RSS

Tag Archives: Ramamatya

Music of India – a brief outline – Part Eighteen

Continued from Part Seventeen – Lakshana Granthas– Continued

Part Eighteen (of 22 ) – Lakshana Granthas – Continued

12 . Samgita Parijata pravashika by Ahobala Pandita  

Ahobala Pandita’s   Samgita Parijata pravashika (17th century) that follows the works of Pundarika Vittala is the other significant text that introduces the elements of South Indian music in the North. And, it is regarded by some as the earliest text of the North Indian Music.

Pandit V. N. Bhatkhande in his ‘A Short Historical Survey of the Music of Upper India’ writing about Ahobala and his Sangita Parijata described it as the most popular Sanskrit work of Northern India. The importance of Sangita Parijata again, I believe, can never be exaggerated. It is one of our great landmarks in the history of Northern Music. The Shuddha scale of Sangita Parijata is the same as that of our modern Kaphi Raga. This scale will correspond with the southern scale Kharaharapriya.

Pandita Ahobala who described himself as a Dravida Brahmana, the son of Samskrita Vidwamsa Sri Krishna Pandita, provides valuable information on the classification of North Indian Ragas. The Sangita Parijata is regarded as one of the source-books of Hindustani Music.

Ahobala derives his music theories and principles from Raga-tarangini of Lochana Kavi (15th century) and Raga vibodha of Somanatha (1609). The Raga-tarangini written by Lochana Kavi of Mithila discusses in detail several songs in Maithili dialect, set to Ragas and Raginis prevalent during that time. Lochana Kavi in the traditional manner lists 22 Sruti positions.

Following Lochana Kavi, Ahobala mentions 22 Srutis and 122 Ragas. According to Emmie te Nijenhuis; Ahobala listed 11340 Ragas. Following Ramamatya and Pundarika Vittala, Ahobala classified 122 Ragas under six Mela categories and three subdivisions: Audava (pentatonic), Shadava (hexa-tonic) and Sampurna (hepta -tonic). His scale of Shuddha notes corresponds to the current Kafi thath.

And, he describes 122 Ragas in detail mentioning the Svara structure, number of their Svaras, their time of performance and their characteristic melodic phrases. In his descriptions of the Ragas he emphasized the importance of understanding the nature and structure of the Raga. According to him, the movement of different Svaras (Svara-sanchara), as also the different places (Sthana) of the same Svara give each Raga its unique flavour.

[ Prof. O C Ganguly in his Raga and Ragini (Nalanda Books, 1935) remarks:

The most important feature of Sangita-Parijata by Ahobala Pandlta  is the fixing of the exact places of the Shuddha and Vikrta notes in terms of the lengths of the sounding string of the Veena, in the same manner as that of Hrdaya-kautuka of Hrdaya Narayana Deva.

Ahobala does not appeal to give any classification of the Ragas under any types of parent-scale (That) or otherwise, although he claims to describe the ragas according to the characteristics laid down by Hanuman- Laksanani vurve tesam sammatya ca Hantimatah.

But occasional references to Thats seem to indicate, that in his time, classification of Ragas under Thats had become current in the North. He gives a list of 122 ragas, which he describes with accurate notations – Dvavimsatya satam te ca prokta loka-sukhaya ca.

Ahobala Pandlta groups them according to the time and hours (prahara) assigned to their appropriate periods for singmg, dividing them into three groups, for the first, second or third watches, while a string of 19 ragas are grouped together as suitable for all hours (sarvada ca. sukha-prada).]

In his work , he  does not use particular names for the scales , but indicates the alterations (Vikrta Svaras) , flat (Komal) and sharp (Tivra or Tivratara) to be used in particular Ragas. And, the Shuddha scale he refers to is the same as the one in Raga-tarangini of Lochana Kavi. However, Ahobala’s Shuddha (unaltered) notes do not correspond with the notes of the Karnataka Mukhari Mela, but with those of the Hindustani Kafi That.  Ahobala treats Kafi as the principal scale.

