas in the Samkhya system. Out of these 12 tattvas in the Pratyabijna system 7 tattvas are known as may a, kala, niyati, kala, vidhya, raga and purusa, through which an individual (jlvatman) becomes limited and enjoys the world which is the creation of maya. But it is through the real knowledge that maya is transformed into the Divine Energy. The same process of enjoyment through the same seven principles has been adopted by the scholars, who wrote on dramatics, music and dance through which jlva enjoys aesthetic performances accompanied with music, dance and costumes of different types, in a particular atmosphere created on a well built stage.

Abhinavagupta was a dynamic scholar who wrote profusely on the Pratyabijna thought of Kashmir Saivism. His fame as the best literary critic in the field of the Sanskrit literature through his two monumental treatises viz. Kavylokalocana on the Dhvanyaloka of Anandavardhana and the Abhinavabharatl on the Natyasastra is equally great as his fame as the prominent advocate of the Pratyabijna system of thought. There have existed a large number of many more commentators on the Natyasastra who wrote in full or on its specific chapters. Most of these commentators seem were Kashmiris as can be guessed from their names. Sararigadeva in his Samgltaratnakara (SR 1.19) gives reference of five commentators as Lollata, Udbhatta, Sarikuka, Abhinavagupta and Klrtidhara. While as Abhinavagupta in his commentary refers to a number of commentators who commented on some chapters of the Natyasastra. These names are of Matrgupta, Bhattanayaka,

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Bhattatauta, Bhattavfddhi, Bhattagopala, Bhattasumanasa, Bhattasarikara, Ghantaka, Rahula etc. Abhinavagupta refers to Bhattatauta as his guru. Unfortunately none of these commentaries survive today.

Although the time of the composition of the Natyasastra has been placed much earlier as already noted, the written manuscripts so far located belong to the period roughly between the 12th and 18th centuries CE. There is a gap of about one thousand years for which there is no written evidence available. It seems more due to the reason of the destruction of all manuscripts of an earlier period specially in the northern India than not transcribing to writing the texts till as late as the 12th century CE or so. The manuscripts of the Natyasastra have been found in different parts of India viz. Almora, Ujjain, Tamilnadu, Kerala as also in Nepal in various scripts such as Devanagari, Grantha, Tamil, Telugu, Malyalam and Newari. This proves that the work must have been very well known in different part of India. Another fact worthy of note is that though the treatises were composed by the scholars in the north including in Kashmir, the manuscripts of the Natyasastra and Abhinavabharatl, along with other works of eminence on rasa and literary criticism are available from the southern parts of India. It speaks of the recognition and popularity of the works throughout the sub-continent. “It also proves undoubtedly the strength of the unifying merit and the consequent uniformity of the Sanskrit scholarship9 that represents the Indian culture.”

Thus the above discussion makes it sufficiently clear that the Natyasastra - in which are laid the foundations of the various art forms including the art of Samglta was not unknown in Kashmir. Rather it remained very much a part of the literary and philosophical endeavours carried out in Kashmir for many centuries.

Sararigadeva’s Roots in Kashmir (1210-1247 CE)

Sararigadeva the author of the Samgitaratnakara(SR) which is considered the next important landmark in the history of Indian music after the Natyasastra for it embodies the earlier tradition in remarkable detail, introduces himself as belonging to a family which hailed from Kashmir (SR 1.2-3).10 His grandfather Bhaskara appears to have shifted from Kashmir to Devagiri (present Daulatabad) during the reign of King Bhillama who established the Yadara dynasty ini 145 CE. Bhaskara was an expert in Ayurveda and it is believed that the king getting impressed by his scholarship invited him to his court as a royal physician. Bhaskara’s son Sodhala was also appointed as Accounts General (Srikaranagranl) in the same court. Sararigadeva was the son of Sodhala and continued in his father’s post as the Royal Accountant during the rule of Sirighana who was the third successor of the Yadava dynasty in Devagiri. Since the king was great patron of arts, literature and science it seems that Sararigadeva composed the Samgltaratnakara during his period.


Sarangadeva must have inherited such cultural heritage that combined the northern and the southern traditions in learning and arts. He also continued further his family profession of Ayurveda. In the SamgTtaratnakara he refers to his yet another work on the subject as Adhyatmaviveka (SR 1.2.119). The three facets of Sarangadeva’s life viz. the accountant, the scholar and the physician are touched upon by him when he refers to himself as one who removed the distress of the Brahmins through gifts of large wealth (as an accountant); of those desirous of learning through knowledge (as a scholar) and of the sick through medicine (as a physician) (SR I.1.12cd-13ab). Speaking about the fourfold objective of composing his work on music Sarangadeva says that he commenced his work SamgTtaratnakara for i) emancipating the entire populace from the threefold misery of the worldly life, ii) serving the cause of eternal dharma, iii) obtaining glory and iv) for achieving liberation(SR I.1.13cd-14).

Simhabhflpala was one of the earliest commentators on the SamgTtaratnakara. His commentary is known as SamgTtasudhakara (SS). It is interesting to note his comments in which he says that the whole system of music expounded by Bharata and others had been shattered before the advent of Sarangadeva and now he himself is trying to make it understandable out of consideration for the people(55 intro, vv. 5-7).

Further, it is also interesting to compare the schemes of the composition of the SamgTtaratnakara with that of the Natyasastra of Bharata. By that it becomes clear that the latter is a multifaceted treatise that incorporates into its fold all art forms while as the former is devoted to the delineation of SamgTta- a composite of gTta, vadya and nrtta. The SamgTtaratnakara has been consolidated and arranged in seven chapters to record exposition of the entire SamgTta. First six chapters are devoted to music and the last one to dance. Music independent of drama had apparently become crystalised by this time.

Other Literary EvidencesThe earliest available literary evidence on Kashmir is the Nllamata Purana (6th to 7th

centuries CE) dealing mainly with religious rites and ceremonies. In its introductory verses Kashmir is introduced as a land reverberating with the sound of Vedic recitals (v.21)and resounding with the sound of lutes and drums (v.22). Singing and dancingis prescribed on religious occasions viz. on awakening of Lord Visnu (vv.421, 425-27); on the Birthday of Lord Buddha theatre and dance programmes are held(v.713). Same instructions are prescribed for the worship of the goddesses like Asokika (vv.786-87); Bhadrakall (vv.816-17); Syama (vv.830-833) and on the installation of divine images (vv.896-98) or the immersion of images after worship (vv.743-49). The city is to be adorned by actors and dancers during the celebration of the anniversary of the coronation of the king (vv. 846-849). Gifts for dramatic performances (vv.731-32,769,795)at various occasions and also honouring the actors(v.795) are suggested for three days following the birthday of Vitasta (the prominent river in Kashmir). Stage

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performers are to be revered as per instructions given in the Nllamata Purana (v.769 also see vv.731-32). It refers to two types of instruments out of the four as described in the Natyasastra. Thus is found the mention of tantff also known as tata - stringed instruments like vlna etc. and avanaddha11- percussion instruments like drums etc. (vv.687-688,690). Significantly as per Indian tradition it facilitates the description of the assembly of Brahma where Narada is singing the praises of the Lord along with two Gandharvas and Visvavasu and SalisI (v.663) in presence of a number of dancers (vv. 664-65).

Singing, dancing and playing of instruments is indicated on every festive occasion. Referring to the celebration of a festival in the month of Phalguna it is said that “vigil should be observed during the night (full moon night of the month of Phalguna) by singing, dancing and playing on instruments. On next day should be viewed the performances of the dancers, the actors and the singers. This should continue up to the fifth of the dark-half’(w.546-47). Likewise on occasion of the first snowfall, listening to vocal and instrumental music and enjoying the dances is indicated (vv.483-84). Sowing of seeds is performed amidst the sounds of musical instruments (v. 566). And, after the sowing of seeds a festival full of singing and dancing is to be celebrated with heart-enchanting sound of musical instruments (v. 568). The general terms usedfor the musical instruments are vadya (vv. 399, 546, 749, 787,1441) vaditra (vv.836, 849) and vadya-bhanda(v.820). Different musical instruments refered to in the NTtamata Purana are: vTna (vv. 426,441), mz«(v.441), sahkha(\\. 399, 849), patha{\A26) and muraja(\. 1441).

So far as the dancing is concerned it goes together with musical performances. Such performances used to take place on religious ceremonies or in social gatherings held to welcome seasons and also on the occasions related to agricultural festivals (vv.722-23) etc. as also noted above. In this way the NTlamata Purana provides the references to the samgTta that was very much a living tradition during the period.

According to Kalhana’s RajataranginT (Raj) music seems was popular with Buddhist monks around the early centuries of the Christian era (Raj 1.140). During this period there also existed the custom of dancing girls associated with temples. Kalhana says that the king Jalauka dedicated hundred dancers of his seraglio to the temple of Jyestharudra (Raj 1.157). By the time of Lalitaditya Muktaplda (8th century CE) the practice must have gone out of focus. This is reflected through an instance of King Lalitaditya’s coming into contact with two ladies in a far off forest place - one of them was singing and the other was dancing. On completing their song and dance they bowed down and went away. The king found these two ladies coming to that particular place every day to do their ritual. Hence, out of curiosity the king asked for the reason. The ladies replied that they were dancing girls belonging to a temple and were doing this ritual as per directions received from their mothers who used to perform at that particular spot. They also said that it was their family tradition to perform there regularly (Raj IV 265-276).

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Kalhana furnishes another interesting instance of the time of Cakravarman who had ascended the throne the third time (936-937 CE). The king had granted an audience in the outer reception hall to a famous Domba singer called Ranga who had come from abroad along with his band to perform before the king and his assembly of ministers and chiefs. The two female performers named HamsI and Nagalata won the heart of the king through their singing and dancing (Raj V. 354-388). Thereafter, Kalhana a records, King Kalasa (1063-1089 CE), introduced the taste for upahgagita (choral songs) and maintained the careful selection of dancers as was followed in other areas(Raj.VII 606). Describing the court of King Harsa of Kashmir (CE 1089-1101) Kalhana compares the singers of his court with the Gandharvas (celestial singers) (Raj. VII 949). King’s expertise and special interest in the art of dancing is further highlighted when Kalhana refers to him as giving lessons in person to the dancing girls on how to perform (Raj. VII 1140).

The Kuttammatakdvya(K) of Damodaragupta (cir. 9th century CE) is a very important text mainly dealing with the subjects like erotic, poetics and dramaturgy. Interestingly Kalhana (Raj. IV.496) is the only source that records the name of the work along with its author who was appointed dhi-saciva (prime minister) by the Karkota king of Kashmir - Jayaplda Vinayaditya. Thus providing the approximate date of Damodaragupta which is otherwise not available from any other source. It is presumed that the text may be supposedly reflecting upon the contemporary Kashmir but there is no mention of Kashmir in the whole poem. The scenes of the episodes mentioned in the text are laid at Varanasi, Pataliputra and Mount Abu. The work seems to have commanded great popularity for a long time as it has been found cited in the works of eminence on literary criticism, grammar and in several anthologies till the 12th cen. CE. For instance Mammata (10 cen. CE) quotes three verses from it in his Kavyaprakasa (vii, 202 = K 697; viii.341 and ix.356 = K. 103; x.452 = K 97). So does Ksemendra (11th cen. CE) quote from this text in his Kavi- kanthabharana(\39). Mahkha (C.1150 CE) has also quoted it in his Alamkarasarvasva and also in self commentary on the Mankhakose. (ref. Ajay Mitra pp. 1-2). Kalhana (12th cen. CE) as already noted mentions this text in his Rajataranginl (Raj. IV.496).

The Natyasastra of Bharata is one of the very important sources drawn upon heavily by Damodaragupta. The account of the performance of Sn Harsa’s Ratnavall (K vv. 880-928) as per the Natyasastra provides the noteworthy evidence of Damodaragupta’s deep study of this text. The Kuttammatakavya facilitates enormous information on the contemporary state of arts specially music, dance and drama which can be corroborated with the archaeological evidences (see plates) and other Literary evidences (as already discussed in this presentation) from Kashmir.

There are two more very important but diverse references of the 11th cen. CE, one furnished by Bilhana and the other by Ksemendra about the state of these arts during their contemporary periods. Bilhana in his Vikramdnkadevacarita (XVIII, 23,29) testifies to the high skilled techniques of abhinaya and ahgaharas in which the women of Kashmir were expert. Ksemendra in his Desopadesa (v.30) sarcastically refers to a singer who enters the place of yaga shouldering his lute

8 0


and singing in gurgling sound the songs of departure^f^MH+lfl) at the time of invoking(3PTT^) the gods.

Somewhat descriptive and informative details related to the developments in the field of music, dance and theatre are available in Sffvara’s Zaina Rajataranginl (ZR). SrTvara (15th cen. CE) himself was a great musicologist. This is evident through his special references made to these arts in his work. Sultan Zain-ul-Abidin popularly known as Badshah(great king)even till date, had great love for music who showered gold in the courtyard of his palace which was resounding with all the local melodies in vogue in Kashmir at that time(ZR I.III.42). He also enjoyed listening to music while sitting in a boat when the birthday of Vitasta was celebrated on the 13th of the bright fortnight of Bhadrapada (ZR I.III.53-56).12 The Sultan would spend the whole night relishing songs and music with utmost comfort (ZR I.Ill.58). There were great musicologists who would sing from the innermost urge. Reference is made to the songs sung by the ladies of Kashmir which were sweet, touching, full of aesthetic pleasure and containing agreeable gamut in respect of voice and tune (ZR I.IV. 6,7). People possessed taste for the stage (ZR I.IV.8) and the actors were well versed in both vocal and instrumental music as also in dance. Worthy ladies projecting forty-nine emotional sentiments through the equal number of musical key-notes earned great applause (ZR I.IV.9-12). The open air theatre was very much in vogue (ZR I.IV.13-18). During this period there were already the Persian, Turkish and other foreign musicians performing in Kashmir. Siivara had earned expertise in singing foreign melodies too (ZR IIV.31, 32, 33, 34, 35). With a variety of expertise available at one place it is reported that once in the audience hall a single song was rendered into twelve diverse melodies(ZR I.IV.36). Once, while Sultan boarded a boat at Kaunsamag to roam in the lake, SiTvara says “The overlord (Sultan) while listening the songs from the Gita Govinda from me was drenched profusely in the devotion for Lord Krishna at that time enjoying inexplicable aesthetic pleasure”(ZR I.V. 99-100). Noticing his interests the Lords from other lands sent their gifts to Sultan for maintaining cordial relations with him. As such the Raja of Gwalior (Gopalpura) Raja Duggar Singh sent two mannuals on Indian music viz. Samglta CudamanI and Sn Samglta Siromani(ZR I.VI. 14-15). After Zain-ul-abidin his son Haji Khan occupied the throne as Haider Shah(1470 -1472 CE) for two years. Although he is not depicted as a good ruler but at the same time Srivara does not miss to highlight his expertise in playing lute and giving lessons on the same too(ZR 11.56-58).

There is a twin text The Tarjuma-i-Manakutuhal va Risala-i-Ragadarpan from the north India compiled in Persian by one of the Governors of the Mughul emperor Aurangzeb(17th cen. CE). Nawab Saif Khan better known as Faqirullah translated the Manakutuhal of Raja Mansingh and appended to it his compilation the Ragadarpana which he himself says is based upon Bharata’s Natyasastra, Samglta darpana, the SamgTtaratnakara(Shahab pp. 12-13). The author finalized his work while he was deputed to Kashmir. Due to severe winter he found some free time from his assignments which he utilized in finalizing his already compiled work(Shahab p.225). The

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conclusion occurring towards the close of this text conveys the author’s brief note on the music of Kashmir of that time which throws interesting light on the already changed scenario. He writes “As the only music Kashmir knows is Persian and not Indian, insofar as the fundamentals go. Only some of the expert instrumentalists sometimes come here (from outside India) and successfully perform. Otherwise, this FaqTr does hardly know anything about the Persian music. Only some of the Persian maqam (major melodies of Iran) which do possess a striking resemblance with the ragas of India, I am acquainted with; and, that too, after ascertaining (only) their names from the sazindah (instrumentalists) and goindah (vocalists) as well as those who know”(Shahab p.225-228).

Therefore, it may be observed that till about the 10th CE the Samglta as practiced in India was purely as per Indian tradition. But during the Sultanate period the practice of the arts along with the art of music and dance in Kashmir also got slowly influenced by the foreign characteristics and thus giving rise to a new fusion that got concretised by the time of the Mughuls.

Attention requires also to be drawn towards yet another textual source of a different kind. This is a stuti to the supreme Divine Energy. The stuti is very close to the heart of the Kashmiri community till date. It is believed to be the revealed text forming a page of the Rudrayamala tantra. Euologising the thousand names of the Goddess Supreme the Bhav-anlnamasahasrastuti is the most revered stotra in practice till date both for recitation as also for performing the ritual of yajna for devlsvahakara (oblations to Devi). Although the recitation of this stotra is in itself an amalgamation of music and dance but there are specific names which throw significant light on the niceties of the art of Samglta at both levels viz. the conceptual as well as the theoretical. Some of the names are elaborated below:

Kulavaglsvari (62) is explained as the sovereign power of soundless sound i.e. An-ahata identified as Nadabrahma in music. Sarasvatl (106) the goddess of learning is highly revered in music. Sarada (113)is explained as the goddess of the Divine Lute (vlna). Infact, Sarada is an epithet of Sarasvatl - the goddess of learning. Tray! (120) is the three fold sakti i.e. the Supreme vak called Para which permeates the three stages of speech viz. pasyantl, madhyama and vaikharl. Sukarnarasana (225) has been explained as the mother who readily listens to the sincere and sweet prayers of the devotees.

