Part Fifteen (of 22 ) – Lakshana Granthas – Continued
4. Sangita Makaranda
Sangita Makaranda ascribed to Narada (7th -9th century) is an interesting work. Narada brings in philosophical, Tantric and religious interpretations into Desi Music. He names Brahma, Vishnu and Maheswara as the deities of Shadja, Madhyama and Gandharva Gramas, respectively. In that order, each Grama is allotted to a season (Rtu): Hemanta (winter) for Shadja; Grishma (summer) for Madhyama; and, Varsha (rains) for Gandharva Grama. As regards the time of the day for rendering the Gramas, he allots forenoon to Shadja; midday to Madhyama; and afternoon to Gandharva Grama.
Narada in his Sangita Makaranda (12) calls the playing of the seven pure or natural notes (Shuddha Svara) of the scale ascending from the lower to higher , i.e., starting from Shadja ( meaning , the one giving birth to the other six notes ) as Prakrti; and, the way of playing from the descending scale as Vikrti . Here, Prakrti denotes, a hierarchy of sounds played on a Veena. According to Narada, the practicing the scale on musical instruments is comparable to emanation and withdrawal of the universe.
Prakrti dve vijaniyath –svara-tantreshu samsthithe / tatrapi cha tayormadhya shadjadi cha nishadakam //
Ya sa prakrti-vijneta Bharatena cha charchita / vikrutich nishadadi shadja-antara-svara puritah //
There are two modes that are known to exist in playing of the Svaras on stringed instruments. Of the two, the playing of the Svaras starting with Shadja and ascending up to Nishada is known as Prakrti (natural), which was practiced by Bharata . In the other mode, the Vikrti (modified) the Svaras start with Nishadha and moves on to Shadja in order to complete the scale.
Narada explains that Shadja is the first important note holding more ministers (samvadi notes), hence it gets a grama on its name. Madhyama is a note which cannot be omitted in any Grama, so it also holds a grama. About Ga he says that it is born in heaven, used by divine beings, thus indisputable. (There seems to be a pun on the term. Here, Grama is a technical term; and grama is village).
Earlier, Gandharva grama was not defined clearly. Narada in eight Slokas (49-56) gives the names of the Murchanas of Gandharva Grama as : Nandi, Visala, Sumukhi, Chitra, Chitravati, Shukha and Aalapa. Emmie te Nijenhuis explains that according to Narada, Sa and Ma has four Srutis, and Dha three Srutis. He takes one Sruti from Ri and Ma each and allocates them to Ga, which normally has two Srutis only. Thus, Ri has two Srutis, Ma has three Srutis, Ga has four Srutis. Narada says that Ni takes one Sruti from Pa, which has four Srutis. Sa has only three Srutis.
Further Emmie te Nijenhuis explains : In the description of Shadja and Madhyama Gramas, Narada follows the general order accepted by all, i.e. Shadja Grama (4,3,2,4,4,3,2 Srutis); Madhyama Grama (4,3,2,4,3,4,2 Srutis). Narada also confirms that in Shadja grama, Shadja is in consonance with both Madhyama and Pancama. In the same way, in Madhyama Grama, Pancama is the consonant to Dhaivata and Rishabha. Narada again mentions that Panchama has only three Srutis, while Dhaivata of Madhyama Grama gains one Sruti and has four Srutis.
As regards the Ragas, Narada introduces the concept of identifying the proper hour of the day for rendering certain Ragas.
Narada, in the third khand of the chapter Sangeetadhyaya of his Sangeet Makranda, categorized ragas according to the suryansh (solar) and chandransh (lunar) groups, i.e. sun- and moon-based ragas. He further says –
evam kalavidhin gyatva gayedhyaha sa sukhi bhavet || ragavelapraganen raganan hinsako bhavet | yaha shrinoti sa daridri ayurnashyati sarvada
[ Translation: One who sings the raga-s according to their designated times, attains peace and prosperity. The raga-s themselves shall become violent and lose their attraction if sung off their times. Such (singers) become poor and live a short life ]
A significant feature of the work is the system of classifying six Ragas as male and six Raginis as female , thus forming six cohesive families, raga-parivara. In a particular season, one designated Raga is to be sung along with its Ragini and their offspring.
