Part Ten (of 22) – Anibaddha, Nibaddha and Prabandha
Anibaddha and Nibaddha
1.1. In the early Indian systems of music, there were two broad categories of musical rendering: Anibaddha Gita and Nibaddha Gita. The terms Anibaddha and Nibaddha could roughly be translated as un-structured (un-bound) and structured (bound).
Nibaddha and Anibaddha are two related terms which have a long history. In the Natyashastra, while describing the three aspects of Pada (verbal syllabic structure) it is said: one that is governed by Chhandas and Taala signifies Nibaddha. And similarly, the absence of these is Anibaddha (NS. 32.28-29).
Sarangadeva defines Anibaddha as Aalapi which is not bound or which lacks rules (bandha-hinatva) – Alapir bandha-hinatvad Anibaddham itirita (Sangitaratnakara: 4.5).
1.2. Thus, Anibaddha Gita is free flowing music that is not restricted by Taala; it is also free from disciplines of Chhandas (meter) and Matra (syllables) ; and, it does not also need the support of compositions woven with meaningful words (Pada or Sahitya) . In fact, not one of these – neither Taala, nor Grammar, nor lyrics – has a role to play in the Anibaddha Samgita.
The Nibaddha Gita, in comparison, is rendering of a pre-composed structured musical composition that is governed by Chhandas and Taala; and has words (meaningful or otherwise); as also has a definite beginning and an end. In short; it is a composition (like Prabandha, Giti, and Kriti etc)
[ Bharata mentioned Pathya in the Natyasastra (17. 102); and, said: “pathyam prayunjitam sad-alamkara-samyuktam” – the Sahitya of a song is called the Pathya, when it is embellished by six Alamkaras. Abhinavagupta in his Abhinava- bharati explains that when any composition (sahitya) possesses six Alamkaras and sweet tones, it is known as a Pathya. These six Alamkaras are: Svara, Sthana, Varna, Kaku, Alamkara and Anga. (Note: kakus are the variations of the vocal sound for expressing different ideas). Bharata considered Pathya under two heads: Samskrita and Prakrita. Abhinavagupta followed Bharata in this respect.]
1.3. There is a mention of another way of classifying Nibaddha. It is said; there are two classes of Nibadda: Niryukta and Aniryukta. The Niryukta Prabandha was to be sung only to certain specified Taala, Chhandas, and Rasa etc. And, Aniryukta was free from such restrictions. Parshvadeva mentions a third variety called Ubhayatmaka Prabhanda in which some aspects of the song are fixed while others are optional.
[By about end of the 19th century, the terms Anibaddha Gita and Nibaddha Gita went out of use; and, were promptly replaced by the terms Manodharma Samgita and Kalpita Samgita. The revised names are very much in circulation today. Though the nomenclatures underwent a change, the principles behind the terms remained almost the same but with little variations.
Manodharma Samgita (just as the Anibaddha Gita) is improvised music that is not pre-composed. And, Kalpita Samgita is rendering a composition, which has already been constructed, with much practice and discipline. ]
1.4. In any case, whether be it Anibaddha/ Manodharma or Nibaddha/ Kalpita, the music that is created must be permeated with the fragrance of artistic beauty; and, at the same time, it must respect the norms and disciplines of the tradition in which the music that is played or sung is rooted. Improvisation could be understood as a means of self-expression, where the virtuoso artist brings in her/his own unique genius to adorn and to enhance the beauty and virtuosity of her/his presentation. In other words, Improvisation is a means to upgrade the quality of presentation and give it a stamp of individuality; and yet, it will have to work within the bounds of the system, honouring its norms, disciplines and traditions.
2.1. The most well-known form of the Anibaddha type is the Aalapa (Raga Alapti). The Aalapa rendering is free from set words and Taala too. It is elaborate but delicate and precise presentation of a Raga. It demands from the musician maturity, skill; complete understanding of the Raga and its nature; as also creative imagination. It calls for patience and sensitivity in performing, if it has to evoke the listeners’ admiration and enjoyment. It is the Aalapa that, often, is regarded as a benchmark of a performer’s excellence.
2.2. The absence of Taala in Aalapa does not mean absence of Tempo. Aalapa generally follows a pattern of presentation. It is said to be spread over in four stages. It usually has a rather slow introspective beginning (vilamba) in lower octaves (Mandra), followed by elaborations of the basic theme of the Raga in medium tempo, Madhyama-kaala, building into faster Tempo (Druta) leading to a crescendo (Ati-Druta). Indeed, Aalapa is one of the deeply moving, sublime experiences of the Indian music.