Since, in the Indian tradition music and dance are interlinked. In the light of that Yonimudra (241), Mahamudra(242) and Khecari (243)Mudra are the most important names associated with the goddess. These mudras are the yogic exercises which must be very cautiously practiced under the guidance of a learned guru - it is said. Mudra is the mood or gesture that gives joy and the yoni is the locus of the point of that joy. Thus mudra is used by Maharsis as namaskdra mudra which is said to be the manifestation of Sri Lalita as the union of Siva and Sakti. This also represents mula Prakyti or Pasyanti vak, the first step towards the creation of the universe of nama{form).

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Mah&mudra is the infinite circuit circumference of which is nowhere and the centre is everywhere. It is explained as the mood or gesture of casual unity of jlva and Brahman which is only favoured by the Goddess. In the technical sense mudra is a particular disposition as to help in concentration. Control of the organs of body becomes automatic by practicing mudras. It is called mudra because it gives the joy(*J«t«idf)“ of spiritual consciousness. Khecari is said to be the best of all mudras. It is a state of Siva, the possessor of that state is the Lord of Consciousness.

The Bhavarilnamasahasrastuti in other words is an index to the subject matter of the Sakta doctrine which is closely related to the Trika system of Kashmir Saivism. All activity, in the universe is carried out through words formed by the mdtrka cakra - the lettered sounds in relation to their objects. Akara (402), Ikara (403), Ukara (404), AikararapinI (404) and Hrimkari (406) are explained in the background of the mdtrka cakra representing cit sakti (srtrt), icca sakti (?+ki), jfidna sakti (4+k I) and kriya sakti (ft+K^ftfi). Hrimkari is the doer of creation, preservation and dissolution. This is known as tantric Pranava. The seed letter Hrlm is described as Ekakyara Brahman (non-syllablic Brahman) in Atharvaveda. With the help of Pranayama and Bahdha (certain breathing exercises and postures of body by which Kundalini is successfully awakened), a yogi concentrates on the sound Hrlm and awakens the KundalinI sakti, thus through bhramarl abhyasa (spiritual practice like the movement of a bee).

Next interesting name of the Goddess Supreme as explained in the stotra is Gayatrl (447) the protector of devotees who sing her songs. Gayatrl is the mother of the Vedas. Gayatrl mantra is identical with the vital force which is the soul of all metres (W^T;). Gayatrl Pranayama is suggested in sastras as necessary regular exercise for every aspirant for it bestows the greatest benefit by rendering the intellect pure and pious. Thus enabling one to connect with the Supreme Truth. Samagdyarii (456) is the name defined as the divinity in the conciliatory conduct of singing. Yogis practice awareness of the supreme, pure and magnificent self through the piercing rhythm of music. This conciliatory conduct of singing as a charming power of the Divine Mother becomes the means of union of jlvatma with Paramatma. It is one of the aesthetic raptures that one feels in listening to a melodious song, while one’s mind withdrawn from everything around, reposes in the Supreme Self. This occurs only by the Mother’s grace which becomes evident through the seven noted letters of music. Svaghga (520) is explained as the self acting deity. Bljasantati (616) has been defined as the sweet and indistinct sound which is the root of life in charming perpetuation. Thus all these names of the Goddess Supreme are vibrating with the holistic Samglta.

The technical categories of music are reflected in the following names:Glti (474) is the allurement in song and Suglti (475)is the excellence of allurement in

singing. Saptasvaramayl tantri (477) is the lute of the seven notes recognized by musicians. Sadjamadhyamadhaivata (478) is explained the upper three cakras of the satcakras of the awakening of the Kundalini through the fourth, fifth and sixth note of the seven svaras viz. sadja, madhyama, dhaivata respectively. Thus Matfka sakti bestowing the beatitude.

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Murcchanagramasaristhana (479) means that the divinity is present in all murcchanas- the ascending and the descending movement of the seven notes of music (SR IV.9) and the gramas -- the group of tones that form the basis of murcchana (SR IV.l). Finally, Gltanr- tyapriya (485) is the goddess who is pleased with the song (stuti) and dance received from her devotees. Sikhinartanl (880) is the goddess holding a peacock dance just as a peacock displays its colourful performance in a dance, so does Cit Sakti manifest in the universal play of joy, meaning that she manifests as the universe appearing with its various qualities, multifarious activities and perpetuating sounds.

SarikasukabhasinI (909) - in simple meaning is the name of the goddess who like the bird Sarika sings melodious notes. But, it contains subtle connotation. Sarika stands for subtleness and melody and sukabhasinl stands for the indistinct note. These terms refer to the two stages of vak in the process of the creation of consciousness known as pasyantl and madhyama. It is pasyantl in the beginning of the difference (bheda) and full awareness of the difference in madhyama. It is all within oneself. The goddess bestows the power of divine speech to her devotees and vanquishes all evils. Thus the Bhavanlnamasahasrastuti is full of resplendent evidences on Samglta that has remained a means of attaining Supreme Awakening.

Gaurl stotra also known as Amba Stotra is considered to be a compilation of highly esoteric verses compiled by Adi Sankara. This stotra of ten verses is also very much prevalent among the community. The similarity of the rhythm in which this stotra is chanted in the temples is traceable in the Buddhist chants performed in the Hemis Gompa in Ladakh during the early morning rituals.13

It may be concluded as has been made clear from the above discussions based upon literary evidences and the existing practices supplemented by archaeological and other visual materials from Kashmir or related to Kashmir that the samglta in Kashmir comes down from the same perpetual source as followed in the Indian holistic tradition. With the passage of time various streams by way of foreign influences got absorbed into this vast sea and thereby giving it a new form. The purpose of this presentation has been to create connections between the fragmented facts. There remain many connections yet to be identified. For instance the Zainarajatarahginl (ZR I.IV.34) refers to a tumbaklvlna. This reminds of the tumbaknan - a percussion instrument in practice by both Hindus and Muslim of Kashmir with other instruments during the performance of chakrl at various occasions. TumbakT is also an Iranian instrument resembling tumbaknarT. And, chakrl is a song form performed along with dance also. This form is linked with Jakkadi(R. Sathyanarayana vol. Ill, p. 164-65), Jikrl/Zikrl and Jigari/Jagarl(Shahab, pp. 119 & note 77 on p. 285) believed to have been got introduced from Persia(ref. R. Sathyanarayan Vol. Ill pp. 344, 346 & 349; Kapila Vatsyayan p.123). Another instance is of rov or rof - a local dance form in which ladies standing together in two rows face to face move forward and backwards following particular steps while singing festive songs. Males do also join at times. It is believed that the rov or rof originates from rasallla (ref. Plate. XIII). This statement gets confirmation by the use of the term rov in the Krsnallla songs composed in Kashmiri language.14 There remains a vast

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literature in Sanskrit as well as in Kashmiri and other languages specially Persian to be explored in order to identify the evidences related to the subject. Present effort has been just a preliminary effort in this direction.

1. The term samglta till medieval period denoted the art of music both vocal & instrumental along with dance also (?ffa cTTT ’ppr). It also included acting (natya) within its connotation.

2. This reminds me of an evening during my teens when my father, who would initiatehis children into the nuances of the Indian tradition through his casual day to day talks with us, while drawing my attention to the sound ‘om’ asked me to close my eyes in utter silence and concentrate on the wonderful ‘eternal sound’

3. Ref. Nllamata Purana vv. 1197, 1198, 1208, 1272, 1279, 1287, 1291-92, 1300, 1313,1330, 1338, 1340, 1344, 1345, 1350, 1355, 1361, 1377, 1378, 1386, 1388, 1389, 1396, 1410, 1413.

4. The copy of this Atharvaveda is preserved in The Library of the University of Tubingen in Germany. Prof. Rudolph Roth obtained this copy from the Maharaja Ranbir Singh of Jammu and Kashmir in 1870’s. On Feb. 9th, 2002 a digital copy of this manuscript was presented to the IGNCA by the Ambassador of Germany in India during a special function organised for this purpose in the IGNCA, New Delhi.

5. During the presentation of this paper in the special Panel on Kashmir in German Oriental Conference at Marburg an audio recording of the vanvun was played and the scholars commented that it was sounding very close to ‘Samagana’

6. Amavasya is explained to be of two kinds viz. SinTvall (day on which amavasya is mixed with the 14th tithi) and Kuhu (when amavasya is mixed with the first tithi of the next fortnight). “In the Rgveda SinTvall is raised to the position of a divinity. She is described as the sister of the gods, offerings are made to her and she is implored to bestow progeny on the worshippers.” quoted from The History of Dharmasastra, P.V.Kane, Vol.V, Part - I, p.62.

7.

8 .

ref. f.n.10.

'jCldPet>CldPcfk<lP:3'

9. It may be interesting to note that the Satyasiddhi sastra is a Buddhist philosophical text written by Harivarman in Kashmir during the 4th century CE. It was translated into Chinese by the renowned Buddhist scholar KumarajTva, who also introduced a school of Buddhist thought in China based upon this sastra. It became one of the most popular schools of Buddhist thought in China and received further popularity in Korea and

85


Japan where it is followed till date. It is believed that the six principles of the Chinese painting are based upon this sastra. This observation invites further investigations in the direction of locating the traces of the Natyasastra in the text of the Satyasiddhi Sastra which is also known as the Tattvasiddhi sastra.

w : I

i t II (SR 1.2-3)

The text reads as It should read as ^ hich^shi^ .

The celebration of the birthday of Vitasta with music, dance and theatre performances is already noticed in the Nllamata Pur ana vv.791-96.

This statement is based upon the self experience during the visit to the Hemis Gompa in Ladakh in Sept. 2009 alongwith Prof. Bettina Baumer to have an experience of the early morning rituals of the Gompa.

ffa ^ *T «TuP^ I «Tl'*irii®TIh cim wr?r 4R1R 1 11

Radha addressing her friends “ Let us play rasa (rov) at a hidden spot so that no one else may hear us from afar. We make Him(only) to listen to our beats (tala). Even then, will Lord (Krsna) not come to ours?” cited from the Sraddha Posha by Jankinath Kaul ‘Kamal’ p. 26.

BIBLIOGRAPHY

1. Ajay Mitra Shastri, India as seen in the Kuttanlmata of Damodaragupta, Motilal Banrasidass, Delhi, 1975.

2. Baljinath Pandit, History of Kashmir Saivism, Utpal Publications, Srinagar, Kashmir, 1989.

3. E. V. V. Raghavachary & D. G Padhya, Minor works of Ksemendra, Sanskrit Academy, Osmania University, Hyderabad, 1961.

4. Jankinath Kaul ‘Kamal’ (tr.& Com.) Bhavaninamasahasrastuti A Page from Rudrayamala Tantra, Sri Ramakrishna Ashram, Srinagar(Kmr.), 1991.

5. Jankinath Kaul ‘Kamal’ (ed.), Mukundamala evam anya Stotra-ratna, Sri Ramakrishna Ashram (Shivalaya), Srinagar (Kmr) 1994 (third edition)

6. Jankinath Kaul ‘Kamal’ (ed. & tr.) PahcastavT (The Pentad of hymns of Kundalinlyoga), Sri Ramakrishna Ashram, Srinagar(Kmr.), 1993.

7. Jankinath Kaul ‘Kamal’ Sivasutra VimarSa, Motilal Banarsidas, Delhi, 2002 (second edition).

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8. Jankinath Kaul ‘Kamal’ Sraddha Posha Flower of Faith, Santa Samagam Shodha Sansthan, J & K, 1998.

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10. Kamalakar Mishra, Kashmir Saivism : The Central Philosophy ofTantrism, Sri Satguru Publications, Delhi, 1999.

11. Kapila Vatsyayan, Bharata The Natyasastra, Sahitya Akademi, New Delhi, 1996.

12. Kashi Nath Dhar (tr. & annot.) Srlvara’s Zaina Rajatarahginl, Indian Council of Historical Research and People’s Publishing House, New Delhi, 1994.

13. Madhusudan Kaul Sastri (ed.), DeSopadeSa & Narmamala of Ksemendra, Kashmir Series of Texts and Studies no. 40, Srinagar, 1923.

14. M.A. Stein, Kalhana’s Rajatarahginl, Vol. I-III, Motilal Banarasidass, Delhi, 1989.

15. Pandurang Vaman Kane, History of DharmaSastra, Vol. V, part I (Vratas, Utsavas and kala etc) Bhandarkar Oriental Research Institute, Poona, 1974.

16. Prithvi Nath Kaul Banzai, A History of Kashmir, Metropolitan Book Co. (Pvt.) Ltd., Delhi, 1962.

17. Raman Kumar Sharma, Kavyalahkara of Bhamaha, Vidhyanidhi Prakashan, Delhi, 1994.

18. Ravi Shankar Nagar (ed.) NatyaSastram of Bhartamuni with the commentary of Abhinavabharati, Vols. 1-4, Parimala Publications, Delhi, 2001.

19. R. C. Kak, Ancient Monuments of Kashmir, London, 1933.

20. R. K. Shringy (tr.) under the Supervision of Premlata Sharma, Sahgltaratnakara of Sarahgadeva, Vol. I, Motilal Banarasidas, Delhi, 1978.

21. R. Sathyanarayana(ed. & tr.), Nartananirnaya of Pandarlka Vitthala, in 3 vols., KMS series nos. 17-19, IGNCA & Motilal Banarsidas, New Delhi, 1998.

22. Shahab Sarmadee (ed. & tr.) Tarjuma-i-M anakutuhala va Risala-i-Raga Darpana,of Faqirullah (Nawab Saif Khan), (KMS series no. 21) IGNCA & Motilal Banarsidas, Delhi, 1996.

23. Swami Lakshmanjoo, Kashmir Saivism : The Secret Supreme, Sri Satguru Publications, Delhi, 1991.

24. Tanasukhram Manasukharam Tripathi, Kuttanl-Matam or Shambhali-Matam by Damodaragupta, Krishnadas Academy, Varanasi, 1991.

25. Ved Kumari, The Nllamata Purana, 2 Vols. J& K Academy of Art Culture & Languages, Srinagar, 1988(Vol. I), 1994 (Vol. II).

26. Vishwanath Shastri Bhardvaj (ed.) Vikramahkadevacarita of Bilhana, (3 Vols.), Varanasi Sanskrit Sahitya Research Committee of the Banaras Hindu University, 1964.

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PERSIAN AND URDU SOURCES FOR MUSICNajma Perveen Ahmad,

The civilization in India is one of the most ancient in the world. Some of this civilization goes back for more than four thousand years, unlike several other countries, even though it has experienced so many invasions, endured so many periods of apparent anarchy or seen so many great empires rise and fall. Being one of the oldest civilizations, it is likely that music took birth in India much before it was developed in the other countries. One thing, however, is reasonably certain about Indian Music - that it has been deeply associated with religious rituals, and probably it existed in its earliest form as hymns which were chanted during Vedic time.

During its long journey through history, Indian music has passed through several stages and has been subjected to a host of external influences brought by the invaders, in spite of which it has always maintained a profound continuity, consistency, its own unique character and identity. The initial period of conflict and confrontation was followed by co-existence, interaction and assimilation, leading to what is known as the Indian composite culture. In the fields of other arts, there was inter-mingling of ideas and techniques, but in the field of music the process of harmonious blending, in my view, was so complete that to delineate the indigenous and foreign elements would be futile.

When we study Indian musicology in the present scenario, it would be most appropriate to pay attention to all those musicians and scholars who have given a lot to the subject of music, and provided numerous manuscripts to the world of music, which are shining as jewels in the field of musicology. These works are written in Sanskrit, Hindi, Persian, Urdu and other local Indian languages, which have been preserved in the form of books and manuscripts all over the world.

Although modem music scholars and researchers are continuously engaged in the process of identifying these manuscripts in many Indian languages, which are providing very important information related to various aspects of musicology, yet much of the required work has not been done on Persian and Urdu manuscripts. Perhaps the reason for this gap is that the scholars of Persian and Urdu are rarely familiar with music, and the performing musicians are seldom involved in writing the theory of music. Some manuscripts related to the art of music of medieval period in Persian and Urdu languages are full of very precious and valuable collections. This is because of the fact that most of these sources contain translations from and references to ancient Samskrta texts which either were destroyed and are not available, or could not be preserved due to political instability and other reasons of that era. Therefore, the knowledge of these precious works can be derived from the Persian and Urdu manuscripts.

In the words of Vidusi Professor Sumati Mutatkar, “Pandit V.N. Bhatkande, the great architect of modem Hindustani musicology was well aware of the fact that several learned and informative works had been written in Persian during the medieval centuries which needed


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serious study and scrutiny. Drawing from these as much as he could, he had fully realized their importance. He had expressed his considered view that a complete perspective on the development of Hindustani music would not be possible unless this lacuna is removed.” Inspired by these considerations, I have selected the subject of this paper on “Persian and Urdu Sources of Music”, and I will try my best to provide some authentic information related to these rare works on the basis of my study and research. The following is a brief discussion of some of these works.