Sangita Makaranda suggests how the Ragas came to be named during different periods in the history of Indian Music. In the period of Natyashastra the Gramas were named after their main Svaras. For instance; Shadava was named after Sha; Madhya Grama after Ma; and, Gandharva after Ga.
In the second stage, it says, the Ragas came to named after the names of tribes (Janapada). For instance; Raga Abhiri was named after Abhira tribe, Raga Saviri after Savara tribe; Pulinda Raga after Pulinda tribe and so on.
In the third stage, Ragas were named after the regions (Desha). For instance Surati or Surat Malhar was named after Saurastra region; Sindu Bhiravi after Sindu Desha; Karnati after Karnataka; Kambhoji after Kambhoja Desha etc.
Sangita Makaranda has seven sections: Naada, Sruti, Svara, Raga, Veena, Taala, Nartana, etc. Many types of instruments are mentioned – including nineteen types of Veena – kachchapi, kubjika, chitra, parivadini, jaya, ghosavati, jyeshta, nakuli, mahati, vaishnavi, brahmi, raudri, ravani, sarasvati, kinnari, saurandri, ghosaka etc.
It also lists 22 Srutis and their names. The Srutis are divided into five classes : (1) Dipta (dazzling) –Tivra,Raudri, Vajrica and Ugra; (2) Ayata (vast oe expansive) – Kumudvathi, Krodha ,Prasarini, Sandipini, and Rohini; (3) Karuna (compassion) –Dayavathi, Alapini and Madanti; (4) Mrudu (tender) –Manda , Ratika,Priti and Ksiti; and (5) Madhya (moderate) –Chandovathi, Ranjani, Marjani , Raktiki, Ramya and Ksobini.
[Ref: http://www.natyam.ru/index.html#music Natalie Savelyeva]
Manasollasa (also called Abhjilashitarta Chintamani) ascribed to the Kalyana Chalukya King Someshwara III (1127-1139 AD) is an encyclopedic work, written in Sanskrit, covering a wide variety of subjects ranging from the means of acquiring a kingdom, methods of establishing it, to medicine, magic, veterinary science, valuation of precious stones , fortifications, painting , art, games , amusements , culinary art and so on . It provides valuable information on life of those times. It is also of historical importance as it gives the geographical description of Karnataka of 12th century and details of its people.
The work is divided into five sections called Vimsathis because each contains twenty Adhyayas (chapters) . The book is thus a tome of 100 chapters. Each chapter is dedicated to a specific topic. The five Vimsathis are: the Rajya Prakarana; Prapta Rajya ; Sthairikarana; Upabhoga; Vinoda and Kreeda.
The subject of Music is covered under two sections Geeta Vinoda and Vadya Vinoda, which come under the Vinoda Vimsathi.
As regards the topics related to Music, Manasollasa it comments upon the desired qualities of a singer, voice culture, ways of elaborating a song etc besides clearly stating the structure and the components of a class of Music called Prabandha which dominated Indian Music till about the end of 17th century.
He describes two schools of music – Karnata and Andhra; and, remakes Karnata is the older form. This, perhaps, is the earliest work where the name Karnataka Sangita first appears (Musical Musings: Selected Essays – Page 46 )
Manasollasa classifies Ragas as Shuddha , Gauda , Sadharana etc. Some of the Ragas are named after the region they are associated, such as Turki –Todi etc. It about fifty-one Ragas, and thirty-one types of Taalas. And, it offers views and comments on, Alapana, Gamaka , a composer etc. It also mentions how the listening audience should behave and interact to music.