2.3. Apart from Aalapa, there are also other forms of Anibaddha type of music that are not pre-composed; that are not based in words; that are not played to a Taala; but yet , are the expansive elements of music. The most notable of that genre of singing/playing is Taana.
Taana or Taanam in Karnataka Samgita (comparable to Jor –Jhala in Hindustani Dhrupad and instrumental music) is played after the Aalapana, but before the commencement of the structured Kriti. In Karnataka Samgita, Taana is performed both in vocal and instrumental music (but, particularly in Veena playing). These are unique in the sense that with the rise in tempo, the performer improvises and builds into the melody various patterns of rhythms, without, however, the element of Taala.
[Ugabhoga of the Haridasa-s, Shlokas and Ragamalikas, perhaps, fall in between Nibaddha and Anibaddha forms of music. Here the Sahitya and the Bhava are important. But, these pieces are not set to Taala. And, the singer is also free to choose any Raga/Ragas to bring out the literary and musical values of the composition. The absence of Taala, somehow, seems to aid in enhancing the import of its Sahitya.]
3.1. In this context, we may also talk about Sangathi, Neraval, Kalpana Svaras and such other elaborations in Karnataka Samgita. At the outset, I reckon these improvisations cannot strictly be considered as Anibaddha.
3.2. Sangathi is a way of weaving patterns elaborating certain lines of a Kriti. The Sangathi technique was, it is said, introduced by Sri Tyagaraja by adopting it from the Dance. In some of Sri Tyagaraja’s compositions, the Sangathi-s appear in the earlier segment (Pallavi) of the text (Sahitya). But, it has since become a regular part of rendering of Kritis of other composers as well. The Sangathi is, usually, pre-conditioned variations of a phrase or a line of a song. And, the composer would already have envisaged briefer and finer variations of Sangathi-s into his work. The performer brings in her/his own improvisations to elongate the Sangathi-s.
3.3. Neraval, unlike Sangathi, is a small and flickering variation of a melody-filled line of a Kriti or a Pallavi. In Neraval, the Sahitya and its melody is spread out in various ways; and yet, keeping intact the original structure. The Neraval could also be expansive improvisation of the Raga-bhava. Creativity and spontaneous outpouring characterize an enjoyable Neraval.
The Neraval is comparable to the ancient Rupaka Alapti (as compared to Raga Alapti) where one line or the whole of the composition was taken up for melodic elaboration without , however, changing the text.
The Neraval of the present-day Karnataka Samgita is an aspect of the improvised Manodharma Samgita. And, in a concert, it precedes the Svara Kalpana.
3.4. Kalpana-Svara or Svara prastara is the expansion on the rhythmic patterns of the Svara (Sa, Re, Ga, Ma etc). It is a free-rendering. And, is a highly improvised presentation, often playful, that appears in the latter part of the song-rendering. An entertaining Kalpana-Svara rendering calls for enterprising variations, often involving the accompaniments (Violin and the percussion instruments) in a good-humoured interplay (saval-javab). It, therefore, has great popular appeal.
3.5. As can be seen, Sangathi, Neraval or elaborations of the rhythmic patterns (Svara –prastara) are all based in Taala and are tied to the words in the text (Sahitya) of the composition. Though these provide immense artistic freedom to elaborate and to improvise in varied imaginative patterns, I reckon these are not strictly of the Anibaddha type.
Prabandha, Vastu and Rupaka
4.1. Sarangadeva (13th century) in the fourth Canto of his Sangita-ratnakara says: the Gayana (singing) is twofold – Nibaddha and Anibadda. That which is composed of Anga-s (limbs or parts) and Dhatu-s (elements or sections) is Nibaddha Samgita. And Alapita which is free from such structures is known as Anibaddha Samgita.
Then he goes on to say that Nibaddha has three names: Prabandha, Vastu and Rupaka. (But, he does not go into details of their internal differences.)
4.2. Parshvadeva a Jain musicologist (9-10th century) in his Sangita-samaya-sara (Ca.10-11th century) described Prabandha as a Giti (song) formed of four or six musical elements (Dhatu-s) –
(Chaturbhir-dhatubhih shadbhishcha-angairyah syat prarbandhate tasmat prabandhah).
He also recognized the classifications of Prabandha, Vastu and Rupaka. In the fourth Chapter of his Sangita-samaya-sara, he explained the Prabandhas like Dhenki, Lambaka, Rasaka, Ekatali, etc. together with eleven kinds of Dhruva, and the process of singing (ganakrama), the Giti.