Ghimyat-ul-Munya (Pleasure of Desire)This manuscript is preserved at the India Office Library, London. The work was found by

Mrs. Khursheed N. Hasan, who introduced it through a paper, which she presented at the twenty- fourth session of the Indian History Congress, Delhi, in 1961. It was written during the regime of Sultan Abul Muzaffar Ferozshah (1374-75 A.D.) The name of author is not known. On the first page, while introducing himself, the writer mentions the name of Ebrahim Hassan Abu Reza as his patron and describes about his court, where well-known musicians, singers and dancers of that era were present. According to the author, Abu Reza called a meeting of the leading scholars and musicians of his time to discuss and learn the basics of Indian music. Later on, after getting detailed information on the subject, the scholars were inspired to write Ghunyat-ul-Munya. In this work, the names of some samskrta treatises like Bharata Sanglt, Sanglt Ratnavali, Sanglt Ratnakara, Sanglt Vinoda, Sanglt Mudra and Ragarnava have been mentioned. Sanglt Makaranda of Narada has also been cited.

This work is divided into two sections, four parts and sixteen chapters on the basis of git, vadya, and nrtya. One of the special features of this manuscript is that while describing musical instruments and dances, pictures have also been drawn to depict the shapes and themes for enabling a better understanding of the subject. But unfortunately these images are not very detailed. The author has stated that it was written with the objective that the literature based on Indian Samskrta manuscripts will throw light on the basic information related to Indian music to the contemporary and future generations. In my opinion this work can certainly be very beneficial to all the music scholars and researchers to enrich their understanding and findings in the field of Indian musicology. This work has been published in 1962 with the collaboration of Asia Publishing House and Centre for Advanced Study, Aligarh. The preface and introduction of the book has been written by Prof. Shahab Sarmadi of Aligarh University. An English translation of this work has been published by Northern Book Centre, Daryaganj, New Delhi, in association with the Indian Council of Historical Research, New Delhi, in 2003.

Lahjaat-e-Sikandar ShahiThis monumental Persian work was written in the period of Sikandar Lodhi (1489-1516

A.D.) and is of utmost importance. The author’s name has been mentioned as Umar Sama Yahiya

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A1 Kaabuli. It has been described by the author that Sikandar Lodhi was a great lover of music and patron of numerous esteemed musicians of that era. He invited all knowledgeable scholars and musicians who were experts of Persian and Samskrta language and directed them to write this book.

The author of this treatise had consulted contemporary Samslqta works including Sanglt Makaranda, SarigTt Samaya Sara and Sanglt Kalpataru. Lahjaat-e-Sikandar Shahi is divided into seven parts. The first part is related to the description of human body, voice and sound. The second part deals with the origin of ragas. Detailed description has been given of the classification of ragas and their varieties like gramaraga, bha§araga, ragafiga, bha§anga, kriyanga, up&nga etc. The third part describes various musical instrumentalists, singers. It also describes vaggeyakara and the qualities of good vocalists. The fourth part is based on git, dhatu and prabandha. The fifth part provides detailed information about marga taja-s. The sixth part describes various musical instruments, and the last chapter is dedicated to dance forms of India.

Kitab-e-NaurasThis treatise was written by Ibrahim Adil Shah (1580-1627). The work contains collection

of Deccan language songs in Persian script. It contains 56 songs, and the raga for each song has been indicated. All these songs are based on dhruvapad style, and every song consists of three parts, namely sthayi, antara and abhOg. In Tuzuk-e-Jehangiri, Jehangir has praised the writing of Adil Shah and appreciated the new style dhruvapad compositions. He described him as the creator of a new style, which can be considered a style between dhruvapad and khyal. The manuscripts of the Kitab-e-Nauras are available at the Prince of Wales Museum (Mumbai) and Khudabaksh Library, Patna. Prof. Nazeer Ahmed of Aligarh University has edited this book. In his opinion this could have been written around 1560-1603 A.D. He has quoted Mr B.G.Gyani of the Prince of Wales Museum, Bombay, who wrote exhaustive article on the book. According to him, “This book is a collection of stray songs composed from time to time and these were meant to be sung in different melodies of Indian music, and all the pieces are independent of each other. The book fully indicates the author’s command over the language and the subject or the theme, and his religious tolerance.” This work describes about 17 ragas, namely Bhupali, Ramkri, Bhairav, Hijaz, Maru, AsEvari, Desi, Purvi, Berari, Todi, Malhar, Gauri, Kalyan, Dhanasri, Kanhra, Kedar and Nauroz. In addition, the names of 14 popular musical instruments have also been mentioned in his compositions. Each song of the Dhrupad is divided in three parts, i.e., sthayi, antara, and abhog. The third part, sancari, is completely missing in the compositions.

The author has composed songs on a great variety of religious, social, and cultural subjects. Some of the compositions describe the beauty, intellect and other virtues of his wife Bibi Chand Sultan. He has also written an interesting song about his favourite tamboora, which he named as Moti Khan.

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Sangeetsaar, Raagsagar and RaagmalaAmong the known manuscripts in Indian musicology, a reference is often made about the

works of Tansen. The three works which are generally attributed to him are SangTtsar, Ragsagar and Ragmala. SangTtsar is written in Davnagri script. According to Sangeetsar the origin of music is associated with Lord Brahma, who gives pleasure in our lives. In the beginning the author mentions three branches of music as vocal, instrumental and dance. The gram, mQrchana-s and classification of ragas have been given in detail. This is followed by a detailed list of musical instruments which were prevalent during that time. The name of the author is not clearly written in this work.

The other manuscript, viz., Ragsagar, in Persian language is also available in some libraries, like the Government Museum, Alwar, Rajasthan. The contents of this work are more or less similar to SangTtsar, but the description of musical instruments is missing. In my opinion, Ragsagar could possibly be the Persian translation that was done by some unknown author from the original manuscript SangTtsar.

Another work, Ragmala, also attributed to Tansen, is available in some manuscript libraries in India and abroad, but there is no sufficient evidence to establish the fact that it was authored by Tansen. Besides, there is a reliably proven Samslqta work entitled Ragmala by Pandit Pundarik Vithal in the year 1560 A.D.

In this context, I wish to draw attention to an important and rare Persian Manuscript entitled ‘Tashrih-ul-Moosiqui’, a translation of the original work of Tansen, entitled ‘Budh Prakash’

Tashrih-ul-MoosiquiWhen I was pursuing my doctoral research work entitled - ‘Development of Hindustani

Music during Seventeenth and Eighteenth Centuries, with special reference to Persian and Urdu works’, I met late Prof. Nurul Hasan Ansari of the Department of Persian, University of Delhi. While discussing with him about Persian manuscripts on Indian musicology, he informed me that a Persian manuscript entitled ‘Tashrih-ul-Moosiqui’ is a translation of ‘Budh Prakash’, a work authored by Tansen. He also mentioned that the only copy of this work is available in the Shirani collection of Punjab University Library, Lahore.

Ever since I came to know about this work, I was curious to study it and examine whether there was an evidence of it being an authentic translation of Tansen’s work Budh Prakash. I felt that probably like Man Kautuhal, of which only Persian translation Rag Darpan is available, so also Budh Prakash may be available only in the translated form. On examining this manuscript, I found a clear mention of Tansen as author of Budh Prakash, which has been translated by Mohammad Akbar urf Mohammad Arzani son of Mohammad Muqeem.

I have translated this work in English, along with my comments and observations. The book has been published by Manohar Publishers and Distributors, Daryaganj, New Delhi (2012).


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The photocopy of the Persian manuscript is also included in the book. The book is based on the following eight chapters:

1. The Origin of Music.

2. Types of Samah (Mystic musical gatherings).

3. Description of Swar and attributes of musicians.

4. Principles of Raga-s.

5. Classification of Raga-s.

6. The Time Theory of performing various Ragas.

7. Innovation of Misra Raga-s.

8. Musical Instruments and Taja system.

ParijatakParijatak is one of the outstanding works written during the seventeenth century. It is a

translation of Sanglt Parijat of Pandit Ahobal by Mirza Roshan Zameer. This manuscript is available at Maulana Azad library at Aligarh and Reza Library of Rampur. Since Roshan Zameer was himself a poet and scholar of music, his translation is authentic and of high standard. According to some works he wrote a few more books on music in Arabic, Persian and Hindi, but unfortunately none of them is traceable. Parijatak is divided into three khands (parts): l.Glt Khand. 2.Vadya Khand, and 3.Nritya Khand.

Parijatak is not only a translation of original work, but also a commentary on it.

SahasrasaSahsrasa (Sahasra rasa) is a collection of one thousand Dhruvapad songs composed by

Nayak Bakshoo. It was compiled in accordance with the directives of Emperor Shah Jahan. Two copies of this manuscript are available in India Office Library, London. This work is edited by Dr. Premlata Sharma and it is published by Sangeet Natak Academy, New Delhi.

Sahasrasa contains one thousand four song texts which are composed in Dhruvapad style. These are composed in Gwaliori language which is close to Braj Bhasa. At some places in it a few Persian and Sankrit words have also been used. In most of the verses Shah Jahan’s name has been mentioned.

Rag DarpanRag Darpan was written by Amir Faqirullah Saif Khan in 1662-63 A.D. By reading this

work it can be assumed that the author had a sufficiently good knowledge of Indian classical music. Some copies of this manuscript are available at the Maulana Azad Library, Aligarh University, and

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the Salarjung Museum Library, Hyderabad. A very well preserved manuscript of Rag Darpan is available at the Library of lamia Millia Islamia, New Delhi. The author says that he had translated the Samslqta treatise Mankautuhal in Persian for those people who could not read Samslqta language. This work also mentions the names of four other works consulted by him, namely Nrtyamava, Risala Syed Mansur, Rag Prakas and Candravati. The work is based on ten chapters. All chapters of this work are very informative. The raga-ragini system has been dealt with in detail. In addition to these, the ragas innovated by the author such as Saindhavi, Sundravati and Adana Kedar have also been described. In addition, the prevalent singing styles, musical instruments etc. of author’s time have been analytically discussed.

Tohfatul-HindThis Persian treatise was written in the regime of Aurangzeb in 1645-46 A.D. The author

of Tohfatul-Hind was Mirza Khan. At some places the writer’s name has also been mentioned as Mirza Mohammad. Prof Nurul Hasan Ansari of Persian Department, Delhi University, has done very significant work on this manuscript. According to Prof. Ansari this book was written on the directions of Aurangzeb’s third son Mohammad Azam. This work is divided into seven parts. The first four parts have been devoted to a detailed description of Hindi language, its grammar, alphabetical order, aesthetics, etc. The fifth part comprises ten detailed chapters on different aspects of the art of music. One of the interesting points of this work is that it has presented beautiful ways of innovating new ragas through the combination of Indian ragas with famous Persian muqams. Some of the names of these ragas are: Muhaiyar, Sazgiri, Yaman, Usshaq, Muafiq, Ghanam, Bakhrez, Farodast, Farghan and Sanam. About 62 popular talas prevalent during that time have also been described.

Usul-un -Naghmat-e-AsifiThis is one of the popular works of the early nineteenth century in Persian language. Three

manuscripts of this work are available at the Dr. Zakir Husain Library, Jamia Millia Islamia, New Delhi; Salarjung Museum, Hyderabad; and the Faculty of Music and Fine Arts Library, Delhi University. There are considerable differences in the title of this work in different manuscripts. The author of this work was Ghulam Raza Bin Mohammad Panah. It contains six chapters: Svar, Rag, PrakTrna, Prabandha, Tala and musical instruments.

One of the important parts to note about this work is that it highlights the suddha scale of Hindustani music as Bilaval scale. Although this has not been described in detail, it provides useful information to modem researchers. In this work the author has dealt with all the important aspects of Hindustani music with deep understanding. In the chapter of Raga Adhyay the importance of writing music is emphasized, and the difficulties and complexities of this art have been pointed out. A brief description of the notation system prevalent during the writer’s time has been given. Ghulam Raza disagreed with the Raga-Ragini classification system of his time. He criticized all the

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four matas and declarded them out of date. He gives a system of his own which brings together into groups of ragas which have similar structural features. Thus the approach followed in this book is more or less the that system which is being followed by the musicians of present times. In my opinion this work is of a high standard in which the author has dealt with all important aspects of Hindustani music with deep understanding.

Shamsul AswatThis work was written during the rule of Aurangzeb. The author Qazi Hasan mentions

that he has translated the Samskfta work Sanglt Darpan into Persian. According to him a Hindi version of Sanglt Darpan was available during that period. This work contains seven chapters. Nada, svara, sruti, raga, maqam, tala and Nrtya. have been described in detail. The author has also mentioned some interesting points of Iranian music. Two copies of this manuscript are available at Salarjung Museum, Hyderabad. The name of the author of this work has been mentioned as Rasbaras Khush-Hal Khan Kalawant.

Marifat-ul-ArwahThis work has been preserved at the Salarjung Museum, Hyderabad. The author’s name

has not been given in the manuscript. It was written during the later half of 18th century. The author describes that this work is a translation of a book entitled Sanglt Kram (not clear), which was written during the period of Raja Mansingh of Gwalior. Various aspects of music like gram, murchana, gamak, svara, raga, etc. have been described elaborately. According to the author in Sanglt Kram, 660 ragas have been mentioned in sudhdha, salanga and sanklrna varieties. One full chapter has been devoted to the description of musical instruments.

Sudurul-BaharThis work was written by Qazi Hasan during Aurangzeb’s reign. The author mentioned

Bharat Sanglt as a pure music of India. The book describes Margi and Desi sangeet, Gram, MQrchana, Raga, Ragini, Alap and musical instruments. Detailed information regarding Pakhavaj is also given.

Miftahul-SuroodThe author of this work has been mentioned as Qazi Hasan Bin Khwaja Tahir. The author

states that in his period there were four authoritative works on music: Sanglt Ratnakara, Rup Ratnakara, Sanglt Makaranda and Bharata Sanglt. This book contains four chapters describing raga-ragini, suddha, salanga and sanklrna raga, musical instruments, etc. A long list of sanklrna rSga-s, which were popular during the author’s time, has been given.

Besides the above-mentioned works, there are several well-known history books such as Babamama, Humayun-nama, Muntakhabut-tavarikh, and Ain-e-Akbari, preserved in Persian

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manuscripts written during the medieval period, which have been translated and published. Despite being books on historical subjects, they contain important and authentic information related to Persian and Indian music at various places. Since the translated versions of such books are easily available, I need not go into details of their contents.

Two works, based on biographical descriptions of famous musicians of medieval period are also available:

(1) Risala-zikr-e-Mughannian-e-Hindustan, that was written during 1734-35 A.D. by Inayat Khan Rasikh. It discusses in detail about the life and contribution of famous musicians.

(2) Muraqqaye-Delhi. The author of this book is Dargah Quli Khan. Names and details about 34 musicians belonging to the eighteenth century in Delhi have been given in interesting manner in this work. Later on this work was translated in Urdu under the title of ‘Purani Dilli ke Halaat’

In addition to Persian sources described above, a large number of Urdu manuscripts and books on Indian music are available. To illustrate the importance and relevance of such works, following is a brief description of a selected few of them:

Sarmaya-e-IshratThe author of this work was Sadiq Ali Khan. And it was written in 1847 A.D. Later on it

was published by the Narayani Das Press. Whereas, in the beginning of the book, the author has mentioned about only three chapters: namely Svar Adhyay, Rag Adhyay, and Tal Adhyay, but a closer study of the work indicates that it is based on following nine chapters:

1. Introduction of the book, 2. Qanoon-e-moosiqui, 3. Origin of Music, 4. Svara Adhyay,5. Rag Adhyay, 6. Tal Adhyay, 7. Nrtya Adhyay, 8. Vadya Adhyay, 9. Description of Persian Music - Maqams and their classification.

The distinguishing characteristic of this work is a detailed description of musical instruments and their structure, gata-s of sitar along with numerous drawings that have been given in it. Besides, detailed information about the raga-s, forms and styles of music and dance prevalent during the author’s time have been dealt comprehensively.

Marifat-un-NaghmatIt was written by Raja Nawab Ali of Akbarpur of U.P. Very few manuscripts of this work

are available. SrT Vishvambhar Bhatt has translated and published this work. This is based on three chapters: Svara, Rag, and Tal. According to the author, the Pandits of music have described three varieties of Sanglt: l.Granth Sanglt. 2. Lakshya Sanglt. 3. Bhav Sanglt. He has also developed a

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notation system and its signatures have been written. Eighteen types of tala-s as described in old grantha-s have also been mentioned in this work.

Naghma-e-SitarThis work was written in 1876 A.D. by Mirza Baqar Beg. It is a short book consisting of

only 180 pages, but it is a very important work for the study of Sitar, in which numerous gata-s of sitar and the names of their composers have been given.

Following are titles of some other Urdu works:

Ghuncha-e-raag, Muadan-ul-moosiqui, Naghma-e-dilruba, Moosiqui Hazrat Amir Khusrau, Hindustan ki Moosiqui, Hazrat Amir Khusrau ka Ilm-e-Moosiqui aur Doosray Maqalat, Naghmat- ul-Hind, Raag Chaman, Nahmat-e-Sanam, etc.

In addition to the above-stated works, numerous other Persian manuscripts on Indian musicology exist at various places in India and abroad. Since only few Persian, Urdu and other language works related to music have been edited and published, therefore manuscript copies are the main important source of research for further work by scholars. Although these are available in public and private libraries in India and other countries, these have not even been properly catalogued and classified. They need to be explored and studied. Some of them are in a very fragile condition, and need to be preserved and translated before they deteriorate further. In my view it is a matter of great importance that deserves a high priority and must be attended to with great urgency, in order to bring to light the rich heritage of Indian musicology before it is lost.