Manasollasa defines chaste Music as that which educates (Shikshartham), entertains (Vinodartham), delights (Moda Sadanam) and liberates (Moksha Sadanam) – Shikshartham Vinodartham Cha, Moda Sadanam, Moksha Sadanam Cha. I reckon, this by any standard, is a great definition of Classical Music.
Such Music, he says, should be a spontaneous source of pleasure (nirantara rasodaram ), presenting varied bhavas or modes of expressions (nana- bhaava vibhaavitam) and should be pleasant on the ears (shravyam) .
It says, “One should sing of the manifestations of God like Vishnu and Siva. Out of desire for wealth or honour, one should sing of ordinary mortals; if he sings of them, he is to be condemned”.
It lists seven qualities of a singer: Shaariram (Voice); Dhwani (tonal quality and suggestion in the voice); Medha (learned both in lakshya and lakshana); Praudi (maturity or expertise); Gamaka Kaushalam (skill in adorning the music with graces) ; Taala gnanam (sense of Taala and understanding rhythm) ; and, Nirbhayata (self-confidence, fearlessness).
Someshwara lists five qualities (Guna) of a good voice as : Madhurya (sweetness) ; Snigdha( possessing high quality and sweetness even in high octaves); Ghana ( rich and resonant) ; Svaraka ( clear voice that can carry over to distances) ; and, Swanaka ( in which all the beautiful qualities are combined).
Madhurya (sweetness) is the quality of sound that is sweet, melodious as that of Veena and Vamsi (flute) , matching that of a Cuckoo‘s sound .
(Venuvinasamo nado yuktosou Avanirisyate I Kokilasavam sankasou madhuradva nirucyate)
Snigdha is very melodious in the high octave and possessing all the beautiful features
(Uccaisthannepi yah sravyah snigdhadhavni rasou matah)
Ghana is the rich and resonant tonal quality.
(Aksaso nibido yasthui ghanasou dhavaniriritah)
Sravaka is the clarity and loudness that can be heard from a long distance without losing sweetness or Madhurya.
(Durastah sruyate yastu sandhra madhyesthithopi va Madhuryadigunopeto Sravako dhvaniriritah)
Swanaka is the comprehensive quality that is considered very important and best among the qualities (dhvani-nam-uttamh). It is the sound which is very melodious in the high octave and possesses all the beautiful features described earlier.
(Uccasvanepi yah Sravyah sobhano laknanvitah Dhvaninamuamah prokto dhvani-svanaka-sobhanah)
The composers (Vak-geya-kara) are classified into three classes: the lowest is the lyricist; the second is one who sets to tune songs of others; and, the highest is one who is Dhatu Mathu Kriyakari –who writes the lyrics (Mathu), sets them to music (Dhatu) and ably presents (Kriyakari) his composition.
The work has clear instructions on how the musicians should be placed on the dais. The Vaggeyakara should be seated in front with assisting male singers on either side. Flautists and female vocalists should be in a middle row and the drummers seated behind. (This makes a good arrangement for blending and balancing the deep voices, the shrill flute and high female voices and the resounding drums.)
Manasollasa makes a very interesting comment on the role of the organizer of the Music-meet. It says that the Sabhapathi, the organizer or the host should have good knowledge of Music and Shastras . He should be physically fit, mentally sound and must be in a tranquil frame of mind. He can afford to sit and enjoy music only after he fulfilled all his responsibilities and duties.
The work also suggests that the audience must be youthful in its frame of mind to be able to appreciate music .
King Someshwara was himself and accomplished musician and a gifted composer He is said to have composed in varied song-formats such as : Vrtta, Tripadi, Jayamalika, Swaraartha, Raga Kadambaka, Stava Manjari-, Charya and so on. He composed Varnas, Satpadis and Kandas in Kannada language . In addition he compiled Kannada folk songs relating to harvest season , love , separation ( in Tripadi); marriage-songs (in Dhavala); festival and celebration songs (Mangala); marching soldiers (Raahadi); and Sheppard-songs (Dandi).
Later musicologists Parsvadeva and Sarangadeva quote from Manasollasa quite often.