4.3. Sangita–shiromani (said to be a compilation by a group of scholars in the 15th century) says: One should know that Prabandha, Vastu and Rupaka are the three names of composed music based on Pada and other elements (Anga and Dhatu). Their internal structure is slightly different (13.6)
5.1. When the main sections of the composition contains all the Anga-s and Dhatu-s, either separately or in combinations, it is considered to be a Prabandha composition (13.7) .
5.2. As compared to Prabandha which has all the Angas, something which is exclusively composed of regular words (Pada) and musical metre (Taala) is said to be Vastu (lit substance or thing). It has the freedom to omit some of the Anga-s.
Kumbha (15th century) in his Sangita-raja (2.4-6) explains Vastu as one in which there is (vasanti) always (nityam) some Dhatu and some Angas (Dhatavo Angani kinchit); and its good sound is important (sad-vastu-dhvani-mukhyena). It is also said; that which ends in Apanyasa, Amsa and Nyasa (or else samnyasa), is Vastu.
Amsa the dominant note is the note in which the Raga resides (ragas ca yasmin vaasati) and manifests (raga-abhivyaktir bhavathi); and from which the movement of the low (mandra) and high (Tara) registers of five Svaras starts. Amsa is a Vivadi Svara.
Nyasa is the final note which occurs at the end of a section of the composition (Anga) – Nyaso hy Anga-samaptau. It is the note on which the song is fixed and ended. The final note is also described as the ‘name-giver’ as it gives the Jaati its name – Nyasas tu Svra-jaatishu namakrt.
As compared to Nyasa, Apanyasa is the penultimate note. It occurs before the final note (Nyasa), in the midst, which is to say in the Anga (section) – Anga-madhye.
Samnyasa is the final note of the first part of the song (Vidari); and, it is not a Vivadi Svara (dissonant)
Vidari is the section of a song. It is twofold: Mahathi and Avantara. That which fills up the Vastu is Mahathi. The others which are completed at the end of the episodes (Varna) are Avantara. Of both the kinds of Vidari, the final note is in the Vastu, the dominant. ]
5.3. Rupaka, derived from ‘Rupa’ (form), later was used as a general term for all dramatic compositions. In fact, Rupaka is the proper name for Sanskrit Drama and not Nataka.
The Dramatic compositions based in music (Geya-prabandha) also termed as Drshya Kavya ( a poem that is to be seen as also heard) were arranged as Rupaka and Upa-Rupaka (minor forms of Rupaka). It is said; there were ten types of Rupaka-s and eighteen types of Upa-Rupakas (depicting a short theme or a self-contained section taken from a larger theme).
In Music, when there is scope for developing the melodic form (Raga) and other elements (ragadya-aropa) in a dramatic form, such composed music is called Rupaka (lit from) (13-8). It is explained by the later scholars that in Rupaka Alapti, either one line or the whole Prabandha is taken up and melodic variations are sung with the lyrics of the Prabandha.
[And, this perhaps resembled the Neraval of the present-day music].
6.1. Sangita–shiromani (15th century) says the song (gana) which has been written by composers (Vaggeyakara), which has special musical character (lakshana), which is based in Desi Ragas and which pleases people is Nibaddha (13.3)
Such composed music (Nibaddha) which is formed with Anga (phrasal elements) like: Pada (passage of meaningful words), Svara (tone syllables or passage of sol-fa syllables),Birudu (words of praise, extolling the subject of the song and also including the name of the singer or the patron), Taala (musical meter or time-units ), Paata (vocalized drum syllables) and Tenaka (vocal syllables , meaningless and musical in sound with many repetitions) are known as Prabandha (13.5) ; and that which has in its main sections Dhatu-s (elements) : Udgraha, Melapaka, Dhruva and Abogha.
6.2. Thus, the best and the most well established form of Nibaddha Samgita is Prabandha. During the 5-7th centuries they were described as a form of Desi composition of varied nature and forms (Desikara- Prabandho yam), such as : kanda, vritta, gadya, dandaka, varnaka, karshita-gatha, dvipathaka, vardhati, kaivata, dvipadi, vardhani, dhenki, ekatali, etc
However, in the context of Music, Prabandha is a comprehensive term which refers to a well-knit composition. And, within in the gamut of Music itself, the Prabandha stands for a particular, specified form of songs constructed according to a prescribed format.