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From Music in Stone to Music in MotionWim van der Meer

University of Amsterdam, The Netherlands

Suvarnalata RaoNational Centre for the Performing Arts, Mumbai

A man with a vision

Jamshed Jahangir Bhabha (1914 - 2007), the founder and chairman of the National Centre for the Performing Arts (NCPA) in Mumbai, was a man who never looked back, who always focussed on the future. He was a man with a dream: “When India will have its own Beethoven there must be a tool for him to write down and express his musical thoughts” were his words at one of the last gatherings he presided over in Mumbai 2006 when the Automated Transcription for Indian Music (AUTRIM) was demonstrated to a large audience. It was in 1983 that J.J. Bhabha had first met the computer engineer Bernard Bel from the International Society for Traditional Arts Research (ISTAR) and they worked out a plan for creating a computer based system for transcribing, representing and analysing Indian music, primarily focussing on the North Indian art music. In reality, the AUTRIM system isn’t quite the tool for composers a la Beethoven to provide written instructions for the performance of a piece. In Indian music, no-one wants that, because Indian music is strongly based on the freedom of improvisation, which is very much at odds with written instructions that have to be followed to the letter.1 We should remember that a musician/composer like J.S. Bach was a great improviser who would write out his performances as a guideline for his students. We should also realise that for Bach and Beethoven notation was the only way to transmit their musical ideas to later generations, whereas nowadays we have recordings. Much like Bach, many musicians and music educators nowadays make use of recordings as a means of instruction, often in combination with transcriptions. Certainly the AUTRIM project2 is also meant primarily for students and music lovers to get a better grasp of what is really happening in music.

Writing and drawing music

The idea of representing music is remarkably old, although it has not emerged and developed in the same way in different cultures. When we refer to the notation of music we usually mean a form of writing it. To be able to write music two basic conditions have to be met. The first, and most essential, is a way of encoding music. There must be some system of referring to melodic or rhythmic phenomena, which would imply at least a rudimentary form of music theory. Typical

1 Though it must be noted that even Beethoven’s scores cannot be performed literally as Barenboim pointed out in his interview with Said (Barenboim, Said and Guzelimian 2004).

2 http://autrimncpa.wordpress.com

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http://autrimncpa.wordpress.com


examples are the definition and designation of pitches by note-names such as Sa, Re, Ga or the coding of drum-strokes such as dha, tita, tun, gadigana. The second condition is of course the technology of writing itself. What to write with and what to write on. Apparently, writing music often started unexpectedly soon after the discovery of writing itself, though obviously not in all cultures. The earliest music notations we know of come from the Assyria (Babylonia), dating to about 2000 BC. In India also, writing music started quite early, certainly well before the time of the Naradiya Siksha (Bullard 2007). It seems that the method of writing music in these two cultures has been similar, involving the writing of note-names represented by syllables. These note-names may in fact have been references to strings of the harp (Sachs 1941). In essence, the system of music writing used in India today is syllabic, as it evidently was for more than two, possibly more, millennia.

However, written scores of ancient Indian music are very limited. Probably this is also related to the Indian attitude towards the role of writing in general. As Richard Widdess puts it:

Indian culture has always been at best ambivalent, and often openly hostile, in its attitude to writing, especially where the transmission of particularly sacred texts or valuable teachings is concerned. The Western belief that memory is short-term, limited in capacity, and treacherously fallible, whereas writing is comparatively long-term and reliable, is reversed in India: there, collective memory can transmit a complex tradition with astonishing accuracy over centuries, whereas writing is perishable and leads to corruption, forgetfulness, or misuse. (1996: 391)

Indeed, most materials upon which people used to write in the past were perishable, and the only way these could survive is through copying them over and over again, with the exception of rock inscriptions and clay tablets. As such, the famous Ku | imiyamalai rock inscription from the 7th century C.E. is one of the oldest original music notations in the world (Sathyanarayana 1957, Widdess 1995, 1996). Although the clay tablets mentioned earlier may be much older, it should be noted that there is no certainty that they really represent music notations, and most of the Greek and Egyptian notations on parchment or papyrus are severely damaged and quite impossible to reconstruct. Of course, in keeping with Widdess’ remark on oral traditions it should also be noted that we cannot really know how any of these older notations really sounded. And let there be no mistake about it that “without a very vigorous oral tradition of writing, neither speech nor music writing can be learned. Writing cannot be read - either in song or upon an instrument - without recourse to that same oral tradition” as Charles Seeger put it (1949: 827-8). The extensive studies of Leo Treitler in the earliest west-European music writing also bear witness to the importance of the connection between the written and the unwritten tradition (1982, 1992).

But music writing does not always represent an unbroken tradition. Apparently, though the Greeks and the Romans were also using a system of glyphs representing (Mathiesen 1984) music,

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this method was not known to the early medieval peoples of western Europe. Saint Isidore of Seville (560 - 636), writing barely a few decades after Gregory the Great, says “that the sounds of the Muses are impressed upon men’s memories, and that this must be so if they are not to die away for they cannot be written down” (Treitler 1974). And curiously, it took still a couple of centuries before notation started to develop in western Europe. This new European system of notation probably was derived from Greece, but instead of relating to musical notes it took its lead from the rising and falling accents of declamation. It was a system of melodic movements, not pitches. These signs for melodic movement, known as neumes, represented drawings of the rising and falling motion of the melody. This is a fundamentally different approach from writing sequences of pitches. Drawing melodic movement is often called analog notation, in the sense that the rising and falling of the melody is represented by rising and falling lines. Certain other musical systems use this way of representing music, e.g. Tibetan music. In western Europe the neumes were soon broken down into separate pitches, but the representation continued to be analog - higher pitches were written higher on a system of lines and lower pitches lower. In the course of centuries this system of notation gradually evolved into ever greater complexity. Certain quirks crept in at an early stage and stayed there forever, such as the equidistance of semitones and whole-tones. This happened because the lines of the staff represented steps of a third and the notes between the thirds were written between the lines. However, some thirds will be major and other minor, so that the distance from one line to another represents a different value in pitch difference.

In Europe the written tradition slowly emancipated itself from the oral tradition. This had a huge impact on music itself, which is something we can very well understand and interpret from the Indian perspective. In India, the phrase Ni Re Ga in the raga Yaman is much more than only those three notes. There are kans and mind-s that will enrich the movement so as to give it its distinctive Yaman-ness. As any teacher knows, if we start singing notations from written sources we get “bookish” music - it lacks the flavour of real Indian music and it mauls the raga-s indiscriminately. In itself this need not be a problem as long as writing is a complement to a living tradition. As Ratanjankar has put it:

There is always much to be “read between the lines”, in the language of music as in the language of words. Accents, emphases, pauses, pitch of the voice, and strength have to be filled up in actual speaking. The script is certainly not a perfect representation of the spoken sentences. Why then find fault with written music? (1960: 107)

Written language has not replaced speech and we learn to speak through the oral tradition from parent to child. That is why we can interpret written language, even though it is imperfect.

The independence of music writing from music itself led to music writing becoming an art by itself, similar to the book-art tradition. As Pandora Hopkins expressed it:

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The notion of notation as a different and distinct art form (from music) a way of manipulating visual designs to communicate one’s individual impressions of music to other people, seems not only valid but utterly fascinating. (1966: 313)

However, the graphic art of representing music stopped the development of music drawing, which perhaps could have taken an even higher flight. The system of notation and the music were reinforcing each other and made changes neither necessary nor desirable. It was only when new types of music became a force to reckon with that new methods for representing them were devised. Moreover, new technologies also opened up new possibilities for doing this.

Nonetheless, revolutionary techniques such as melography didn’t make much progress perhaps the main reason for this was the strong habit of using Western notation throughout most of the world. Even Seeger, the founder of melography admitted:

conventional notation will not serve the need of a universal music sound-writing, [but] to no one would I recommend abandonment of traditional techniques of writing. I would urge the two to be used side by side. (Seeger 1957: 66)

And indeed, also in the case of Indian music, just about the only great tradition to resist Western music writing, we would always recommend using traditional methods side by side with newer and different systems.

Notation: advantages and limitationsFor musicians there is a direct connection between sounds and mnemonics, and hence

they resort to sargam/bol for musical thinking- teaching and composing. The sketchy sargam notations are an aide-memoire especially to keep record of traditional compositions. From the late 19th century onwards, compositions were published with notation for the purpose of instruction, dissemination and preservation of traditional repertoire, which has so far come to us mainly

through oral tradition.

Although there is a direct connection between sounds and mnemonics, the ways in which the mnemonics of Indian music can be interpreted are far more diverse than words in the domain of language. When they are committed to paper, the ‘extra’ information in terms of microtonal inflection, ornamentation, volume and timbre dynamics are never written in full, thus oversimplifying the musical event. Secondly, the written notation distracts from concentration on the musical event itself and blunts the ability to grasp and remember quickly.

For these reasons, many musicians in India have been and still are opposed to notation and the process of writing music down. They feel students should concentrate on direct imitation of the teacher, without the intervention of writing and reading. Of course, it should not be forgotten that in the past many musicians considered compositions a private or family property and felt that writing them down could seriously endanger their control over the ownership.

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From Notation to Transcription

The difference between notation and transcription is mainly in their function. Seeger (1958) draws a basic contrast between ‘prescriptive’ and ‘descriptive’ notations. The former corresponds to what musicologists usually refer to as ‘notation’ and the latter as ‘transcription’

The development of transcription in the course of the 20th century seems to be towards cognitive or conceptual transcription that seeks to portray musical sound as an embodiment of musical concepts held by members of a culture. It provides a graphic interpretation of the essential concepts and logical principles of a musical system. The classical Abraham-Hombostel transcription aims at objective discovery of any unknown musical tradition (Abraham and Hombostel 1994). In a conceptual transcription, essential features are presumed to be already known through fieldwork, performance lessons and study of traditional written and aural notations. The transcription therefore becomes a means not of discovering, but of defining and exemplifying the acoustical embodiment of musical concepts essential to the culture and music (Ellingson 1992: 141-142). This is accomplished not by the application of a predetermined universal methodology, but by strategic choices appropriate to the music, performance etc.

Human versus Computer Transcription

music > coder > notation > decoder > musicFig. 1: Human transcription

music > coder > graph > decoder > musicFig. 2: Computer transcription

Figure 1 represents the process by which sound is transformed into image, which can ideally be re-transformed back into sound, or at least some virtual imagination of sound. Fig. 2 shows the same process through computer transcription.

The invention of sound-recording has lent new meaning to the process of transcribing. Ethnomusicologists have used a rigorous method for objectifying, essentializing and sometimes even appropriating music of the ‘other’, first by recording and then by transcribing the recording. The resulting transcription is used as analytical description. The fundamental problem with the transformation of sound into transcription is that the coder is a black box, the inscrutable brain of a musician or (ethno-)musicologist. If we would know the functioning of this black box the decoder could possibly work.

Moreover it is not unlikely for our own black box to fail when we have to decode the data. The human transcription also tends to rely heavily on hypothetical conditions such as “a reliable ear” and “unfailing instincts”, not to mention the general tendency of the ‘coder” to reduce and distort the music so as to adapt it to Western categories of musical thought. Jean-Jacques Rousseau already noted in 1749:

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In order to put the Reader in a position to judge the various musical Accents of Peoples, in Plate N, I have also transcribed a Chinese Tune taken from Father du Halde, a Persian Tune taken from the Chevalier Chardin, and two Chansons of the American Savages taken from Father Mersenne. A conformity of Modulation with our Music will be found in all these pieces which will possibly make some admire the goodness and universality of our rules, and for others will perhaps render suspect the intelligence or the fidelity of those who have transmitted these Tunes to us. (Rousseau 1998 [1749]: 444-5)

Indeed, the whole project of transcribing music from one culture with the tools from another culture is highly suspect and part of the colonial project known as ethnology and of which ethnomusicology is a subsidiary.3

On the other hand, computer generated transcriptions can create graphs that are to a large extend free from these limitations. If the computer program is correctly documented the coder- decoder system is totally transparent (figure 2). The average musician or musicologist may not be able to grasp the workings of the computer ‘codec’ but it is there wide open and it always works in the same way (if the parameters of the program are kept identical). In this respect it is reliable, objective and consistent. Contrary to a musicologist, a computer does not listen to the music with a culturally biased cognition, but instead provides a graphic representation of the sounds it has been fed. Naturally, the way in which the computer represents the sounds depends on the program and the parameters that have been set by the end-user. A characteristic image produced by a computer may look like this:

Fig 3: a typical screen from the PRAAT program. The top half of the screen is the waveform, in the lower half we see a thin (higher) line representing volume, below it a thicker line representing pitch (the melodic line) and a gray messy background that really is a kind of

representation of the timbre.

3 See Michel de Certeau (1974: 133-36) on the colonial nature of ethnology.

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Generally, reading the timbre information makes little sense, we know of no way in which the auditive and visual information can be related. The volume-line is very simple to read, obviously the waveform shows a smaller deviation at the position where the volume line makes a dip. That same portion is read by the pitch processor of the program as ‘silence’, though in reality there is the sound of tanpurla. The melodic shape can also be correlated to the actual sound-file, with a prolonged steady note starting around the middle of the screen and going all the way to the right edge.

Computer aided TranscriptionSound and sight together constitute one of the major synesthetic pairs of senses. The validity

of a computer-aided transcription rests on this premise. The auditory perception of sound combined with a simultaneous image of melodic shapes can be far more effective because the graphic transcription can help to “see” notes as well as their intricate movements. Graphic transcription is useful in understanding the “sound” of music, which is otherwise assimilated only by repeated learning and practice. It reveals what we do not “hear”, what we change in the process of “hearing” or what we take for granted. It can also provide an insight into the more subtle elements of music that we cannot readily distinguish aurally, but which might nevertheless influence our perception of the music on a subconscious plane (Jairazbhoy 1977 p. 270). The microscopic viewing ability afforded by the graphic transcription is also invaluable in music analysis. Various subtle aspects such as intonation, melodic and rhythmic features, textual elements etc. can be reliably studied with the help of computer-aided transcription.

Before anything else, we should stress that notation was a kind of primitive recording and the only way of keeping a ‘record’ of music before the invention of sound recording, usually attributed to Edison in 1877/8. As Rousseau observed, Europeans travelling around the world listened to the music they encountered and attempted to preserve and represent it with whatever means they had. Most of the time, those transcriptions do not make much sense. Machine transcriptions, or rather visual representations of pitch against time, were first used by Metfessel and Seashore in the late 1920s (Metfessel 1928). These graphs were made by a process called phonophotography, basically a oscilloscope that was filmed - a rather expensive process at the time. Metfessel used to add pitch-lines and notes to provide some sort of link to the traditional staff notation:

Fig. 4: A sample of Metfessel s work.

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Interestingly, the Indian violinist, scholar and musicologist C.S.Ayyar went to London in the early 1930s to record, visualise and analyse the shrutis of Carnatic music - work that was published in 1949 (Ayyar 1949, although there is also mention in Ayyar 1939).

In that same year Charles Seeger had embarked on his project of a universal music writing system, the Melograph. Seeger was very confident that such a system of transcribing music was much superior to traditional staff notation (e.g. Seeger 1957). Yet, the Melograph wasn’t used very widely, possibly for three reasons: (1) limited availability (2) the graphs are not very easy to read partly because of messiness and partly because they form a stream rather than a sequence of events and (3) because Occidental ethnomusicologists were so much used to transcribing and reading staff notation.

The first non-dedicated pitch-trackers were probably made in the early 1980-s, mostly by music engineers in sonology departments. These were people using Commodore, Atari and Apple computers for the construction of sounds, composing, creating scores, generating music automatically and so on. Pitch tracking programs were made in the small hours and rarely used beyond a single computer. One such set-up was constructed at the NCPA laboratory in Mumbai by the French engineer, Bernard Bel in 1983. It consisted of a combination of dedicated filtering hardware attached to an Apple II computer.4 The computer did no more than register the number of zero-passes per second. This method would now be considered obsolete but for vocal music it worked well.

Soon, the new models of pitch perception were implemented in computer programs that ran on cheap computers, one of them written by Meer (PitchXtractor) running on early Macintoshes. Since these computers were running at 4 MHz (as compared to a couple of GHz nowadays) extracting the pitch- line of a minute of music took about one hour of processing. In getting the best pitch-line it was paramount to fine-tune a number of parameters (e.g. range and type of voice), again extending the processing time enormously. And yet, the sound-files were mainly monophonic aif files of 11 or 22 kHz with a 8-bit resolution.

Taking advantage of the rapid increase of processing power of personal computers and building on the experience of other programmers in the Netherlands, Paul Boersma and David Weenink started developing PRAAT in 1992. In the course of the years this has become the standard tool for many phoneticians and musicologists.

ProblemsOne of the major problems of all pitch extraction programs has been the messiness of pitch

lines and the glitches (fig. 5). Following are some reasons why pitch lines can look messy:

1) the recording has more than a single voice/instrument (accompaniment)

2) the recording settings are bad (clipping, noise, very low level)

3) there is echo (or sympathetic strings)4 Note that even these very simple personal computers cost thousands of dollars, while a mini-computer had a price-

tag of tens of thousands of dollars

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4) there is wow and flutter

5) the voice itself flutters a lot

6) the program can’t handle the sound events

The fifth point of fluttering of voice is something of a disappointment to many singers, when they realise how irregular their pitch-lines look! Possibly it is one of the reasons why Western singers use so much vibrato, it masks the roughness of the voice.