[The modern Raga Kafi of the North is equivalent to Kharahara-priya]

[For several centuries the Saptaka that defined by the Svaras of Kafi Raga– and not that of Bilawal – was the Shuddha scale of the Hindustani system.    And, therefore,  Pandit Bhatkhande expresses surprise that post-Lochana, occurrences of Raga Kafi and its Lakshanas are found more in the works of Karnataka Shastras including Venkatamakhin‘s Chatur-Dandi-Prakashika  (17th century ) and Tulaja‘s  Sangeeta Saramrta (18th C), than in their northern counterparts.]

arohi_kafi

avar_kafi

As regards Vikrit Svaras ( the Svaras which when displaced to higher or lower positions from their original positions cause either decrease or increase in the number of Srutis between them and their neighboring Svaras) , Ahobala identifies eight Vikrit Svaras : (1). Purva – Ra – at 5; (2) .Komal –Re- at 6; (3). Purva – Ga- at 7 ; (4). Komal – Ga- at 8; (5) . Purva – Dha- at 18; (6). Komal – Dha- at 19;  (7). Purva – Ni – at 20; and (8). Komal – Ni – at 21.

Ahobala reproduces the ancient theory of 22 Srutis. He states that all these Srutis could be used as notes (Svara) in various Ragas.

Shri TR Srinivasa Ayyangar in his scholarly critical introduction to Samgraha-Chudamani of Govinda remarks that Ahobala Pandita did not divide the 22 Srutis into equal intervals. Instead he recommended application of Shadja-panchama-bhava in fixing the intervals.

Shri Ayyangar quotes Ahobala Pandita:  “Kesagra-vyvadhanena bahvyo pi srytayah Srithah ; Veenayam ca tatha gatre samgita-jnani-nam mate. Madhya purvottara-bhaddha-Vinayam gatra eva va; Shadja-panchama-bhavena srutir dva-vimsatim jaguh”;

And says, with this Ahobala determined the length –value of Svaras on the strings of the Veena. He then names the 22 Sruti positions :  : Chandovathi 1; Dayavathi  256/243; Ranjani 16/15/; Ratika 10/9 ; Raudri 9/8 ; Krodha 32/27; Vajrika 6/5 ; Prasarini 5/4 ; Priti 81/64 ; Marjani 4/3 ; Keiti 45/32 ; Raktha 64/45 ; Samdipani 40/27 ; Alapini 3/2 ; Madanti 128/81 ; Rohini 8/5 ; Ramya 5/3 ; Ugra 27/16 ; Kshobini 16/9; Tivra 9/5; Kumadvathi 15/8 ; Manda 243/128 ; and Chandovathi 2.

[The Shuddha Svaras mentioned above belong to Shadja-Grama]

Although Ahobala recognizes 22 Srutis in the octave, he limits his discussion to 12 in order to describe his Ragas or to illustrate his examples.  He identified the 12 Svaras in terms of the length of the string of the Veena. Ahobala minimized the importance assigned to Srutis or to their numbers by comparing Svaras and Srutis with the snake and its coils, which truly are one but appear distinct only in their outward forms.

In order to determine the exact position on the string of each of these 12 Svaras, he mentions the ratios representing the divisions of the string. Pandit V N Bhatkhande writes:

There is another point on which Ahobala puts the whole musical world of India under his obligation and it is this. Ahobala was the first musician who distinctly saw the absolute necessity of calibrating the value of 12 Svaras in terms of the lengths of the speaking wire of the Veena. It should be noted here that Ahobala thus set an important precedent: not long afterwards, a South Indian  musicologist named Govinda Dikshita fixed the frets of the southern Indian Veena so that all ragas could be played . . . before this, the frets were movable, and their number varied.

Further, Pandit V N Bhatkhande writes: Ahobala Pandita described the octave relation as well as the seven notes and their inter relations, in terms of the string divisions and position of nodes

“The places (nodes) for each note are described on the Veena , which generates the note and which can be seen with the eyes. The nodes for upper Sa  or octave stands at the mid-point of the open wire, and that for Ma ( the fourth) should be taken mid-way between the two – the fundamental and the octave. Dividing the wire-length into three equal parts the Panchama (the fifth ) is obtained at the first division, near the top. The Gandhara (the third) is obtained mid-way between fundamental and its Fifth. The Re (second) is to be placed at the first (of three divisions) between Sa and Pa, while the Dha (the sixth) is to be placed between the Fifth and the octave. In turn , Nishadha is at the end of the second ( of the three divisions) between the Fifth and the Octave “ (In Ranade 1951 :p .177-178)

Ahobala’s descriptions of 68 types of Alamkaras or Vadana-bedha is said to be an improvement over Somanatha’s Raga-vibodha.

There are some often quoted passages of Ahobala Pandita.