6.Sangita-cudamani of Kavi Cakravarthi Jagadekamalla
Sangita-Cudamani of Jagadekamalla (1138 to 1150 AD ) – son of king Someshwara , author of Manasollasa – covers many topics related to music , such as : Alapana and Gamaka; the desired qualities of a singer, of a composer; the voice culture; design of the auditorium, and so on .Its author who is also known as Pratapa Prithivibhuja. Jagadekamalla the king of Kalyan .
Parsvadeva followed the work of Jagadekamalla on subjects like ragas, Prabandhas, etc. Sarangadeva too mentions him with respect.
7.Sangita Samayasara of Parsvadeva
The author of Sangita Samayasara, Prasavadeva was a Jain Acharya of 12th or early 13th century, who was widely acclaimed for his musical knowledge; and was honored with the title Sangita-aakara (ocean of music).
He was said to be the son of Adideva and Gauri. His Guru was Sri Mahadeva Arya who was the disciple of Abhayachandra Muni
The date of the author is uncertain. But, since he refers to Bhoja (1010-1050 A.D), Somesvara (about 1131 A.D.), and Paramard (about 1165 A.D.) it is surmised that Parsvadeva’s time might be 12th or early 13th century.
Parsvadeva, in his work, quotes frequently many ancient authors such as Kasyapa, Yastika, Kohala, Tumburu, Dattila, Anjaneya, Matanga; in addition to his predecessors such as : Raja Bhoja, King Somesvara (author of Manasollasa and Jagadekamalla (the son of King Somesvara ) whom he mentions as Pratapa Prithivibhuja. And, among the later authors who quote Parsvadeva, Sarangadeva is prominent.
Though Sangita Samayasara is in Sanskrit , it contains many words of` local language of Maharashtra origin suggesting that Parsvadeva might have been residing in a place where Marathi was the language of the common people. (e.g. thaya, Chitta ce thaya phella phelli, joda ce thaya).
The Sangita Samayasara might be taken as the earliest contribution of a Jain author dedicated to Desi Sangita (vocal, instrumental music and dance). And, The Sangita Samayasara along with Manasollasa are the two earliest works that recognize and treat Music and Dance as two separate art-forms.
The text pays enormous importance to Desi Music and Desi Dance in contrast to Marga class of Music and Dance. Therefore, its emphasis is on Desi Music and Desi Dance.
This text discusses Sangita that is, Gita (vocal music), Vadya (instrumental music) and Nrtta and Nrtya (dance). The text elaborately discusses theory of Music and various topics relating to Nada (sound), Dhvani (pitch), Shaarira ( resonating musical voice) , Gita (song), Alapti (free flowing elaboration of Raga) , Sthaya (phrases), Varna ( lines) , Taala (rhythm) and Alamkara (ornamentation) . It is said; Prasavadeva explained Gamaka as: “When a note produces the color of Sruthis other than those which are its own, it is known as Gamaka.”
Parsvadeva states that Alapti is of two types Raga and Rupaka. While Raga-Alapi is Anibaddha (unrestrained or unbound), Rupaka-Alapi is rendered within the framework of Raga and Taala. Yet Rupaka-Alapi allows scope for expansion or improvisation. ( Elaborate distinctions of the two are given. These are almost the same in Parsvadeva’s Sangita Samayasara and Sarangadeva’s Sangita-Ratnakara. Some say, Sarangadeva adopted it from Prasavadeva.)
According to Parsvadeva, Raga-Alapi ( which is similar to Alapana of present-day) is presented in four stages or Svara-sthanas. (1) The Svara on which the Raga commences or is established is Sthayi. The fourth Svara from Sthayi is Dvya-ardha, which is the half-way from the starting Svara. Sounding of the Svara just below it is Mukha-chala. This is the first Svara-sthana. (2) The second Svara-sthana comprises sounding of the Dvya-ardha and returning to Sthayi. The eighth Svara from Sthayi is double the pitch (Sruti). The Svaras in between Dvy-ardha and the eighth Svara are Ardha-sthita Svaras.(3) The rendering of Ardha-sthita and return is the third Svara-sthana. (4) And, rendering of the eighth and returning to the Sthayi as the ending note Nyasa, is the fourth Svara-sthana.