.Wh-----

..................j M ■ I P * 1 y —m----- flfWf-----------------IPI— ,-------------

........ ........ .............. 1............................ ... ..................

Fig. 5: Glitches in the middle portion o f the audio signal

It is however the last point concerning inability of the program to handle the particular sound event is what we want to draw special attention to. Especially in fast moments with rapid pitch change the algorithm for calculating the fundamental pitch often makes mistakes, mostly by an octave or a fifth. In the course of the years three factors have contributed to improving the pitch lines: better recordings (multi-track recordings with strict separation of instruments), higher resolution of the recording (e.g. 44 KHz, 16 bit instead of 22 KHz, 8 bit) and better algorithms.

Fig. 6a and 6b: A fragment from Parveen Sultana’s Ahir Bhairav, in a traditional sonogram and a PRAAT pitch plot.

As a result, we can now have very clear and detailed pitch lines that are a far cry from the vague images of the past (compare fig. 6a and 6b of the same fragment).

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Music in Motion: The Automated Transcription System for Indian Music (AUTRIM)

Computer programs like PRAAT developed by Boersma and Weenink are now very sophisticated and can produce more “beautiful” images of melodic music. In the ongoing research project (AUTRIM) of the National Centre for the Performing Arts and the University of Amsterdam we have developed an automated transcription system to notate Indian music. We have evolved a process of developing PRAAT into a full-fledged music analysis program, and have processed a large volume of music. The final output is a video (720 p HD) showing melodic graphs corresponding to a brief raga performance of 10-12 min duration; superimposed on a tonal grid and supplemented with the rhythmic and poetic information, displayed simultaneously with the corresponding audio. A vertical cursor corroborates the visual and audio information. There is an overview at the top and a detailed running view at the lower end of the frame. At present we have a data comprising of 110 compositions in 85 raga-s. Out of these, videos corresponding to 25 raga-s are already available with the full details of the raga, the composition, the performer and analysis of the performance (refer to http://autrimncpa.wordpress.com/).

Fig. la and lb: Examples o f the AUTRIM screen (top: alap, bottom: dhamar)

The best way to experience Music in Motion is of course to go to the website. Originally the cursor was moving over the screen from left to right, and when it would hit the right edge

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it would go to the left edge on a new screen. At the suggestion of Rustom Irani the graph was made to move in a continuous flow passing under the centrally located cursor-line. We strongly feel that the real novelty and breakthrough made by the AUTRIM system is that we have the aural and visual closely together. Before the computer era, notation and music were always divorced and it was up to the musicologist or fanatic music lover to link them. Even playing a piece of music and following it in a printed graph can be tricky. If your attention fades for a moment you may be lost. With staff notations it is the same. But not so in the AUTRIM screen because the cursor always shows where we are in the music. Also, there are many options for close hearing and seeing, such as going back, repeating and slowing down.

The grid shows the notes of the raga being performed. These notes are put at tempered scale position of multiples of 100 cents. The question has often been raised as to why we do not place the gridlines at the ‘correct sruti’ position. One reason is that there is absolutely no agreement on such positions. The second reason is that it seems better to provide a uniform standard of measurements, so that we can easily see deviations from the general measuring tool. Using yardsticks of varying lengths is really about the dumbest of ideas. When the tala starts we place markers that show the structure of the tala, in the case of picture 7b we see lines marking beats 1, 6, 8 and 11. We shall readily admit that the structure markings are somewhat arbitrary in some tala-s, for instance in the case of dhamar we can use structures of 5+2+3+4, or 5+5+4, or 3+2+2+3+2+2.

The improved imagery of melodic movement however opens up a whole new can of worms. Take a look at the graph below:

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http://autrimncpa.wordpress.com/


The sargam would read SrmSrGmPSrSSSGmPDDP (with a lot of gamak). Evidently, as long as we were studying steady, long drawn notes of a slow a/ap the correspondence between the auditory and the visual experience seemed to match, but in the study of faster movements the connection becomes enigmatic.

One of the leads in trying to solve this puzzle is to be found in the perception of vibrato. It had been established in 1978 (Sundberg 1999: 201) that the perception of vibrato is a steady pitch at the average of the upward and downward movement. In other words, although the pitch actually goes up and down (usually by a semitone to a whole tone on either side of the average) we perceive a steady pitch. For that, the vibrato has to move up and down within a narrow range of time, usually 6-10 movements per second. Obviously, if the vibrato would be very fast, let’s say 30 times per second, we could start hearing a low tone. On the other hand, if the vibrato is slowed down to about one or two movements per second we clearly start distinguishing a rising and falling pitch, as in andol. This can easily be demonstrated by slowing down a vibrato. See fig. 6b for a typical Indian vibrato from second 4 to 5 (Occidental vibratos tend to have a larger amplitude).

If we compare this to a typical andol (fig. 9) we can notice that the oscillation takes place much slower and as a result we actually hear the creeping up and down of the pitch, including the in-between movements.5

Fig. 9: Uday Bhawalkar, raga Darbari kanada.

5 Some authors have erroneously thought that the perceived pitch of andol would be the average of pitches of that andol or the average between the highest and the lowest point (e.g. Levy 1982: 89, 107-9, 163-4).

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Being able to slow down a sound is a true marvel of modem computer programs. In the past we would slow down a piece of music by playing a tape at a lower speed, but that of course brought down the pitch proportionally, turning it into a very unnatural sound. There were some cassette recorders that had a system of slowing down whilst maintaining the same pitch, but they produced extremely choppy, stuttering sound. Even today, few computer programs really produce an acceptable sound quality (we have been using Amazing Slowdowner).

The observation that when a vibrato is slowed down we start hearing a fluctuating pitch opens up yet another can of worms. For this proves that when we slow down the sound we start hearing things differently - we start hearing things that we didn’t hear at normal speed. Of course that was to be expected - although many people who transcribe music with the help of a slow- downing system either seem not to know this or prefer to do as if.

Various types of attacks on notes, such as kan and murki also show how there is no steadfast rule of the perceived pitch in fast movements. A small fragment from a recording made at the NCPA by the talented young singer Yashaswi Sathe in the raga kedar may serve as an example (fig. 10):

The first point to be noted is that the large swing before PP is really perceived as an approach from below (written as “/”). Both the N and the D just simply stand on the edges of the sine-wave - there is no overshooting. In the following NSR there is only a very slight rising of the sines. After the extended S it gets very tricky. How the double murki is really perceived is a matter of opinion, but obviously the perceived D’s (note position 9) are not really touched by

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the dipping curve. Much more salient is the transition from N to P at the end, in which we can very clearly hear D, whilst it is hardly visible!

ConclusionThe Indian system has been and still remains an orally transmitted tradition without much

dependence on visual aids. Nevertheless, in modem times, with the advent of newer tools such as computer-aided transcription, it is but logical to supplement the conventional method of teaching and learning. The AUTRIM can help gain insight into the “in between the notes” phenomenon that makes the tonal space come alive in Indian music. An automated transcription should not be thought of as a replacement for aural transcription. They perform different but equally justifiable functions.

As Pandora Hopkins had suggested, music writing can be regarded as a distinct art-form. We do not want to consider the AUTRIM music movies as art, but watching the movies is definitely a different experience from only hearing the music, and we think a very enriching experience that helps to better understand the subtleties as well as the overall structure of the music.

Yet, we need to be very aware of the fact that the relation between the visual and the auditory is very complex. The system we have developed is targeted at slow music, and as such, when the music speeds up, the relation between what we hear and what we see becomes complex to say the least. This is also why the movies at the AUTRIM website at a certain point will provide you with the enigmatic statement “see booklet for explanation”

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Ayyar, C.Subrahmanya. (1949) A Study of the Microtonal Variations in Frequencies in Kamatic Music with

An Oscillograph. The Journal of the Music Academy. Madras 20:114-125.

Ayyar, C.Subramanya. (1939) The Grammar of South Indian (Karnatic) Music. Madras.

Barenboim, Daniel, Edward W. Said, and A Guzelimian. (2004) Parallels and Paradoxes: Explorations in

Music and Society. Vintage.

Boersma, Paul, and David Weenink. (2010) Praat: Doing Phonetics by Computer [Computer Program], Version

5.1.44.

Bullard, Beth. (2007) The Link Between Samvedic Chanting and Flute Playing in the Naradiya Siksa: A New

Interpretation. Journal of the Indian Musicological Society 38:129-141.

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Ellingson, Ter. (1992) Transcription. Pp. 110-152 in Ethnomusicology: An Introduction, edited by H Myers.

London: Macmillan Press.

Hopkins, Pandora. (1966) The Purposes of Transcription. Ethnomusicology 10:310-317.

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Jairazbhoy, Nazir A. (1977) The “Objective” and Subjective View in Music Transcription. Ethnomusicology

21:263-273.

Levy, Mark. (1982) Intonation in North Indian Music: A Select Comparison of Theories with Contemporary

Practice. Biblia Impex.

Mathiesen, T. J. (1984) Harmonia and Ethos in Ancient Greek Music. The Journal of Musicology 3:264-279.

Meer, Wim van der, and Suvamalata Rao. (2006) What You Hear Isn’t What You See: The Representation and

Cognition of Fast Movements in Hindustani Music. Proceedings of the International Symposium Frontiers of Research

on Speech and Music 12-20.

Metfessel, Milton F. (1928) Phonophotography in Folk Music: American Negro Songs in New Notation. The

University of North Carolina press.

Rao, Suvamalata, and Wim van der Meer. (2010) Construction, Deconstruction and Reconstruction of Shruti.

Pp. 673-696 in Hindustani Music: Thirteenth to Twentieth Centuries, edited by Joep Bor, Fran?oise Delvoye and Emmie

te Nijenhuis. New Delhi: Manohar.

Ratanjankar, P. (1960) Gamakas in Hindustani Music. JMAM 31:94.

Rousseau, Jean-Jacques, and John T. Scott. (1998) Essay on the Origin of Languages and Writings Related to

Music. Hanover [N.H.]: University Press of New England.

Sachs, Curt. (1941) The Mystery of the Babylonian Notation. The Musical Quarterly 27:62-69.

Sathyanarayana, R. (1957) The Kudimiyamalai Inscription on Music: Madras: Sri Varalakshmi Academy

Publication Series.

Seeger, Charles. (1949) Oral Tradition in Music, in Standard Dictionary of Folklore: Mythology and Legend,

vol. 2, edited by M Leach, pp. 825-829. New York: Funk and Wagnalls.

(1957) Toward a Universal Music Sound-writing for Musicology. Journal of the International Folk

Music Council 9:63-66.

(1958) Prescriptive and Descriptive Music-writing. The Musical Quarterly 44:184-195.

Sundberg, J. (1999) The Perception of Singing, in The Psychology of Music, vol. 1999, edited by Diana Deutsch,

171-214. San Diego, CA: Academic Press.

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Quarterly 60:333-372.

(1982) The Early History of Music Writing in the West. Journal of the American Musicological Society

35:237-279.

----- . (1992) The Unwritten And Written Transmission of Medieval Chant and the Start-Up of Musical Notation.

The Journal of Musicology 10:131-191.

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Raga clusters in Hindustani musicDeepak S. Raja

I am most grateful to the Academy’s for its invitation to make a presentation before so distinguished an audience. I have to begin with a couple of confessions. Firstly, I am a late entrant to musicology. I am therefore primarily a student of the performing tradition, and much less so of the scholarly tradition. Secondly, my knowledge of Carnatic music is negligible. I will try to conceal these weaknesses. But, they could very well get exposed. In such event, I shall be grateful for your indulgence.

The subjectI have chosen to share with you my understanding of raga clusters, formed by raga

transformations and compound raga-s, as practiced in Hindustani music. I chose this subject on the advice of knowledgeable friends in Chennai. They thought this phenomenon was largely unfamiliar to those cultivated in the Carnatic tradition. As audiences in the South get progressively exposed to Hindustani music, a discussion could aid a better appreciation.

The perspectiveAs a melodic entity, a Raga is a set of rules governing the (a) selection (b) sequencing

and (c) treatment of svara-s.

This definition has two perspectives - one is the scale (selection of svara-s), and the other is the melodic personality (sequencing and treatment). The scale is the skeleton of a raga, while the sequencing and treatment are the flesh and blood. The melodic personality subsumes the scale, and is therefore a larger perspective, and closer to the notion of rasa, which is fundamental to raga-based music.

Hindustani music devotes a lot of attention to the melodic personality as a guide to the performing tradition. Based on this focus, it classifies a large number of raga-s into clusters which share the same melodic personality. In Hindustani music, these clusters have been variously called Raganga Raga-s or Raga Prakar-s.

I shall avoid using the term Raganga Raga-s because of the possibility of stepping into the medieval classification of raga-s into Raganga, Bhasanga and Kriyanga Raga-s, which I do not understand.

I am also avoiding the colloquial notion of raga families; and for a good reason. There exists an ancient classification of raga-s into (1) Six Primary raga-s, (2) Thirty ragini-s/ wives (3) Napumsaka raga-s, (4) putra raga-s/ sons and (5) putra-vadhu raga-s / daughters-in-law. This is an area I have not studied, and do not understand. I will therefore continue with the caveat that there is no reference here to this ancient classification either.

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I shall stick to the nomenclature of Raga Clusters. In music theory, I am relying on a concept that is primarily 20^ century (post-Bhatkhande), and using a term (cluster) derived from modem social sciences research, which suggests a synchronicity and commonality without necessarily implying any causality between members.

How the clusters are conceived

Clusters are formed around the major / popular melodic personalities encountered in Hindustani raga-s - treated as the “reference / base” raga-s. All raga-s do not necessarily belong to particular clusters. But, many do.

Examples of base/reference raga-s which serve as the nucleus for Raga clusters are.

1. Bhairav (Reference raga: Bhairav)

2. Bilaval (Reference raga: Bilaval)

3. TOdi (Reference raga: Miya ki Todi)

4. Sarang (Reference raga: Vpidavani Sarang (?)

5. Kanada (Reference raga: Darbari Kanada)

6. Malhar (Reference raga: Miya ki Malhar)

7. Bahar (Reference raga: Bahar)

8. Kauns (Reference raga: Malkauns)

Note: This list is not exhaustive, as several other Reference raga-s/ Raga clusters have been proposed by different musicians / scholars.

Membership of the raga-clusters is defined broadly by two types of transformations with the reference raga as the focal point.

(a) A change in the scale or phrasing in the reference raga, which is so minor that, although it creates a different raga, it does so without permitting the shadow (Chhaya) of another major raga from falling upon the transformation. I have chosen to call this category a “Raga Transformation” Historically, these transformations need not necessarily have been derived from the “Reference Raga” But, it is possible that many of them are derived. Sahana Kanada of the Kanada cluster (bearing no similarity to the Carnatic raga, Sahana), for instance, probably precedes the emergence of Darbari Kanada. Ahir Bhairav of the Bhairav cluster is, however, considered a derivation from Bhairav.

(b) A purposive and deliberate combination of two or more raga-s, in which both/ all the component raga-s are visibly present, but one of them dominates the totality of the musical experience. Although this process of combining raga-s can take several forms, they can be clubbed together in the category of “Compound Raga-s” . In modem musicological literature, they are also occasionally referred to as “Sanklrna Raga-s”

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The logicWhy is it important to practice a notion of raga clusters based on the melodic

personality?

The aesthetic purpose of raga transformations and compound raga-s is to establish or create relatively unfamiliar melodic entities within, or from, relatively familiar melodic material. In these transformations/ compound raga-s, the familiar boundaries of the reference raga are “breached” But, the resultant melodic entity does not lose its anchoring in the melodic personality governing the raga cluster.

To achieve this result, the scale is clearly insufficient because in Hindustani music, the same scale can deliver a multiplicity of raga-s, each governed by a different melodic personality.

Many instances of this phenomenon can be cited. I will limit my observations to just two. Take for instance, the scale of Raga Madhyamavati in Carnatic music. The same scale delivers two raga-s in Hindustani music - one is Raga Megh, performed as a member of the Malhar cluster, and the other is Madhumad Sarang, performed as a member of the Sarang cluster. Consider another example - the Bhup (Mohanam in Carnatic) scale of Hindustani music delivers three different Hindustani raga-s - Bhup/ Bhupali, Deskar, and Jait. The scale is identical, but the sequencing and treatment of svara-s is distinct.

The second issue is the importance of improvisation in the totality of the music making process. I am not competent to compare this facet of Hindustani music with Carnatic music. Within Hindustani music, however, the post-Dhrupad era has seen Hindustani music progressively become a highly individualistic, improvisation dominant art. It has steadily shrunk the role of the pre-composed element, and progressively enlarged the role of the musician as a composer. As it has expanded the role of improvisatory process, musicians - and their audiences - have sought a more categorical anchoring in the melodic personality within which the raga functions. Originality has flowered because of its ability to remain anchored in the familiar.

The essence of the cluster phenomenonRaga transformations and compound raga-s are both deviations from the established

grammar of the Reference Raga considered in isolation. In effect, they enable the musician to enlarge his role as a composer beyond the boundaries of familiar raga-grammar. Although the deviations do follow certain conventions, all musicians may not interpret the conventions in an identical manner. To this, extent, within limits, the musician actually writes the grammar of these melodic entities. As a result, several Raga variants, bearing the same name, may vary in their detailing of the transformed/compound melodic entity.

Broadly, however, certain statements can be made on this subject.

(a) Raga transformations do, by and large, exhibit a standardized Raga grammar. For instance the Raga Sahana Kanada is performed as a variant of Raga Darbari Kanada, the

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Reference raga of the Kanada cluster. To my knowledge, Sahana Kanada is encountered in three variants, each very close to the other. All the variants identify themselves as Sahana Kanada instantly.