: – Samgita in the ancient context was a composite art comprising Gita (singing), Vadya (instruments) and Nrtya (limb movements). It was only much later that Nrtya began to develop independently. And, in Music, Gita (singing) had importance over Vadya (instrumental music); and, instrumental music generally follows the vocal styles and nuances. . Ahobala Pandita   in his Samgita Parijata pravashika (17th century) says it is because of that reason the singing itself came to be known as Samgita (Samgita, Gita-vadhittra nrityanama trayam samgitam uccyate; Ganasytra pradhanatvat samgita mitiriyam).

: – Ahobala describes Mela as a combination of Svaras, and it has a power to create the Ragas. Therefore every Raga has a Mela for its basis or ground of origin – : “Mela svara-samuha syad raga-vyanjana-shaktim

: – His description of Kafi Raga: – arohe ridha-hinanyet pumasuddha svaratyukta gandharasvara purvasyat dhanairui madhyamantak

: – The distinguishing feature, the Lakshana of a Raga is its uniqueness: Asadharana- Dharmita.

 

Ahobala Pandita work not only influenced the music-practice of his times, but also had a great impact on other music-scholars. They all accepted the theory of Ahobala, his measure of 12 Svaras and Kafi Mela as the Shuddha Mela. For instance; following Ahobala Pandita, Hridayanarayana Deva wrote two books on theory (Hridaya Kautuka and Hridaya Prakasha); Bhavabhatta wrote three books (Anupa Sangita Vilasa; Anupankusha; and Anupa Sangita ratnakara); and Srinivasa in 18th century wrote his Raga-tattva-vibodha where both Vikrit and Shuddha Svaras were placed by measuring the length of the wire on the Veena, following the method of Ahobala Pandita. He accepted the 12 notes of Ahobala and Kafi Mela as the Shuddha Mela.

As can be seen; the 16th and 17th centuries were of great importance for Music-texts of India. Several important texts touching upon the Music of North India were also written during this period. Of these, the Raga-tarangini of Lochana Kavi; Sad-raga-chandrodaya and other works of Pundarika Vittala; Hrdaya-kautaka and Hrdaya-prakasha of Hrdaya–Narayana Deva (Ca.1660) and Sangita-parijata of Ahobala (Ca.1665) are considered important for their bearing on the present day music.

Ahobala Pandita‘s work Samgita Parijata pravashika earned great fame as a landmark text in the North Indian Music history.   Pandit Bhatkhande writes: While considering the history of music in the time of this Emperor – Shahjahan – (1627-1658 A.D.) it will be most convenient to take notice of that most popular Sanskrit work of Northern India which is known as Sangita-Parijata. It was written by Pandit Ahobala the son of Shri Krishna.

It is not therefore surprising that Samgita Parijata pravashika was translated into Persian and other Northern languages. The more notable ones are its Persian translations; one by Mirza Raushan Zamir (1666) as Tarjuma -i- parijatak, with his own comments ; and the other by Pandit Dinanatha ( son of Pandit Vasudeva) in 1724. The translation bearing the seal of the librarian of Emperor Mohamed Shah (1719-1724) is  said to be still in the collection of the Rampur State Library. 

Katherine Butler Schofield, King’s College London, based on  the works of Ahobala Pandta, Mirza Raushan Zamir, Iwaz Muhammad Kamilkhani , Ras Baras Khan, and Shaikh Abd al-Karim , has re-worked, on the string of the Been,   the scales of Hindustani Rāgas, according to Pythagorean ratios.

ahobala music

 

[ Ref  and sources : Semiosis in Hindustani Music by José Luiz Martinez ;  A Short Historical Survey of the Music of Upper India by Pandit v. N. Bhatkhande ;  Bhatkhande’s  Contribution to Music: A Historical Perspective by Sobhana Nayar; Musicological Literature by Emmie te Nijenhui ]

kaafi

13. Govinda Dikshita – Sangita-sudha

govinda dikshitaGovinda Dikshita, a musician and a Kannada  speaking (Hoysala Karnataka Brahmin) scholar, philosopher, statesman and musicologist hailing from Mysore, served as a Minister of three successive  Kings of Thanjavuru, Achyutappa Nayaka (1560 AD-1614 AD), Raghunatha Nayaka (1600 AD-1645 AD) and Vijayaraghava Nayaka (1634 AD-1673 AD) , all of whom patronized Karnataka Samgita . Govinda Dikshita’s two sons Yagnanarayana Dikshita and Venkatershwara Dikshita or Venkatamakhin were both scholar- musicians.  All the three were in the service of the Kings of Tanjore.