6.3. As said earlier, the Prabandha is conceptualized as Prabandha Purusha, a living organism , consisting six limbs , which function harmoniously as do the limbs of a healthy human body. Thus, Prabandha could be understood as a type of harmonious musical composition set to words, Raga, Taala, Chhandas, Vrtta; and governed by six Anga-s (Svara, Birudu, Pada, Tena, Paata and, Taala) and four sections-Dhatu-s (Udgraha, Melapaka, Dhruva and Abhoga).
6.4. Prabandha is basically a variety of Khandakavya (not particularly associated with Drama); and, at the same time it is also a song. And, therefore, the Chhandas and Taala rather than the musical element were central to the composition (perhaps with the exception of Geya prabandha s).
7.1. Prabandha-s do not figure in the earlier texts like Nāţyashastra and Dattilam. They are dealt with in the texts written after the 5th -6th century , such as : Brihaddeshi (Ca, 5th century); Sangita-Samayasara ( Ca. 11th century); Manasollasa (Ca,12th century); Sangita-ratnakara (Ca,12-13th century) Sangita –samayasara (12-13th century) ; Sangita – damodara (Ca.14th century) ; Sangita–shiromani (15th century); Chaturdandi Prakasika (c.1635 CE) and others. These texts describe the nature and the varieties of Prabandha, the salient features of their variations and the elements that are involved in the construction of Prabandha songs.
7.2. Prabandha as a class of Music was, perhaps, first mentioned in the final Canto of Matanga’s Brihad-deshi (Ca.5th century). Here, he described Prabandha simply as Prabhadyate iti Prabandhah (that which is composed is a Prabandha); and, classified it under Desi Samgita (a collection of many song types then popular in various regions). Matanga explains Desi Samgita with the aid of about forty-eight Prabandha songs. However, Matanga remarks that the Prabandhas are indeed countless; and ‘their complexities are beyond the understanding of weaker minds’.
Some of the Prabandha- types mentioned in this text are: Kanda, Vŗtta, Gadya, Catushpadī, Jayavardhana, Ela and Dhenaki. (He pays particular attention to Ela) And, while describing the nature of Prabandha-s, Matanga did not employ terms such as Dhatu and Anga, as was done in the texts of the later periods.
7.3. Prabandha received a detailed treatment in the fourth Chapter Prabandha-adhyaya of Sarangadeva’s Samgita-Ratnakara which appeared about five centuries after Matanga. By the time of Samgita-Ratnakara, Prabandhas had grown into thousands. Sarangadeva explained Prabandha as that which is pleasant; and that which is governed by rules regarding Raga, Taala, Chhandas, Vritta (Sanskrit verses) and Anga. In his work, Sarangadeva described about 260 types of Prabandha-s with their variations.
7.4. Sangītasiromaṇi (15th century) in its Chapter Eight presents a wealth of details on the Prabandha-s. It describes the four classes or cycles (Shuddha Suda, Ali karma, Salaga Suda and Viprakirna) of the Prabandha songs; the criteria of six elements (Anga-s – Taala, Svara, Pata Birudu, Tena and Pada) and four substances or Dhatu-s (Chhandas, Raga, Varna, and Gamaka).
7.5. Later, in his monumental work Chaturdandi Prakasika (c.1635 CE) Venkatamakhin gathered various music-forms under a fourfold system (Chaturdandi) comprising Gita, Prabandha, Thaya and Aalapa. Here also, Prabandha was described as ‘prabandhayeti Prabandha’ – that which is well structured (Nibaddha) is Prabandha.
However, the definition of Prabandha was narrowed down to include only those compositions which are made up of Six Angas (shadbhirangaisca) and Four Dhatus (chaturbhidhaturbhischayah). He also names the six Anga-s or elements of the musical Prabandha-s are Svara, Birudu, Pada, Tenaka, Paata and Taala. The four Dhatus are Udgraha, Melapaka, Dhruva and Abhoga.
“Ucyate shadbhirangaisca chaturbhidhaturbhischayah I Nibaddah swarasandarbhastasminneva hibhūriśa I Prabanda iti lokānām vyavahāro nirīkśyate” II “śadangāniitichedbrumaha swaraschabirudam padam I Tenakah pātatālau cetyetānyangāniśatpunah II
[Strangely, by the time Chaturdandi Prakasika appeared, the Prabandha, as a class of Music, was already on its way out.]