(b) Compound Raga-s can often exhibit what looks like “non-standard” Raga grammar because Raga-s can be dovetailed/ combined in a variety of ways. Even within the same dovetailing convention, the same compound Raga performed by one musician may sound slightly different from the same Raga performed by another musician. For instance, the Raga Kaunsi Kanada (a combination of Malkauns/ Hindojam and Darbari Kanada) sung by different musicians may sound marginally different, depending on the musician’s interpretation of the combination. And, yet, the compound will identify itself instantly as Kaunsi Kanada, and as a member of the Kanada cluster.

It would be incorrect to see this phenomenon in Hindustani music as a region of grammatical laxity. Its logic is well documented in the scholarly tradition, and the major variants of each cluster are documented in terms of raga grammar. But, a musician is not entirely bound by the documented versions. The critical viewpoint subjects the performance of these raga-s to a different yardstick of validation - the emphasis here is on aesthetic coherence, handling of the deviations from the reference raga (in the case of raga transformations), the dovetailing of the component raga-s (in the case of compound raga-s), and the element of novelty/surprise.

Patterns in raga transformations1. The dominant and identifying melodic features of the base/ reference raga are kept

intact.

2. With no change in scale, only some svara sangati-s or phrasing patterns may be changed.

3. OR: Some svara-s may be altered from suddha to komal / tlvra or the other way around.

4. OR: Some svara-s of the reference/ base raga may be omitted in the ascent or descent or both.

(a) Transformation: Example 1.Raga Khem Kalyan belongs to the Kalyan cluster.

Features: The scale is identical to Yaman Kalyan. But, Re, Ma and Dha are omitted in the aroha, and (tlvra) Ma is used subliminally in the avaroha.

Demo: Yaman Kalyan by Shujaat Khan, Khem Kalyan by Pumima Sen

(b) Transformation: Example 2Raga Sukla Bilaval belongs to the Bilaval cluster

The reference raga is Bilaval.

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Features: One signatory phrase (SGRGM) is added to Bilaval to create $ukla Bilaval.

Demo: Bilawal: Abdul Kareem Khan. Shukla Bilaval: Kalyan Mukherjea

(c) Transformation: Example 3.Raga Gaud Malhar belongs to the Malhar cluster

Reference raga: Miya Malhar

Features: (the most common version)Komal Ga of Miya Malhar is replaced with Shuddha Ga Demo: Miya Malhar: Ameer Khan. Gaud Malhar: Vilayat Khan

Conventions for forging compound raga-sThe forging of two raga-s into compounds follows two classical conventions:

1. Raga-s are classified as either aroha pradhan (ascent dominant) or avaroha pradhan (descent dominant). The compound is forged by dovetailing the arOha of the aroha pradhan raga with the avaroha of the avaroha pradhan raga.

2. Raga-s are also alternatively classified as purvanga pradhan (centered in the lower tetrachord) or uttaranga pradhan (centred in the upper tetrachord). A compound can be forged by fusing the pflrvanga of a purvanga pradhan raga with the uttaranga of an uttaranga pradhan raga.

3. Uttaranga pradhan raga-s are (as Bhatkhande observes) also frequently avaroha pradhan raga-s. Therefore, the dovetailing may not always seem clinically rigorous.

In a compound raga, there is no distinction between “native” and “alien” melodic features. Both are explicitly present in a pre-determined relationship, though one of the components tends to dominate the musical experience. The conventions for forging compounds work efficiently under most conditions. However, in extra-ordinary conditions, Hindustani music resorts to the third category of binding/ dovetailing.

Extraordinary conditionsWhat does a musician do if he wishes to fuse one aroha pradhan raga with another arOha

pradhan raga? Or, one uttaranga pradhan raga with another uttaranga pradhan raga? And, what will he do if he wishes to blend more than two raga-s? The classical conventions for fusing raga-s will not work.

In recent history, musicians have attempted to perform fusions of up to ten raga-s. Pandit Omkamath Thakur, for instance, frequently sang Raga Patmanjari, a combination of five raga-s. Kesarbai Kerkar often sang Raga Khat (Shath), which is a combination of six raga-s. The Gwalior tradition has documented a Raga Sagar, which is a combination of ten raga-s. One may question the aesthetic purpose of fusing more than three raga-s. But, this has been attempted, and its melodic logic can be deciphered.

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In such raga-s, typical individual phrases from the component (primary) raga-s are fused together in alternating sequence in order to forge a novel melodic entity. As a result, in every melodic line (or at least in the entirety of the composition), you would experience the features of three or more different raga-s in interesting juxtaposition.

As may be expected, such multiple-raga combinations belong to a territory beyond grammar as applied to a single raga or even to compounds of two raga-s. Their “grammar” lies in their ability to distinctly express the different melodic identities they incorporate, the coherence of the resulting melodic entity, and the handling of the transitions between the different raga-s as it takes place in the fused melodic entity.

1. Compound raga: Example 1

Raga Basant Bahar belongs to the Bahar cluster.

Reference raga: Bahar

Features: Bahar in aroha, and Basant in avaroha

Demo: Hirabai Barodekar.


Raga Kaunsi Kanada belongs to the Kanada cluster

Reference raga: Darbari Kanada

Features: Malkauns in aroha and Darbari in avaroha

Demo: Vilayat Hussain Khan. Malkauns in aroha and Adana (a Darbari variant) in avaroha.


Raga Jog Kauns is a member of the Kauns cluster

Reference raga: Malkauns

Features: JOg in the purvanga, and Malkauns in the uttaranga

Demo: Vilayat Khan.

4. Complex compound (more than two raga-s):

Raga Sampuma Malkauns

This is not a raga, but a raga enhancement concept, providing a variety of options. Malkauns (SgMdn) is an audava jati (pentatonic) raga. It can be made “sampOrna” (Heptatonic) by adding Re and Pa. This can be done in a variety of ways.

One approach: Practiced in Jaipur-Atrauli gharana of Khayal vocalism.

A dovetailing of Malkauns, Kafi, and BagesrT

Demo: Dhondutai Kulkami

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Reconsidering the term “Sanklrna”I do not claim scholarship in Sanskrit, But, in addition to the connotation of “compounds”

of different elements, the dictionary also suggests the connotations of “narrow”, and “inferior” On the evidence of the quality of music that has been delivered in the “Sahklrna” category in recent times, the derogatory suggestion warrants a second thought. It is plausible that sanklrpa raga-s provide limited freedom for improvisation, compared to the major raga-s, which function as their reference raga-s. But, in a different sort of way, they provide a wider canvas for individual creativity.

To some extent, they liberate the reference raga from its established grammar. And, it is this liberating effect that places them in the region of literature. But, it is not as if they are liberated from all forms of discipline that governs raga-based classical music. They have their own guiding principles. They constitute only a partial leap into unfamiliar melodic territory. They are governed by a more amorphous - but equally meaningful - entity I have chosen to describe as a “melodic personality”. Music performed within such a framework is a creative challenge to musicians and an intellectual challenge to rasika-s.

It challenges the musician to create something new from familiar melodic material while abandoning the safety of well-established grammatical rules. He has to achieve this result within the overall melodic personality governing the transformation or compound.

It is an equally great challenge to rasika-s. They are shaken out of the comfort of the entirely familiar melodic experience, and obliged to listen more attentively to the music being performed. The mature rasika-s can not only enjoy the novelty of the experience, but also the nuances and subtleties of its melodic engineering. Understandably, raga transformations and compound raga-s are performed mainly by musicians of some stature. And, of course, they are performed selectively, for audiences of high aesthetic cultivation.

In the early half of the 20th century, it was common practice for the leading musicians to start performing any raga without announcing it. The musician often tried cleverly to disguise the melodic logic of his raga, and the rasika-s managed to astutely decipher it.

Obviously, we are talking about a bygone era. Barring a few raga transformations which have become quite popular and are easily recognised (e.g. ahir bhairav of the bhairav cluster or sahana kanada of the kanada cluster), the performance of such raga-s is now rare. Fewer and fewer musicians can handle such raga-s. And, fewer and fewer audiences can appreciate them.

Although today I am addressing a predominantly Carnatic oriented audience, it seems to me that contemporary Hindustani audiences also need to be re-educated on this enchanting region of Hindustani music.

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THE MUSICAL SIGNIFICANCE OF B A R G IT IN THE CONTEXT OF INDIAN RAGA SANGITA

Pahitrapran Goswami

IntroductionThe name Bargit popularly refers to a special set of devotional songs, set in ragas mentioned

in the ancient Indian musical treatises, composed during the late 15th and the early 16th centuries A.D. by Srimanta Sankaradeva and his chief disciple and associate, Sri Sri Madhavadeva, the two prime exponents of Vaisnavism in Assam. Sankaradeva and Madhavadeva referred to their songs as git only. The adjectival prefix Bar, meaning grand or superior, must have been a later reverential addition by their devout disciples, which might bear upon the musical grandeur of the songs too.

Sankaradeva was essentially a social reformer. Upset by the socio-cultural disparity and depravity that had been crippling the society in the name of religion (Barnasram Dharma and Tantrik Buddhism), he upheld Vaisnavism as a better choice before the people. However religion was not his chief agenda. He aimed at reforming the society through a comprehensive cultural revolution by boosting the art and music of Assam and ensuring in the process a refinement of the taste of the people. Hence he gave religion an artistic form by asserting the superiority of Sravana (listening to) and Kirtana (singing) among the nine types of Bhakti (devotion).

Had religion been Sankaradeva’s chief agenda, he might have adapted the folk forms of art and music that were in vogue for propagating his religious preachings, which might have made his task easier and perhaps more effective. Instead, he shouldered the strenuous task of popularizing classical music and art even among the illiterate masses and surprisingly enough was successful to a great extent in his mission. The Bargits, of all his creations, bear ample testimony to that.

As a consequence of the political turmoil resulting from the aggressions of Sultan Mamud and Muhammad Ghori during the 11th and the 12th centuries A.D., people migrated at a large scale from North-West India to the comparatively peaceful states of the East and the South. That might indirectly help the spread of the Indian music and culture through the length and breadth of the country. It is noteworthy that it was during that period the predecessors of Sarngadeva migrated from Kasmir to the South, and the predecessors of Sankaradeva migrated from Kanauj to Assam. The predecessors of Sankaradeva are known to have brought with them a rich heritage of music and culture. Introducing his father Kusumbara in his Rukminiharana Kavya, Sankaradeva says:

Bangsate prakhyata Gandharva sakhyata

Jagate bakhane jaka............ .

The fact that Sankaradeva should introduce his father as a Gandharva, famous in his dynasty, makes it clear that Sankaradeva inherited a rich tradition of music. That inherited knowledge of

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music was further enriched first by the theoretical lessons he received from his Guru Mahendra Kandali on the four Vedas, fourteen Sastras (including the Natyasastra), and the eighteen Pur anas, and secondly by the practical experience he gathered during pilgrimages for long twelve years. On the other hand, two of Sankaradeva’s cotemporary poets and lyricists, Durgabara and Pitambara are known to have got the opportunity of acquiring the knowledge of music in Assam itself. It is noteworthy that Durgabara Kayastha mentioned one Bahubal Sikder, one of his predecessors, as the incarnation of Gandharva.

Sankaradeva established a community centre called Namghar for religio-cultural practices like Bhaona and Nam-Prasanga. Bhaona is the enactment of the dramatic works, popularly referred to as

Anka, by Sankaradeva and Madhavadeva. Even these Ankas are full of songs, set in ragas, like the Bar gits. A Bhaona is preceded by an elaborate group performance of percussionists playing the Khol (a barrel-shaped drum) and the Tal (the cymbal). The performance involves not only the playing of the instruments but also singing and varied footwork by the percussionists.

Nam-prasnga is the common and the chief religious ritual of the Vaisnava cult in Assam which involves the singing of the devotional songs and verses composed by Sankara-Madhava. The Bargits have been traditionally an indispensable part of this Nam-prasnga.

Musical Significance of BargitIn its traditional style of performance, all the Pane ha Dhatus (musical parts) of Prabandha,

as described by Pundit Sarngadeva, viz., Udgraha, Melapaka, Dhruva, Antara and Abhoga, are distinctly exhibited. The traditional performance of Bargit, in its ideal form, as a part of Nama- prasanga, is preceded by the Guru ghat, a song-less orchestra of instruments like Khol, Tal, Negera etc. This songless instrumental prelude corresponds to the Udgraha of Prabandha sangita.

Adau vadya Prabandhanang suddha kutadi nirmitah.

Yah khando vadyate prahurudgrahatang mahattamah. (Sangit Ratnakara)

This songless orchestra is followed by the singing of the Raga as such, that too with the accompaniment of a rhythmic composition of five strokes and one gap played in the Khol, Tal, Negera etc., variously known as Rag-Talani, Rag-Tal, Repani, Jundhara, Ghelani etc. This rhythmic elaboration of the raga may be compared to the Melapaka dhatu of Prabandha that establishes the link between Udgraha and Dhruva. The Tal (cymbals) is played by the singers themselves, while even the Bayans, playing the Khol and the Negera, often take part in the singing.

On completion of the rendering of the raga, there comes a break in the instrumental recital too and the chief singer (Gayan) of the group initiates the singing of the first line of a Bargit, set in the raga already sung, beatlessly, repeated by the group. This is done twice and on the second

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repetition of the line by the group, the percussionists make their entry with the Ghat of the tala in which that particular Bargit is normally started. A

tala played with Bargit comprises three parts: Ga-man (the main body); Ghat (the concluding part); Cok (an embellishment of the Ga-man), which is again followed by the Ghat.

The first two lines of a Bargit are marked by the symbol Dhrung, the abbreviation of Dhruva. The singing style also differentiates the Dhruva from the rest of the song. As noted above, the first line is first sung beatlessly. Then it is accompanied by only the Ghat of the tala to be played first. The second line of Dhruva is then sung repeatedly in all the three parts of that tala itself. Thus the Dhruva part of a Bargit is sung only in one tala, whereas each line of the rest of the song, marked as pada is sung with the accompaniment of at least two different talas. This unique style of singing each line of a song with the accompaniment of at least two different talas gives Bargit a speciality that also reminisces Prabandha Sangita. The Astapadis of Jaydeva's Gita-Govinda are also known to have been sung in a similar style, where each pada was accompanied by a separate tala.

Just after the Dhruva, starts the choral singing of the pada part. The singing proceeds from one line to another without the burden (Dhruva) being repeated. The singing style again differentiates the last line of a Bargit from the rest of the pada. It is sung repeatedly for several times with the accompaniment of a separate rhythmic composition called Thela-bajana, which in no way conforms to the structure and rhythmic pattern of the other talas played with a Bargit. There end the song and the percussion. Hence the last line of a Bargit may be said to correspond to the Abhoga Dhatu of Prabandha, and the rest of the Pada, differentiating the Dhruva from the Abhoga, may be called Antara.

Thus the traditional style of performance establishes Bargit as a reminiscent of Prabandha Sangita. Unfortunately however, this style of performance is still confined within the Namghar, and in the process of bringing Bargit out of Namghar as a performing art, the style of performance has been simplified and modernized to such an extent that Bargit has lost all its special characteristics and has been relegated to the

position of light-classical devotional songs. The need of the hour is therefore to teach, learn and perform Bargit in the traditional style itself, without destroying its musical specialities, though with some modifications only in the interest of making the performance musically perfect.

The Talas of BargitBargit exhibits its speciality through the uniqueness of its talas too. There are talas from

6 matras to 28 matras, all comprising three parts of proportionate length, viz., Ga-man, Ghat, Cok. These talas are different in structure, rhythmic pattern and playing style from the talas now played with Hindusthani and Karnatik music. A few of the talas like Rupaka, Ektali, Yati, Bisama etc. are mentioned not only in the Sangita Sastras like Sangit Ratnakara but also in Gita-Gvinda

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of Jaydeva. In the context of such talas not tallying with their modem counterparts either in Hindusthani or in Kamatic system, it is indeed very significant that some of them should resemble their counterparts once played with the Astapadis of Jay dev a's Gita-Govinda.

Vadya-Pradipa, the only ancient treatise on rhythm in Assamese written by one Yadupati, probably during the late 19th century, describes the Rupaka tala as follows:

Prati yugma sese laghu thakaya yahat

Tahara rupaka nama vedata prakhyata

[The tala which has a division of four matras(laghu) after each division of two matras(yugma) is known as Rupaka in the Vedas]

In a subsequent verse Yadupati uses the term druta also as a substitute of yugma in reference to the rupaka tala itself:

Atapare suna rupakara

Eka druta druta drihatara

Laghu druta same hawaya rupake yukta

Prabodhananda Saraswati describes the rupaka tala once played with the songs of Gita- Govinda as follows:

Rupake syad drutang laghu

[Rupaka is the combination of druta and laghu]


Both the descriptions of Yadupati and Prabodhananda .projecting the rupaka tala as a combination of druta and laghu, conform to the tala of 12 matras and 4 strokes played with Bargit:

1 2 3 4 5 6 7 8 9 10 11 12

thei tak thei tak khrikhri tao khrikhri tak dhei ss ss ss

X 2 3 4

druta laghu druta laghu

As in the Kamatic style even today, it seems the practice of showing gaps in a tala was not there in the tradition of Prabandha gana like the Astapadis of Gita-Govinda and the Bargits too.