Govinda Dikshita’s fame rests on the treatise on music and dance named Sangita-sudha which he wrote in 1614. The work may originally have had seven chapters (1.Svara; 2.Raga; 3.Prakirna; 4.Prabandha; 5. Taala; 6. Vadya; and, 7. Nartana). But, all available manuscripts contain only the first four Chapters. Govinda Dikshita in his work generally followed the model of Sarangadeva’s Sangita Ratnakara.

The colophon of the text implicitly states that it was written by Raghunatha Bhupa – Sri Raghunatha bhupa viracita Sangeetha Sudha“.  But, Venkatamakhin asserts that the text was , in fact, written by his father Govinda Dikshita ;and , submitted to his patron Raghunatha Nayaka.  In any case, the text is of great value to students of Karnataka Sangita; and, the introductory part of the text is an authentic source of the history of art and architecture of the age.

Sangita-sudha is an elaborate treatise, and treats of the Raga systems quite fully. The descriptions of the jati-ragas, including the composite jati-melodies, are illustrated with actual songs, with notations. Govinda Dikshita gives to the Suddha-jatis a picturesque name, viz Kapalani (skulls), associating their origin with Shiva, as he went about in his begging role (Bhiksatana vesa) with the skull as his begging bowl.

Improving on Matanga , he also takes for detailed elaboration ten main types of Ragas, classifying under them thirty Grama-ragas, eight Upa-ragas, twenty Upanga-ragas, ninety six Bhasha-ragas,   twenty Vibhasha-ragas, four Antarbhasha-ragas, twenty one Raganga-ragas, twenty Bhashanga-ragas, thirty Upanga-ragas, and fifteen Kriyanga-ragas. He also explains the concept of Alapana, the ways of elaborating a Raga.

[ Prof. O C Ganguly in his Raga and Ragini (Nalanda Books, 1935) remarks:

 While Svara-kala-nidhi cites 20 melas, (generic melodies which unify the derivatives under a genus-species system), Raga-vibodha cites 23 mela-karta ragas; by the time of Govinda Dikshita, 72 melas had been evolved. Though the system of Melakartas had been in existence before, Dikshiat gives it an emphatic status, and appears to have codified it, and given it a proper name, calling it, after the name of his patron, as ‘Raghuniitha-mela’. The author is said to have introduced some new ragas, e.g., Jayanta-sena and others.]

Govinda Dikshita in his Sangita-sudha confirms that the method grouping the Ragas into Mela was initiated by Sage Sri Vidyaranya in his Sangita-sara (14th century). Govinda Dikshita reverently addresses Sri Vidyaranya as: Sri Charana. According to Govinda Dikshita, Sri Vidyaranya classified about 50 Ragas into 15 groups (Mela) – commencing from Naata  and ending with Desaksi. The intention was to organize then known Ragas that were in practice.

Apart from writing, Govinda Dikshita improved upon the techniques of Veena tuning initiated by Somanatha and Ramamatya. He followed the illustrations given by Ahobala Pandita in fixing the position of the frets on the Veena so that all the Ragas could be played. (Before that, it appears, the frets were movable and their numbers varied).It is said; that his sons Venkatamakhin and Yajnanarayana Dikshita were also involved in his work.

Venkatamakhin informs that during those days, besides the common Shuddha and Madhya-mela Veena described by Ramamatya, there was also a Veena with a higher tuning, i.e. a fourth higher than the Madhya-mela Veena and comparable to the Madhyama Sruti tuning of the modern Karnataka Veena. It was named by Govinda Dikshita as Raghunatha Mela Veena, in honor of the King.

In the beginning of 17th Century, Somanatha’s Raga Vibodha, Ramamatya’s Svara-mela-kalanidhi and Govinda Dikshita’s Sangita-sudha were regarded as standard theoretical texts (Lakshana granthas) on Music. Some, therefore, look upon Somanatha, Ramamatya, and Govinda Dikshita as the Trio of Lakshanakara-s (theoreticians) of Karnataka Sangita theory (Sangita Shastra).

In the latter half of 17th Century, Govinda Dikshita’s son Venkatamakhin appeared on the scene with his monumental work Chatur-Dandi-Prakashika , suggesting the possibilities of the 72 Mela scheme, footing the Mela-Janya system on a rational basis. One could say that Govinda Dikshita and Venkatamakhin are to musicology what Ramaswamy Dikshitar and Mutthuswamy Dikshitar are to musical compositions.