The rendering of the four Svara-sthanas followed by Sthapana or the concluding part constitutes rendering of Raga-Alapi. This is done in small measures of Sthaya.
As regards the Rupaka-Alapi, it is rendered in two stages. If after rendering Raga-Alapi, the Rupaka-Alapi is taken up, it is then called Prati-grahanika (lit. to take up). And, if it is broken again it is called Bhanjani (lit. to break).
Bhanjani is, again, in two stages: Sthaya (after rendering Raga-Alapi) and Rupaka (during the singing of composition).
When a Sthaya (phrase) from Rupaka (composition) is presented in various ways with Taala, it is known as Sthaya-Bhanjani. And, if the whole composition is rendered in different ways with Taala, it is called Rupaka-Bhanjani. (These are perhaps the origins of the present-day Pallavi and Neraval).
Gamaka is explained as: “When a Svara produces the colour of Sruthis other than those which are its own, it is known as Gamaka.”
A Svara technique that emphasizes the significant characteristic of a Raga is called Kaku. Parsvadeva’s Sangita Samayasara describes six kinds of Kakus – 1. Raga-Kaku is the essential splendor of a raga; 2. Svara-Kaku is the embellishment of a Raga is shading of its Mukhya Svara through Gamakas ; 3.Desa- Kaku is the introduction of folk and regional inflections into the Raga, giving it a novel and rich form; 4.Anya Raga Kaku is the contrasting quality achieved by introducing Graha-Bheda techniques or bhavas of other Ragas; 5. Kshetra Kaku emphasizes all the rules of the Raga in various combinations; 6. Vadya Kaku is the technique of bringing an instrumental quality into the vocal expression of Ragas.
Parsvadeva, the great Sangita-laksankara considers the following five qualities as merits (Guna) of the voice: Madhuryam (sweetness), Sravakartvam (loudness or clarity in voice), Snigdha (not harsh even the high octave), Ghanata (richness), and, sthana-katria-sobha (pleasant in all the three Sthana).
(Madhuryam guna samyukte kanthe syanmadhuro dhvanih)
The sound which comes out from the throat must be sweet and this quality is described as madhura. The audibility of the voice depends upon the carrying power of loudness and this is known as ―Sravakara.
Snigdha is defined as that which is not unpleasant even in singing the high notes and has fluency in producing the notes of the high octave.
(Snigdhakanthe dhvani-sthao-apvaruksah saraso bavet)
Ghanata is the voice which is pleasant, full and rich
(Kanthe tristhanasobhesyat tristhane Madura dhvanih)
The voice should be sthana-katroya-sobha– Excellent in all the three Sthanas-Mandra, Madya, and Taara.
Apart from Gunas (qualities) Parsvadeva also lists Dosha (defects) in voice, as: Kheti (phlegm); Kheni (inflexible voice unable to produce what is intend); and, Bhagnasaba (broken voice without any continuity, like that of monkeys and camels)
Chapter wise contents of the work:
Sangita-Samayasara has ten Adhikaras (chapters) with 1400 verses work establishes the importance of Desi music (vocal and instrumental) and dance. It deals with dance, instrumental and vocal music of musicology and musical traditions prevalent during its time.
The work is in nine chapters and for the most part it is devoted to vocal and instrumental music. The seventh chapter and the last part of the eighth are of interest to the study of Desi dance. Some editions carry a Tenth Chapter which contains an incomplete discussion on Taala (already described earlier in 8th chapter); and, it seems to be a later interpolation by some unknown person.