Both Yadupati and Prabodhananda refer to three types of Ektali, viz., Bipula, Candrika and Rama. Yadupati describes candrika as follows:

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Dirgharupe sunya huya guru haiba yata

Ektali nama tara vedata prakhyata

Candrikao nama ara jana muni sante

Hraswarupe citra eka guru yata hante

According to this description, the candrika ektali begins with a long silence followed by a guru (division of 8 matras). Obviously this is the description of the style in which the tala is played with a song. So interpreted, the description conforms to the tala popularly known as Racaka or Racca Ektali of 16 matras played with Bargit, where on repetition we get two gurus.

Prabodhananda Saraswati describes the form of ektali called candrika or lalita as follows:

Guru dvayang baved yatra talo lalita sangyaka

Candrikasaikatali syattena soubhagyadayinee

Now divided only according to the number of strokes, the racaka tala of Bargit conforms to the above description:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

khit tao khiti takhi tak dhina dhei ss dhin dao khiti takhi tao ss khit khrikhri

X 2

guru (8 matras) guru (8 matras)

The resemblance of the talas of Bargit with those once played with the Astapadis of Jaydeva is a strong evidence in favour of the thesis that Bargit reminisces a musical tradition that was in vogue at least during the 12th century A.D. The technical terms like laghu, guru, druta etc. might have been in use from ancient times in the description of the talas. Now in the context of such terms being obsolete in Hindusthani sangit, their use in the Kamatic style even today and in the description of the talas of Bargit by Yadupati in exactly the same sense till at least the close of the 19th century is indeed very significant.

The Ragas of BargitThere are altogether 36 ragas of Bargit: Ahir, Asowari, Basanta, Barari, Belowar,

Dhanasri, Mahur, Syam, Kou, Kalyan, Purbi, Bhatiyali, Gouri, Bhupali, Kanara, Saranga, Suhai, Sindhura, Sri, Gandhar, Tur, Nat, Mallar, Kedar, Kamod, Lalit, Mahur-Dhanasri, Tur-Bhatiyali, Tur-Basanta, Sri-Gouri, Sri-Gandhar, Nat-Mallar, Karunya-Kedar, Sri-Payar, Syam-Gera, Kou- Kalyan-Sindhura.

Out of these a few like Gouri, Kamod, Kedar, Kanara, Saranga, Mallar, Nat, Barari etc. are known to have originated in between the 5th and the 11th centuries A.D. The rest are also

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mentioned in the Sastras and not unheard of in Hindusthani and Karnatic traditions too. However, the ragas of Bargit do not tally with their modem counterparts in the North or the South. The difference is in both structure (raga-rupa) and singing style.

The above discussion has shown how the singing style as well as the accompanying talas establishes Bargit as reminiscent of the ancient tradition of Prabandha Sangita. Hence the ragas of Bargit, must also be the older forms of their modem counterparts. It may be noted that the ragas of Bargit have been preserved by a more than five hundred years old religious tradition, away from any external influence. On the contrary, the Hindusthani ragas have undergone tremendous changes ever since the 15th century. In that context it would not be justified at all to use the Hindusthani ragas as yardsticks for measuring the ragas of Bargit. Instead Bargit deserves to be recognized as a separate trend reminiscent of a special stage of development in the evolution of Indian classical music, viz., Prabandha Sangita.

< 5 ^ 2>

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ROLE OF G A M A K A -SSumitra Vasudev

svadutva anuguna bkavanti hi yathd sake rasah ?at ca I te ragavyaktyanukula hi gamaka ragespi sahcarinah II

In the Carnatic Classical music system ‘gamaka’ is a term that is off referred today. It is that component which makes our music unique and different from other systems of music in the world. In fact, this ‘gamaka’ lends so much subtlety and aesthetic value so as to make Carnatic classical music very special even with respect to other genres of Indian music like light music or devotional music. The concept of gamaka has been in vogue in our music system from the time of BrhaddesI of Matanga (7 - 9 A.D). From then to Sangita Sampradaya Pradarsinl of Subbarama Dikshitar (1904) and now, there is an unbroken thread of history in the case of this ‘gamaka’ Most of the earlier treatises define and classify gamaka and say that it is used in the elaboration of rSga-s; Caturdandl Prakasika talks about it with respect to svara; the SSP stresses the importance of gamaka and deals with it elaborately. In today’s music, gamaka has become almost an indispensable feature and plays a major role, be it svara or a combination of svara-s or r5ga. This article will discuss about gamaka-s, taking a brief look at the history and evolution and then its role today, with respect to svara, raga and our music system itself with regard to vocal music in particular. The music texts that are taken as the main references are Sangita RatnSkara, Riga Vibodha, Caturdandl Prakasika and Sangita Sampradaya Pradarsinl.

What is ‘gamaka’? ‘svarasya kampo gamakah Srotrcittasukhavahah’ says Sapfigadeva. Shaking or oscillation, are the terms generally used to define gamaka. But the root ‘kamp’ also means ‘to move about’, and in keeping with this, ‘gamaka’ may be defined as ‘movement’ of svara, which is pleasing to the listener. For, when we say that gamaka is employed to svara it not only refers to shaking the svara but many other types of movements like stressing on the svara and gliding from one note to another - eg. ‘g m p’ in Sankarabharanam, with ‘m’ having different shades depending on whether its movement is from ‘g’ or from ‘p’ or in its place itself, each being a different type of gamaka. Even if the type of movement is the same, other factors like, its frequency, intensity and the placement of the svara in that phrase makes the same gamaka sound different in each context.

The term ‘gamaka’ is used from the time of BjhaddesI of Matanga (7-9 A.D). The Natyasastra of Bharata describes ‘alankara’ which, scholars opine, may be similar to ‘gamaka’ of later texts. Even in BrhaddesI the term ‘gamaka’ is found only as part of the description of types of glti-s and no separate definition or description of gamaka is found. In the Sangita Makaranda of Narada (1100 A.D) the names of nineteen gamaka-s are mentioned but not explained. The text also classifies raga-s based on the usage of kampita gamaka. This shows the importance of gamaka-s with reference to raga. Three categories are mentioned - muktaiiga kampita raga- s(where kampita is extensively used), ardha kampita raga-s( where kampita is used minimally)

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and kampavihlna rSga-s( devoid of kampita). Nanyadeva, the author of Sarasvatlhfdayalankara (11 A.D) also mentions about gamaka.

Parsvadeva of the 13thA.D, in his work SangTtasamayasara defines ‘gamaka’ as -

‘svasrutisthanasambhutam chayam srutyantaralrayamsvarupam gamayed glte gamakossau nirupitah' (2.63).

This definition is based on the meaning of the root word of gamaka, ‘gam’ (to go) - in its causal form ‘gamayati’ - to lead one to, to convey or to reveal. This definition will be taken up in detail, later in the article.

Parsvadeva mentions seven types of gamaka-s - sphurita, kampita, llna, tiripa, andolita, ahata and tribhinna.

In the Sanglta Ratnakara of Sanigadeva, we find the definition of gamaka which was mentioned in the beginning, ‘svarasya kampo gamakah srotrcittasukhavahah’ This defines gamaka as an oscillation or better still, movement of a svara that is pleasing to the listener. Sanigadeva gives 15 types of gamaka-s and explains each of them. These will be discussed briefly while dealing with the types of gamaka-s.

Most of the later authors like Tulaja and others have stuck to Sarngadeva’s definition and types of gamaka-s. In his Caturdandl Prakasika, Venkatamakhi gives both Sarngadeva’s and Parsvadeva’s definitions. Interestingly, Somanatha a contemporary of Venkatamakhi describes this concept of ‘movement of svara’ differently. In his text, Raga Vibodha he calls these movements as ‘vadanabhidah’ or techniques of playing, and explains them with respect to the vlna. He talks about 22 such techniques, explains how they are to be played on the vlna, creates symbols for these and also gives characteristic phrases of some of the raga-s of his times along with the symbols. What is noteworthy is that, according to Somanatha ‘gamaka’ is one of the ‘vadanabhidah’ It is described as - the oscillatory movement of a svara, thrice or four times. Then we have the Sanglta Sampradaya PradarsinI (SSP) of Subbarama Dikshitar, a monumental work that records the practical and theoretical aspects of music as they were, a century ago. Here the author lays great emphasis on the importance of gamaka and the vital role they play in our system of music. He has delineated the types of gamaka-s in a very systematic manner, devised symbols for them and has notated many compositions alongwith these symbols. More importantly, his notes on raga-s which include not only the laksana sloka and murchana-s but also phrases(with the appropriate gamaka symbols) that are characteristic to the particular raga, help in understanding the form of the raga-s as they were sung then. It may be said that Subbarama Dikshitar wanted to emphasise the importance of the usage of appropriate gamaka-s and hence gave it as a part of the description of the raga itself. After the SSP there have been more recent authors who have dealt with gamaka-s and used them in the form of symbols while notating compositions, some of them following the footprints of Subbarama Dikshitar.

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A striking thing about the delineation of gamaka-s in the texts mentioned above is its placement in the course of the work, which apparently throws some light on the perception of the concept of gamaka at the particular points of time.

The Sanglta Ratnakara talks about gamakas in the praklmaka adhyaya - the chapter that deals with topics which are not brought under other heads like svara, raga, tala and prabandha. Though the term ‘gamaka’ is used with respect to gauda raga-s in the raga prakarana, gamaka is defined and explained only in the praklmaka. This may be because, while the treatise seems to be more concerned with laying down hard core theoretical aspects, gamaka was perceived as more of a practical concept.

The Caturdandl Prakasika deals with gamaka in the context of svara. After describing gamaka-s under the svara prakarana, Venkatamakhi says ‘svarah nirupitah sosyam’ - ‘svara has been elucidated’, and then talks about the types of svara-s. The author possibly saw gamaka as an integral part of svara.

In the Ragavibodha, Somanatha describes ‘vadanabhidah’ in the 5th chapter dealing with the rupa or form of raga-s. He says raga’s rupa is of two kinds - nadamaya and devatSmaya. And these techniques of playing are the embellishments of the svara that contribute to the manifestation of the nadamaya rupa of the raga. Here the movements like gamaka are the core features of raga, manifesting themselves as a part of svara.

In the SSP, gamaka is described in the laksana sangrahamu. Here Subbarama Dikshitar begins his note on gamaka as - “Musicians who know tradition do not sing the suddha and vilqta svara-s as plain svara-s but employ gamaka-s”(as found in the English version of the SSP). And as mentioned before, he stresses the importance of gamaka and defines raga-s with their salient gamaka-s and also says that, though raga-s may have identical murchana-s, gamaka-s serve as the main differentiating factors and also are responsible for giving the raga a unique form of its own.

Let us now look at the types of gamaka very briefly. Pre - Ratnakara authors have spoken of 7-19 gamaka-s. The Ratnakara mentions 15 gamaka-s, which almost became a standard for later authors. They are tiripa, sphurita, kampita, llna, andolita, vali, tribhinna, kurula, ahata, ullasita, plavita, humphita, namita, mudrita and misrita. These types are described based on the kala a]avu or the measure of time, and sometimes on the kind of movement involved. Some are also stated as being relevant to only vocal music and some other only to instrumental music. Venkatamakhi in his Caturdandl Prakasika has mostly stuck to Ratnakara’s gamaka-s in name and description. In SSP, Subbarama Dikshitar takes the 15 gamaka-s of Ratnakara as the base. While he has used almost the same names, the descriptions are different, and he also introduces subdivisions for some of the gamaka-s. For example -

ahata - ravai & khandimpukurula - odukkal and orikaiullasita - e(ra jaru and irakka jaru

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There is also a school of thought that advocates ‘dasavidha gamaka-s’. In the SSP, Dikshitar quotes a verse mentioning the names of the 10 gamaka-s, but also states that the author of the verse is not known. But the 10 gamaka-s mentioned by Prof. Sambamurthy are different from

those in the SSP sloka.

Actually, as mentioned by the lak§anakSra-s themselves, the types of movements are innumerable. More so because every subtle change in one or more factores involved in the movement like intensity, time and frequency produces a totally different shade of the svara or the phrase. But for the sake of understanding these types have been laid down, with a note that the internal variations in these types and other types of gamaka-s that may be used are to be known by studying the practical usages in different contexts.

Today, what do we mean by gamaka, how do we define it? What is its role in our music system? Gamaka in today’s context, is an intrinsic feature of raga, which is employed in a svara or a combination of svara-s, and it lends beauty and aesthetic value to the music itself. As far as defining gamaka is concerned, ‘svarasya kampo gamakah’ - movement relating to svara holds good even today. In interpreting this definition, the beauty of Samskffa grammar is seen - ‘kampah’ means movement. In ‘svarasya’ - the sixth declension has been employed which gives the meaning of ‘sambandha’ relating to ; thus implying a wide variety of movements pertaining to svara. Interestingly, svara itself is not defined as a dormant unit but is ‘anurananatmaka’, a

vibrant idea in itself.

The other definition of gamaka given by Parsvadeva which was referred to in the beginning is also to be noted. In this, the emphasis is on ‘gamayati’ - conveys or reveals. What does it reveal? The svarupa. How does it reveal? By manifesting the shade of another sruti which originates from

the particular svara’s own sruti position.

Thus it may be said that gamaka is - a movement relating to svara where, with the svara’s own sruti position the shade of another sruti is manifested, thereby revealing the form of the svara, the phrase and the raga, and represents the spirit and essence of the melody itself. For example, let us take a svara, say gandhara. Mayamajavagauja, and Saveri have the same gandhara, but the variety of movements or gamaka-s employed for the gandhara while singing Saveri are different from those of Mayamalavagauja. Here, we see that gamaka aids in revealing the the svarupa of the raga. If we take gandhara in Todi, so many shades of the same svara may be sung in Todi itself by employing a variety of gamaka-s. Here, the svarupa of svara is revealed by gamaka usage. Of course, this also undeniably shows the scope that our system of music offers for elaboration and creativity. This subtle relation between svara, gamaka and raga was explained very beautifully through a simple analogy by my guru Smt. R. Vedavalli. Let us take an idol. It is certainly beautiful in its own right, but for it to be placed in the sanctum and worshipped, the ritual of prSnapratistha has to be performed; it has to be empowered by that samskara. Similarly svara itself is pleasing (‘svato ranjayati srotr cittam’) but gamaka empowers it to assume its place

in the scheme of the raga.

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In today’s music system, it may be said that raga is the central theme. All other limbs of the system have it (the raga) as their source or as their end. Svara becomes meaningful when seen with reference to a raga. Creative aspects that are very unique to our music system, ultimately bring to light the raga svarupa thereby leading to the experience of the raga bhava. Compositions are set to raga-s and they are also deemed as repositories of the raga svarupa. In the case of compositions like those of the Trinity, they are considered as practical documentations of the raga. It is because of this that even today we are able to draw clues about a particular raga’s laksana and svarupa from the compositions of the great masters. Above all, when one sings, the ultimate goal is to bring out the ragabhava and experience the joy of the raga’s rasa first for oneself and then to share this anubhava with the rasika-s. Thus raga is a very vital concept on which the whole music system rests.

This ‘raga’ is seen in two aspects - the structure and the form. The structural aspect comprises of the svara-s in a particular raga and their arrangement - eg. - Todi - sadja, suddha risabha, sadharana gandhara, suddha madhyama, pancama, suddha dhaivata and kaisiki ni$ada. The form is that through which the given set of svara-s is manifested as a ‘raga’, taking it beyond the mere skeleton of svara patterns and giving rise to an experience which elevates both the singer and the rasika - eg. Todi with gamaka. Here the remarkable thing is that the svara-s’ individual identities become secondary, and manifesting the raga’s rasa is the primary concern - eg. raga alapana in Sahana- here the svarasthana of individual svara-s gets merged in the raga delineation. There is a striking similarity, atleast at the conceptual level, between the above said idea and the rasa dhvani of the great rhetorician Anandavardhana. He says- in the poetry, words and even their individual meanings become secondary and, ‘rasadhvani’ or the suggested sense of the underlying rasa, which is the soul of poetry, manifests itself, giving the rasika the experience of great joy. ‘yatra arthah sabdo va tamartham upasarjarukrtasvarthau vyahktah kavyavise$ah sa dhvaniriti suribhih kathitah'. That is soulful music where all aspects like svara-s, their permutations and combinations are employed with the primary objective of manifesting the raga’s rasa. The important point here is that, in this idea of going beyond structure to manifest the form of the raga, gamaka-s play a vital role. Ever so subtle, aesthetic and beautiful, it is the gamaka that acts as a very powerful projector of the raga svarupa.

‘Aucityam’ or propriety in employing gamaka-s is as important as the concept itself. Stressing the need for propriety a scholar says - ‘anaucityadrte naanyadrasabhahgasya karanam’ Use of the right intensity of gamaka for the appropriate svara and in the right phrase, are some of the factors that require attention while employing gamaka-s. The reason for this is that use of the right type of gamaka-s is vital for the raga svarupa. Eg. gandhara is sung plain for Saiikarabharanam, and with gamaka for Kalyani. When the gamaka is interchanged the raga loses its flavor.

Aucityam in usage of gamaka is also very important in the case of allied raga-s and rakti raga-s for, in these, the subtle gamaka variations serve as major differentiating factors. Also, particular gamaka-s become unique features for the raga-s themselves -eg. the madhyama in

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Begada is so unique because of the movement or gamaka employed in it. So much so that it is

called ‘Begada madhyamam’

Sometimes improper gamaka usage may give rise to doubts about the identity of the raga, in the minds of the rasikas. Hence, gamaka-s must be aptly employed so that, the rQga svarQpa is revealed. Eg. - Bhairavi and Kharaharapriya, KedarSgaula and Surati - where, if the right gamaka

is not used we might even slip into the other riiga!