Coin of the Nayak period With Govinda Dikshita's name on it.  Photo From the collection of T.M. Krishna

Govinda Dikshita‘s role in persevering and nurturing Karnataka Samgita is of historical importance. 

With the fall of the Vijayanagar Empire, scores of musicians and scholars migrated to the Tanjore region, seeking shelter and royal patronage. The kingdom of Tanjore of the Nayaka period (1530 -1674) was relatively safe, prosperous and a benign region of peace. The three Nayaka kings of this period – Achutappa (1560 -1614); Raghunatha (1600-1645); and, Vijayaraghava (1634-1673) Nayaka – were themselves the descendants of the erstwhile Vijayanagar Royalty.

It was during the reign of Achutappa Nayaka (1560 -1614) that the initial wave of immigrants from the Kannada region were granted asylum and resettled, mainly, in Unnatha-puri (Atchutapuram or Melattur) region. It was Govinda Dikshita, who himself was from Karnataka, that oversaw the arrangements for resettlement of the families, on behalf of Achutappa Nayaka.

It is said; Govinda Dikshita caused the renovation and extension of the Unnatha-puri-eswara temple; construction of a pond in front of it ; and,  formation of various Agraharams (residential quarters) around it. The temple tank was duly named after Govinda Dikshita as ‘Ayyan Kolam’.

Even though their reign was dotted with many wars with various other local rulers and later overtures by the English, the Nayaks of Tanjore provided unstinted support to the music and dance forms of the region; and , remained great lovers and patrons of art and literature. Their courts supported many a composer and musician and we see the results from the prodigious output of the famous trilogy of Thyagaraja, Shyama Shastri and Dikshitar.

Thus , it could be said , Govinda Dikshita played a significant role in shifting the centre of Karnataka Samgita from Vijayanagar to Tanjore.

Govinda Dikshita continued to be a minister in his court of Raghunatha Nayaka, as well. It is said; it was during this period that Govinda Dikshita composed the Sanskrit treatise on music, Sangita Sudha; and, ascribed it to his patron Raghunatha  

During his lifetime and even after, Govinda Dikshita was a highly respected person. He was affectionately called ‘Ayyan’. Later in his life, he is believed to have lived at Patteeswaram where he caused the renovation of the Devi temple. The sculptural images of Govinda Dikshita and his wife Nagamba standing in front of the deity with folded hands can be seen in the Mantap of the temple.

Govinda_dikshitar

The presiding deity of the temple at Patteeswaram, the Lingam, is called ‘Govinda Dikshita Lingam’. The villages around the town he lived were named; Govindapuram, Ayyampettai etc in his honor.

veena_23140

[Ref: Musicological Literature by Emmie te Nijenhui; Wikipedia]

All pictures are gratefully  taken from internet

Continued 

in Part

Nineteen

 
Leave a comment

Posted by on June 10, 2015 in Music, Sangita

 

Tags: , , , , , , , , , , , , ,

Music of India – a brief outline – Part Seventeen

Continued from Part Sixteen – Lakshana Granthas– Continued

Part Seventeen (of 22 ) – Lakshana Granthas – Continued

10. Pundarika Vittala

Perhaps the first Musicologist who applied Ramamatya’s system of 19 Mela (basic scales) to North Indian Music was Pundarika Vittala (16th century).

Till about the late 16th century both the South and North traditions followed the same set of texts.  Then, Pundarika Vittala a musician-scholar from Karnataka  , Karnata Desiya , (from Sathanur , around Shivaganga Hills about 50 KMs from Bangalore), of Jamadagni gotra, who settled down in the North under the patronage of Muslim King Burhan Khan  in Anandavalli  (near Nasik) in the district of Khandesh, wrote a series of books concerning Music of North India.

(Karnate Shivaganga abhidana giri nikate, Satanur-hrudaye yo gramasta janma pravarasunikarath Jamadagni yo asmita vamsa)

While in Anandavalli during 1560-1570, Pundarika Vittala wrote his famous Sad-raga-chandodaya having three Chapters: Svara-prasada, Svara-mela prasada, and Aalapi-prasada.  In this text, he introduced Ramamatya’s Mela system to the North Indian Music. He almost adopted Ramamatya’s 19 Mela (as in Svara-mela-kalanidhi)   . But, he changed the names and scales of several Melas.