First chapter begins with salutation to Lord Vasudeva followed by a brief description of ancient Marga or Margi music. The chapter comprises a short definition of some terms of Margi music such as Sthanas (registers), Sruti (micro tones), Svaras (notes), Grama-Murchanas (scales), Taanas (half scales), Jatis, Grama ragas (melody types) and Gitakas (song forms). It also talks, in general, about Nada (sound), Dhvani (pitch), Sarira (resonating voice), Gita (vocal songs), Varna (melodic line) and Alamkara (ornamentation)
Second chapter deals with the Desi music which was prevalent at that period. Parsvadeva gives a brief account of the formation of human embryo as it is the origin of the sound (human voice).
Third chapter is an important chapter which deals with the Thayas, (Various types of phrases formed with a group of notes) the essential ingredients used in Alapti (elaboration of melody types).The types of Alaptis are briefly defined
Fourth chapter is on Ragas, their classification and description.
Fifth chapter deals with the Nibaddha Sangita (structured or pre composed music). It is a long chapter discusses classification of Prabandhas. Parsvadeva discusses only the Suda Prabandhas.
Sixth chapter relates to Music Instruments, their classification and playing techniques with illustrations.
Seventh chapter describes aspects of Desi types of Nrtya (dance); and it is a very lengthy Chapter.
It is not until the Sangita Samayasara that we find any description of a complete dance. This text not only describes specific dance pieces but also adds a number of new movements of the Cari, the sthana and the karanas of the Desi variety, all of which involve complicated leaping movements.
In the beginning of his chapter on dancing, Parsvadeva mentions two kinds of presentation, Nrtta and Natya. He states that he is going to describe only Angika or body movements, a class of movements that is of particular relevance for Nrtta. When he finishes describing these movements, he proceeds to describe modes of presentation, and finally to fully composed dance pieces. Such pieces he calls Desi-Nrtya.
The seventh chapter is devoted entirely to Desi dance, which is referred to as Nrtta, its definition and the body movements (Angika) . Like Bharatha, Parsvadeva divides body parts into two: Anga and Upanga. He counts all the movements of the different parts of the body and the karanas and angaharas following Bharatha. But while describing them he does not discuss the Cari, Sthana, Karana or Angahara as in Bharatha tradition; but, he follows the Desi tradition. He describes the forms of Desi-Nrtyas which, according to him, consist of Perana, Pekkhana, Gundali and Dandarasa. He then discusses the Sthanas and Caris needed for these Desi dances. He uses the term Pala for cari, a term not found in any other text.
Next, the author describes the utplatti-karanas, also needed for the Desi dances, eleven Desi karanas with different Desi-sthanas, and five Bhramaris; and he then moves on to describing the Angas or features of Desi dances, calling them Desiya-Angani. Jaya, the later author, combines these Desi Angas and the Angas of Lasya into one category called Desi-Lasyas. After describing the Desi Angas, Parsvadeva describes the Angas or parts of Perana.
Finally, he discusses the instrumental music, drumming in particular, needed for four kinds of Desi dances, namely, Perana, Pekkhana, Gundali and Dandarasa. The requirements of a good dancer, her physical appearance and the way she should be dressed are also described towards the end of the seventh chapter.
Eighth chapter gives a brief description of Taala (rhythmic pattern and its varieties, both Marga and Desi.
Ninth chapter, titled as Vada nirnaya (judgment of elocution contest). It is a unique and a unusual topic dealt extensively. It discusses the sitting arrangements, the qualifications of the audience, the poets, the singers, the dancers, the qualities and faults of a singer, drummers and their qualities and faults and those of the dancers of each type of Desi dance. The author warns against making dance and music subjects of gambling matches and ends the text by saying that music leads to Moksha or liberation.
[Ref: The Evolution of Classical Indian Dance Literature: A Study of the Sanskritic Tradition by Mandakranta Bose; The Shaping of an Ideal Carnatic Musician Through Sādhana By Dr. Pantula Rama; and Sri Parsvadeva’s Sangitasamayasara Text with English Translation and Commentary by Dr. M. Vijaylakshmi.]
Continued in Next Part
Lakshana Granthas –Continued