Thus, it may be said that gamaka is the life breath of our music. It is the vital prSpa that enlivens our music system, and is a very important intrinsic factor in the empowerment of svara

and the manifestation of raga and its svarQpa in particular.

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Book ReviewBunch of Javalis - Pappu Venugopala Rao

Published by Pappus Academic and Cultural Trust (PACT)

Price ? 800/

This is a volume long awaited by the Bharatanatyam fraternity.

This is the book that everybody has been waiting for.

The volume has fulfilled a long felt need by bringing out a bunch of fifty one javalis, popular and rare, with scripts in English,Tamil and Telugu, with word to word meanings, summary, svara notations and much more. An added bonus is the accompanying CD of the vocal rendering of ten select javalis by musicians like Sangita Kalanidhi Smt.Vedavalli, Smt Sowmya, Sri TM. Krishna and others.

Javali is a delectable short song, popular with vocal musicians as well as dancers. With a punchline as its pallavi, the javali is a lighthearted piece both in its lyrical and musical content. Conversational in tone and often colloquial in diction, it enlivens the concert with its tantalising brevity.

A number of javalis have been published earlier in Tamil and Telugu. Some of these have had the svara notations as well. But they have been handed down and popularised more by the vocal renderings than through books. While many of the musicians are not familiar with Telugu, errors have crept in and perpetuated by practice over a long time. This has not created a great problem on the vocal concert stage where the musicians have been singing them merrily, errors and all.

For the dancer the javalis have posed several problems right from finding an authentic script. They had to go often on a wild goose chase for the script, the meaning and the interpretation, not to speak of the indecipherable words or phrases that baffled the best of scholars. Consequently only about a score of the javalis are in practice at present and dance schools have their stock of four or five javalis, which are taught to all their students.

It is in this context that the volume brought out by Dr. Pappu Venugopala Rao, scholar and linguist, with his in-depth-knowledge of music and dance, is found to be a four-in-one manual for the dancer.

In the first place Dr.Rao has collected the scripts from various sources, both published and unpublished and has edited them to eliminate errors of grammar and syntax while preserving the colloquial and dialectic usages. The trilingual script is of great value since the English language is not equipped to indicate the correct pronunciation of words in the vernacular. While English makes the songs accessible to a wider audience, the vernacular helps to learn the right pronunciation of the words.

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With his erudition and poetic insight he has provided word to word meaning and a summary for each of the songs and in addition has given the context in which it is sung.

Thirdly, as a dance scholar he has indicated the classification to which the Nayika of the song belongs and the mood in which it is sung. He has gone a step further by giving the sancari bhavas to five of the javalis. The sancari bhavas are the variations in interpreting and elaborating a line or phrase of a song by the dancer. This gives scope to the imagination and poetic sensibility of the artist. By providing these examples Rao has shown the dancer the approach in weaving sancaris for the rest of the javalis.

The fourth component is the musical notations for all the javalis compiled from different sources such as Sangita Kalanidhi Dr.Sripada Pinakapani’s volume Sangita Saurabhamu and the volume brought out by Andhra Pradesh Sangita Nataka Akademi. The aforesaid CD of ten of the javalis completes the audio aspect of the songs.

The dancer now finds this a single window source wherein all her/his requirements for choreography are met and has to look no further.

The Bunch of Javalis presents a variety in the nayikas, situations and moods. The coy maiden, the lovelorn lass, the angry woman, the lamenting female, all express their feelings in an alluring manner. In javalis such as Tharumaru and Muttaradate we even find Nayakas addressing their women. The eleven composers included are from all the four southern states, Andhra Pradesh, Tamil Nadu, Karnataka and Kerala. We thus have Tiruppanandal Pattabhiramayya, Dharmapuri Subbarayar, Swati Tirunal, Bangalore Chandrasekhara Sastri, Tirupati Vidyala Narayanaswami Naidu and others. Nineteen javalis are by authors unknown. Surprisinlgly we learn that the composers of some of the popular ones such as Ela radayane and Meragadu (Atana) are unknown. Rao gives a brief note on each of the composers included. An interesting point to note is that five each of the collection are in the ragas Khamas and Hindustani Kapi, avowedly best suited for srngara.

A table of the classification of the Nayikas by Bhanudatta in his Rasamanjari is provided for reference in the opening pages. The preface by Dr. Rao is a mini treatise on the origin, history, content and variety of the javalis. While listing the several interpretations of the word Javali, Rao states, “Etymologiaclly we do not find enough evidence to understand the word Javali.”

As for the content Rao mentions that there are two interpretations, one as sacred compositions depicting the yearning of the jivatma for the Paramatma and the other as an erotic poem. Rao concludes, “javalis are by far erotic, depicting mostly unfaithful nayika-s or unfaithful nayaka-s.”

The lay out and the printing are of exceptional quality. The dust jacket in red, the colour of srngara and the picture of the young maiden adorning and admiring herself in a mirror create the right introduction to the subject handled between the covers.

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After perusing this valuable addition to Music and Dance publications I would like to place before Dr. Rao two requests, one to bring out more volumes of Javalis with mp3 recordings of all the songs and to publish a similar volume of Padams, a genre which is vanishing fast from the music and dance concerts.

Sujatha VijayaraghavanCourtesy: SRUTI

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Tamizh isai ilakkiya varalaaru — Part I

Tamizh isai ilakkana varalaaru — Part II

Mu. Arunachalam

Kadavu Pathippagam, Madurai-625014. ? 1200.

“If music be the food of love, play on,” says Duke Orsino in Shakespeare’s Twelfth Night. For the Tamils, from time immemorial, music was the food of love and devotion to God, as evidenced by their literary works dating from a distant past. The hymns of the (Vaishnavite) Azhvars and (Saivite) Nayanmars (7th-9 {+t} {+h} century), which are musical melodies of intricate panns (ragas) of the rarest beauty, stand testimony to this irrefutable fact. Mu. Arunachalam, an erudite Tamil scholar and one of the most distinguished historians of Tamil literature, had left, in manuscripts, a through chronological study of Tamil Isai. This has now been published in two substantial volumes, eminently edited by Ula. Balasubramanian. The first makes an in-depth study of Tamil Isai as it obtained in the Tamil literary works from the Sangam era to the present day, while the second deals with the manuals on this musical heritage, written in Sanskrit and Tamil.

According to the author, in Sanskrit there was only one musical style in the ancient days, namely the ‘Sama Gana’ (the raga Karakarapriya) that related to the recitation of Sama Veda. In Tamil, on the other hand, there had been a long tradition of a variety of pannisai as can be gathered from ‘Tolkappiyam’, the earliest Tamil grammar belonging to a period at the beginning of the common era. ‘Tolkappiyam’ refers to pannaththi (that which is the genesis of different kinds of pann or raga), for which, two musical works, called Sitrisai and Perisai (said to have been composed during the Sangam age), are given as illustrations by the commentators. But, unfortunately, both of them are now extinct.

‘Paripadal’, which is described in ‘Tolkappiyam’ as a musical poem (also a Sangam work), had 70 songs, out of which only 24 are available now. The names of the composers of the poems, as also the names of those who set them to music, and the names of the panns in which they were sung are mentioned in ‘Paripadal’ This clearly establishes the antiquity of the Tamil musical heritage.

Why is it that only the musical works belonging to the Sangam period became extinct, when ‘Paththupattu’ and ‘Ettuthogai’ (the 18 literary poems) of the same era and belonging to the non-musical genre have survived? The author puts the blame on the mysterious ‘Kalabras’, who ruled the Tamil territory for nearly three centuries starting from the third century of the common era. He argues since they were Jains, not well-disposed towards music, the Tamil musical tradition collapsed and many of the earlier musical works went into oblivion. Such an explanation is in the realm of speculation and surmise, and it does not address the issue convincingly. ‘Silappadikaram’ (5th century), written by Ilango Adigal, is a treasure-house of glorious music and theatrical forms.

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It also gives encyclopaedic information about the rich Tamil musical and dramatic tradition. That Ilango Adigal was a Jain monk suggests that the ‘Kalabras’ belonging to the Jain cult could not have been responsible for the extinction of the earlier musical compositions and treatises written in Tamil. It is really sad that most of the grammatical works related to Tamil music and theatre quoted by Adiyarkunallar, (‘Silappadikaram’ commentator — maybe, of the 13 {+t} {+h}/14th century) no longer exist.

Arunachalam says that the south Indian music system, which was indeed Tamil Pannisai, was erroneously named, for the first time, Karnataka sangeetham in the 12th century by a westem- Chalukya king, Someswara Bhuloka Mamalla, in his ‘Manasoullasam’, a monumental work that dealt with all the subjects under the sun, including music. According to him, in no other language in India, there existed at that time Sahityas (musical compositions) as they did in Tamil. Though most of the music manuals written from the 9th century onwards were in Sanskrit, the source materials for them — like the varieties of ‘ragas’ (pann) they had mentioned in their works —were all associated with the Tamil literary works, like ‘Silappadikaram’, ‘Thevaram’, and ‘Nalayira Divya Prabhandam’

Madangamuni’s ‘Brahat Desi’, (9th century), Saranga Deva’s ‘Sangeetha Ratnagaram’ (13th century) and several of the music manuals that followed mention many of the Tamil panns, and avoid, perhaps deliberately, any reference to the Tamil literary texts, according to the author. In Arunachalam’s opinion, the authors of these treatises, although well-acquainted with Tamil, wrote in Sanskrit because it happened to be the lingua franca of the learned in India at that time and so ensured a wide reach for their works. That Karnataka Sangeetham is but a synonym for Tamil Isai, irrespective of the language of the songs, is the firm and considered view of the author ofthese two great volumes. This position may well provoke discussions and debates among the musicologists.

Indira ParthasarathyCourtesy: THE HINDU

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Navya taana varnamulu (Telugu) &Devimurty nava sudhaa deepti (Telugu)

Both the books by Nallan Chakravartula Murthy

Ajanta Arts Academy Publications, Hyderabad-500007. ^ 150 each.

Of the two works of musical compositions, the first is a collection of 10 vamams in select janya ragas that give ample scope for manodharma. The composer has attempted a few deviations from the traditional format by incorporating more sahitya, by arranging the sahitya and svara in the second half of the charanas in a manner that makes it easier to sing and by defining the range of the vamams between panchamas of the lower register and the higher.

Some of the vamams are in ragas not very often employed for vamas. Of the 10 vamams, four are in Sanskrit and the rest in Telugu. All of them are given in Telugu and transliterated in roman script with notation.

The second book is a collection of nine compositions on Kamalamba in nine different ragas — Saved, Abheri, Nayaki, Dvijavanti, Natakurunji, Athana, Begada, Hamir Kalyani and Surati. For all the apparent similarities, these pieces differ from Muthuswamy Dikshitar's renowned Kamalamba navavarana kritis in structure, approach, and even in content.

The composer feels that these are easier to understand and sing than those of Dikshitar. The lyrical structure of the compositions is at times confusing, since it jumps from Telugu to Sanskrit. However, one cannot deny Murthy a place among contemporary vaggeyakaras.

Pappu Venugopala RaoCourtesy: THE HINDU

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Spiritual Heritage of Annamacharya — Vol. 3M. S. Ramesh

Tirumala Tirupati Devasthanams, Tirupati-517507. ? 48.

It was V. Raghavan and Ramanujacharya who first came out with the gem of a title, The Spiritual Heritage of Tyagaraja for their epoch-making publication. Since then, many scholars have downloaded into English the varied beauties of form and content in the Telugu contribution to the Bhakti Movement.

M.S. Ramesh has been pursuing topics related to Vaishnavism with a single-minded zeal all these years. Her latest book on Annamacharya draws us further into the world of faith, the close inter-connectedness of everyday life with a philosophical outlook and India's own methodology of documenting history.

Indian history is a living continuum where the past and the present hold hands to usher in the future. Consider the values of convention: “In another song, Annamacharya described the vahana krama [the sequence of the Lord's mounts] followed during the Brahmotsava celebrations. It is amazing to see that the order followed today is exactly the same as was observed during Annamacharya’s days, i.e., nearly six centuries ago. It is this hoary antiquity which adds to the holy significance of many of the rituals in the temple even today.”

The temples in the Hindu tradition are not just venues for religious assemblies. Verily, “the house of God on earth”, a temple promotes high morality, compassion, and spirituality. Coming within its precincts, man learns the value of his sensory functions, finds his mind led gently from darkness to light when realisation dawns upon him that existence is pervaded by the splendour of God. This transformation is undeniably wafted to us when we go to Tirumala for a darshan of Lord Venkateswara.

Why do the temples conduct festivals (utsavas)? The term utsava means “removal of worldly sorrows.” True enough, since for the nonce we do forget our mundane existence as we take part in drawing the chariot or in any festival.

ProceduresFrom the chapter on the festivals of Tirumala, it is amazing to learn of the various guidelines

and procedures meticulously prescribed to ensure the safety of the deity and the ornaments as also the ritualistic responsibilities that need to be adhered to with sincerity.

Ramesh describes the daily rituals as well as the special ones associated with different festival days. The history of these festivals is not easy to track but the author does not give up easily. Thus the suprabhatam in Tirumala is traced to the brief sojourn of the idol of Lord Ranganatha there, when an Islamic invasion sacked the holy city of Srirangam. It is also fascinating

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to leam that the ‘Ashtadala Swama Padma Puja’ is performed with the 108 golden lotuses offered

by a Muslim devotee.

With the background of such a rich history, the deity glows as an unfailing guardian in Annamacharya’s songs, which exude an unquestioning faith. Sometimes, the saint-composer raises queries to indicate the answer contained in them. Going up the spires of bhakti, he pleads for the gift of kainkarya (servitude to the Divine) and nama smarana: “Let it be heaven or let it be hell, it matters not; it is enough if I utter your beautiful enchanting name.”

Spiritual Heritage of Annamacharya has a collection of choice songs by Annamacharya on the festivals in the Tirumala temple, along with a lucid English translation. That the work has been scrutinised by M. Narasimhachary, a distinguished scholar in Sanskrit and the Srivaishnavism literature, goes to enhance its value. All this and a sheaf of photographs bringing Lord Venkateswara in various vahanas make the sky and earth one for the reader, to quote Annamacharya himself!

Prema NandakumarCourtesy: THE HINDU

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List of books

Kalakshetra Reflections - Vol 1 - Education Kalakshetra Foundation Publications, Chennai

Kalakshetra Reflections - Vol 2- Sculpture Kalakshetra Foundation Publications, Chennai, ^ 250

Voice of the Veena, S Balachander a BiographySampath Vikram; Rupa & Co, New Delhi 2012; ? 595

Rasamanjari of Bhanudatta

An insight into the classification of nayikas and nayakas.

English translation and commentary; Rao, Pappu Venugopala;PACT; Chennai, 2011; ? 750

Bunch of Javalis

Transliteration, Translation and notation in English;

Rao, Pappu Venugopala; PACT; Chennai, 2011; ^ 800

Love Stands Alone, Selections from Tamil Sangam Poetryedited by AR Venkatachalapathy; Thangappa ML; Penguin Group;Delhi 2010; ^ 399

Dhruva Natachathiram Palani Subramania PillaiRam, Lalita; Solvanam; Chennai 2011; ? 150

Telugu Songs for Abhinaya

Krishnamurthy, Prof Salva; Dravidian University; Kuppam, 2008; ? 200

Dance Traditions of Andhra

Arudra, Dr; Sthree Shakti Publications; Hyderabad 2011; ? 200

Balasaraswati, Her Art and Life

Knight, Douglas M; Tranquebar; Chennai 2010; ? 599

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Obituary

The Music Academy, Madras, reports with a deep sense of sorrow, the passing away of the following music personalities during the year 2012

Sri. K.V. Balasubramaniam,Member, The Executive Committee, The Music Academy, Madras

Sangita Kalanidhi Vellore Sri. Ramabhadran

Dr. V.V. Srivatsa,Ex-Secretary, The Music Academy, Madras

Sangita Kalacharya Vidushi Smt. Seethalakshmi Venkatesan

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i

i

■

%

WM.

P tM ea tio n by THE MUSIC ACADEMY MAD:

; Sampradaya Pradarsini of Subbarama Dikshitar

Script) Part I, II & III each 150.00

i Sampradaya Pradarsini of Subbarama Dikshitari Script) Volume - I

Volume - II

Seshannavin Uruppadigal (in Tamil)

900.00

B Subba Rao (in English)

Volume - II Volume - III Volume - IV

of Sangita Saramrta - T.V. Subba Rao & R| Janakiraman (in English)

Gitas - Dr. S.R. Janakiraman

The Chaturdandi Prakasika of Venkatamakhin(Sanskrit Text w ith supplement)f j p w i i * ■ ■■' ■ ■E Krishna Iyer Centenary Issue

Professor Sambamoorthy, the Visionary Musicologist 150.00 By Brahma

Raga Lakshanangal - Dr. S.R. Janakiraman(in Tamil) Volume - I, II & III each 150.00

by N. Murali on behalf The Musk Academy Madras at New No. 168, TTK Road, R Chennai 600 014 and Printed by N. Subramanian at Sudarsan Graphics Offset Press, , Neeiakanta Metha Street, T. Nagar, Chennai 600 014, Editor : Pappu Venugopala R:

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