Of the 19 Melas listed by Pundarika Vittala, 11 are identical with those mentioned by Ramamatya:  Mukhari, Malavagaula, Sri, Shuddhanata, Desaksi, Karnatagaula, Kedaragaula, Abhiri, Shuddhavarali, Shuddharamakri and Nadanamakri.

AS regards the other eight Melas either their notes are different or their names as well as their names are different (few of them have only one note different).  For instance; Ramamatya‘s Hejuri becomes Pundarika’s Hijeja; Similarly Vasanthabhairavi becomes Todi, and Saranganata becomes Saranga.

The Hindola Mela is entirely different in both the systems.

In his Sad-raga-chandodaya, Pundarika Vittala says that due to different application of a Svara in different Ragas, different Sthana (positions) of the same Svara in different ragas occurs. He further says that it is important to know the exact structure of Raga,

Later, when he moved to the court of the Prince Madhavasimha and Manasimha who ruled from Jaipur as the feudatory of Akbar, Pundarika Vittala wrote Raga Manjari. In his writings, Pundarika Vittala carried forward the work of Gopala Nayaka (14th century) of grafting Karnataka music on to the newly evolving North Indian music.  Raga Manjari shows a further leaning towards North Indian Music, although the set of twenty Melas is the same as in his earlier Sad-raga-chandrodaya. He adopts the typical North Indian classification of Ragas as: Male (Purusha), female (Stri) and infant (Putra) Ragas. However, in both these works as well as in the third treatise named Ragamala written in 1576 (which he says was written for one Kapila muni- Srimath Kapilamuniyarthe  kriyate Raga –maalikah) , Pundarika Vittala uses for his Shuddha scales, the notes of the South Indian Mela Mukhari 0r Kanakangi scale .

According to the great  Scholar Pandit VN Bhatkhande, : The Ragamala distinctly shows that Pundarika Vittala had come into contact with the music and musicians of North India ,perhaps   in  Delhi or Agra, because the names of Ragas  he mentions , like Chaiiri, Gowdi, Musali, Iraq, Bakharej, Yemen, Husaini, and Tirban distinctly belong to that region.

[Prof. O C Ganguly in his Raga and Ragini (Nalanda Books, 1935; pages 54-57)  and also Chapter II Pundarika Vittala of Shodhganga   ( which is a part of  a thesis titled – The Study of Pundarika Vittala’s Treatises with Reference to the Systems of Raga Classification in Post Ratnakara Period by  Dr.Padma Rajagopal) give details of the three works that Pundarika Vittala wrote under the auspices of three successive royal patrons: (1) Sadraga-candrodaya written under the service of the Faroqi Prince Burhan Khan of Khandesh; (2) Ragamala, written probably under the patronage of the Jaipur prmces, Madho Singh and Man Singh Kacchwas; and, (3) Ragamanjari, probably composed under the patronage of Raja Mansingh Kacchwa

1. Sadraga Chandrodaya

The first one Sadraga-candrodaya was written some time between 1562 and 1599 under the service of the Faroqi Prince Burhan Khan of Khandesh which was incorporated in the Mughal empire after the seige of Asirgarh in 1599.

It is a very extensive text covering almost all the aspects of Music . It is spread over three Chapters ( Prasada) , titled as : Svara Prasada; Svara Mela Prasada; and, Alapti Prasada.

In the first chapter (Svara Prasada) Pundarika briefly describes the music-terms , such as  Nada, Sruti, Svara (defines suddha, vikruta, vadi, samvadi etc),  Grama, Murhcana, Tana prastara etc.. He also briefly discusses about graha, amsa, nyasa, apanyasa vidari, sadja as universal graha. Then he takes up various alankaras, sthaya, aroha, avaroha varieties of alankaras, etc.,

The second chapter, Svara Mela Prasada, has two sub-sections. In the first  (Svara prakarana ) Pundarika discusses about arrangement of frets on theVeena; and then, in the second section (Mela prakarana )  he takes up the description of Mela formation (paryayavriti) and number of melas formed when two, three, four and five svaras are made vikruti (mela prastara) totaling 90 melas.  In the Mela prakarana, he provides a list of 19 Melas   and their deravatives. For more on that – please click here.

In the third chapter – Alapti Prasada – Pundarika,  first describes different types of Gamakas totaling 15; and , then dicusses different varieties of sthayas and alapti, when playing of a raga on Veena.