8.1. The Prabandha, generally, appeared to be highly ornate, varied compositions formed out of many sections (Dhatu) . They were ornate both in their elaborate poetical diction (Alamkara) and abundance of rich language (Sabdalankara) adorned with meaning (Arthalankara). They were varied in the sense that many songs featured a mixture of different languages (Bhasha), Taala-s, Ragas; and frequent alteration between meaningful text and meaningless syllables. They were sectional in that Prabandhas were divided into distinct formal divisions and components with many changes of tempo, Raga and Taala. The word-play (pada-jala) was also prominent in the repertoire with clever use of alliteration of letters (anuprasa); alliteration of words (pada prasa), ambiguous use of a word where it conveys different meanings depending upon the context (latanu-prasa), play of pun (slesha or sabda slesha), change of voice (kaku) , and poetic subversion or deviant expression (vakrokthi) etc. The word (pada), meter (Chhandas) and Music (gana) were well structured and coordinated.
Prabandha was the dominant song-form for about thousand years or a little more till about the 17-18th century, which is until the advent of the Trinity of Karnataka Samgita.
[In the later stages, Prabandha merely came to be understood as the fourth component of the fourfold system (Chatur-dandi) of: Raga, Thaya, Gita and Prabandha.]
Types of Prabandhas
9.1. As Matanga remarked, the Prabandhas are indeed countless; and, ‘their complexities are beyond the understanding of weaker minds’. Yes; it is a virtual jungle.
9.2. Parshvadeva (Ca.10-11th century), a Jain musicologist, in his Sangita-samaya-sara divided the Prabandha-s into three classes: Suda, Alikrama and Viprakirna. And, later in the 13th century, Sarangdeva split the Suda into Shuddha Suda and Chayalaga (the Apabhramsa or colloquial form of Chayalaga is Salaga Suda).- [ The Chayalaga or Salaga Suda – as a class of Prabandha – was not mentioned either in Matanga’s Brihaddeshi, or in Someshwara’s Manasollasa (1131).]
With that, the major types of Prabandha were counted as four: Shuddha Suda, Salaga Suda, Alikrama and Viprakirna.
: – The Shuddha Suda was again divided into eight parts: Ela, Karana, Dhenki Vartani, Jhombada, lambaka, Rasaka and Ekatali.
: – And Salaga Suda was divided into seven parts: Dhruva, Mantha, Pratimantha, Nisaruka, Addatala, Rasaka and Ekatali.
: – Several unclassified types were grouped under Alikrama Prabhanda; and it was divided into 24 parts: Varna, Varnasvara, Gadya, Kaivada, Angacharini, Dandaka, Turangalila, Gajalila, Dvipadi and so on
: – The Viprakirna was divided into Sriranga, Tripadi, Chatuspadi, Shatpadi, Vastu, Vijaya etc.
9.3. There is also mention of several other types of Prabandhas such as:
: Virashringara, Chaturanga, Sharabalita, Suryaprakasha, Chandraprakasha, Ranaranga, Nandana and Navaratna. (There are no clear descriptions of these types Prabandhas)
: Divya Prabandha, Naga Loka Geya Prabandha and Bharati Prabandha etc
: Gita Prabandha, Vadya Prabandha, Nrtya Prabandha, Taala-Prabandha, Geya Prabandha , Rupaka Prabandha, and Lakshana Prabandha etc
: Kanda, Varana, Vichitra, Vastu, Chachari, Chakravala, Bhanjani, Pratigrahnika, and Tribangi,
There are also countless other forms
10.1. It is virtually not possible here to discuss all or even the most of the Prabhanda varieties. For the limited purpose of this post let’s, therefore, confine to the main or the better known types of Prabandhas.
Let’s take a look at the major types of Prabandha, their structure, elements and their other components in the next Part.
Continued in Part 11
Sources and References
Indian Music: History and Structure by Emmie Te Nijenhuis
A History of Indian music by Swami Prajnanananda
Saṅgītaśiromaṇi: A Medieval Handbook of Indian Music edited by Emmie Te Nijenhuis
Dattilam: A Compendium of Ancient Indian Music edited by Emmie te Nijenhuis
The Traditional Indian Theory and Practice of Music and Dance edited by Jonathan Katz
Music and Musical Thought in Early India by Lewis Eugene Rowe
Kalātattvakośa: by Ramesh Chandra Sharma
Sangiti Sabda Kosa by Bimal Roy
Suladis and Ugabhogas by Mahamahopadyaya Dr. R .Sathyanarayana
Prathamopalabda Swarasahita Samkeerthana Sila Lekhanamu by I.V Subba Rao
Darus in Carnatic Music by Dr. Gowri Kuppuswami and Dr. M Hariharan; Published in ‘Shanmukha’, October 1986 (Vol.XII; No.4)