 In this work, Pundarika deals with both the Southern and Northern systems of ragas and classifies them under nineteen Thats or parent scale, viz.: Mukhari, Malava-gaula, Sri, Suddha-natta, Desaki, Karnata-gauda, Kedara, Hijeja, Hamir, Kamode, Todi, Abhiri, Suddha-varati, Suddha-ramakri, Devakri, Saranga, Kalyana, Hindola and Nada-Ramakri. Out of these nineteen original (Mela) ragas, he attrIbutes to five of them their respective derivative forms (janya-raga).

Dr. Padma Rajagopal observes:

In Sadraga Chandrodaya he gave only 19 melas his explanations resemble those of Ramamatya, but only the names of the svaras differed. For example, Pundarika Vittala  explains the raga Kamata Gauia’s svaras as after Sa, the first svara occurs on the 6th sruti, it is in the realm of Ga, it means that suddha Ga is on the 5th sruti and the 6th sruti is sadharana Ga. The second svara occurs on the 12th sruti, he calls it as lagu Ma, but it can be also taken as one of the varieties of Ga. (he himself says that lagu Ma represents antra Ga). So he explains both svaras as Ga. But Ramamatya explains Kamata Gaula as having the same svaras, but after Sa the first svara on the 6th sruti he calls it as shatsruti Ri, the svara on the 12th sruti. Ramamatya calls it as chyuta madhyama gandhara.

As Prof. Bhatkhande remarks, “the Hindusthani musician will find this classification very interesting. He wIll find many of his own ragas in the list. Some of these latter seem to have retained their original svaras (notes) to this day.”

The work, is, therefore, of great significance for the data provided for the hIstory of the ragas. It is noteworthy, that when the author composed his works, the recognized melodies in the north far exceeded the limits of an exhaustive enumeration as is evident from the author’s remark: “Owing to the ragas being innumerable it is impossible to describe each individual one, I am reciting, here, some of them, following a particular school.”

Anantatvattu raganam pratyekam vaktumakrmah / Kesaacin-matam ashritya kati ragan vadamyaham //

2.Ragamala

In his next treatise Ragamala, written probably under the patronage of the Jaipur prmces, Madho Singh and Man Singh Kacchwas, Pundarika Vittala classifies the Ragas (Raga-Ragini Parivara) under six male ragas, and attributes to each, five ‘spouses’ (bharyyas) and five ‘sons’ (Raga putra). He also gives the details related to their Svaras, such as:  graha, amsa, nyasa etc.  He also explains the Raga structures in terms of:  nada, sruti, svara, sthana, grama, murchana, tana, etc.

In all, he covers six  Male Ragas-  with five Raginis and five Putra (sons) for each Male Raga- totaling 66 Ragas.

Male Raga: Suddha Bhairav

First Ragini: Dhannasi; Second Ragini: Bhairavi ; Third Ragini: ; Fourth Ragini: Maravi ;  and, Fifth Ragini: Asaveri .

First Son: Bhairava; Second Son: Suddha Lalita; Third Son: Panchama ; Fourth Son: Paraj ;  Fifth Son: Bangala.

Male Raga: Hindola

First Ragini: Bhupali; Second Ragini: Varali; Third Ragini: Todika; Fourth Ragini: Pratama Manjari; and, Fifth Ragini: Yavana Todika .

 First Son: Vasanta; Second Son: Suddha Bangala ; Third Son: Syama ; Fourth Son: Samantha ; and, Fifth Son: Kamoda.

Male Raga: Deshikar

First Ragini: Ramakri ; Second Ragini: Bahuli ; Third Ragini: Desi ; Fourth Ragini: Jayatasri ; and, Fifth Ragini: Gurjari .

First Son: Lalita; Second Son: Bhibas; Third Son: Saranga; Fourth Son: Ravana; and, Fifth Son: Kalyan

Mela Raga: Sri Raga

First Ragaini: Goudi; Second Ragini: Padi ; Third Ragini: Gunakri ; Fourth Ragini: Nadaramakri ; and, Fifth Ragini: Gundakri .

First Son: Takka; Second Son: Devagandhari; Third Son: Malava; Fourth Son: Sudhagouda; and, Fifth Son: Karnata Bangala.

Male Raga: Suddha Nata

First Ragini: Malava Sri; Second Ragini: Desakshi; Third Ragini Devakri; Fourth Ragaini: Madumadhavi; and, Fifth Ragini: Aberi.

First Son: Jijavant; Second Sons: Salanga Nata; Third Son: Karnata; Fourth Son: Chayanata; and, Fifth Son: Hamir Nata.

Male Raga: Natta Narayana

First Ragini: Velavali; Second Ragini: Kamboji ; Third Ragini: Saveri ; Fourth Ragini: Suhavi ; and,Fifth Ragini: Sourastri .

First Son: Malhara; Second Son: Gaunda; Third Son: Kedar; Fourth Son: Sankarabharana; and, Fifth Son: Bihagada

*

He mentions that Suddha, Chayalaga and Sankirna ragas were analysed as ragas and putras. He also gives a natural explanation to the classification. He introduced a new concept ‘gathi’ in the book, which meant movement of svaras from one sruti to another. He gives for all these ragas their svaras, colour of the body, colour of clothes, ornaments worn, tilakas in the forehead, time of the day, season for singing these ragas.

These 66 ragas probably represented the then current melodies as Pundarika Vittala found them in Northern India when he sat down to compose his work. But the Ragamala, from our point of view, is the most important document, as it is in this work that we come across for the first-time descriptive verses, actually giving the visual pictures, along with the component notes of the melodies, and also an indication of the time allocated to the singing of the ragas.

 (Please refer to Dr. Padma Rajagopal’ paper for a detailed discussion on the Raga-Ragini system of Raga classification, Please also see the Appendix : List of Raga-Ragini Parivar Ragas , according to different authors)

Further, as regards  the treatment of the Mela system in two  of Pundarika’s works – Sadraga Chandrodaya and  Ragamala – Dr. Padma Rajagopal mentions :

The difference in mela details between Sadraga Chandrodaya and Ragamala were: (1) in Sadraga Chandrodaya he gives 19 melas and in Ragamala he gives 20 melas; (2) in Sadraga Chandrodaya he introduced a new term lagu sadja, lagu madhyama, etc. and also used the conventional terms sadharana gandhara, antra gandhara, kakali Ni and Kaisiki Ni. In Ragamanjari, he introduced the new turn gathi while explaining the ragas. He clearly mentioned chatuscruti rishabha and dhaivata and suggested dvisruti rishabha and dhaivata which later on became komal. May be from his period only the fourth sruti Ri was considered as suddha for the musicologists of the north, and in the South, they considered dvisruti as suddha svara.

The details of the Mela system discussed in Sadraga Chandrodaya and in Ragamala are provided in Chapter VIII of Dr. Padma Rajgopal’s thesis

3. Ragamanjari

The third treatise, Ragamanjari, was probably composed by Pundarika Vittala under the patronage of Raja Mansingh Kacchwa and after he was introduced to the Imperial Court at Delhi. In this work, he cites twenty Melas as parents of the 64 derivatives (janya ragas). First, he gives the svaras of Mela ragas; and, then the derivative ragas. The twenty Melas are as follows: Mukhari, Soma-raga, Todi, Gaudi, Varati, Kedara, suddha-niata, Desaki, Desi-kara, Saranga, Aheri, Kalyana, Kamoda, Hijeja, Rama-kri, Hindola, Karnata, Hamira, Malav-kaisika, and Sri-raga.

But the interesting feature of this work is the recognition of the place of as many as sixteen Persian melodies ; and,  relating them to the Indian Ragas by their nearest equivalents.

Most probably, these imported melodies had already obtained a place in current Indian music of the North; and, the author only confirmed the practice by including them in his work and by indicating their characters by assigning them to their places in relation to the Indian models.

As Professor Bhatkhande remarks that the use of the locative case termination of the Indian ragas named “is intended to show that the Persian melody is not exactly the same as the Indian but that the two are founded on the same scale.” He accepts them as part of the Hindusthani system though he characterized them as “Persian” and recognized that they are “the gift from others” (parada). They are sixteen in number and are known as: Rahayi, Nisavar, Mahura, Jangula, Mahang(?), Vara, Sunhath, Iraya, Huseni, Yaman, Sarpharada, Vakhreja, Hijejaka, and Musak.

It is significant that Turuska Todi, which must have received an earlier affiliation is not mentioned in this list. On the other hand, Sarparda, which is ascribed by tradition to Amir Khusrau, is here enumerated as a new-comer… By this time, the melodies had too far exceeded in number to be confined within the limits of the six ragas and their wives.]

Together with Ramamatya’s tuning of Shuddha Mela Veena, which corresponds to the Hindustani Been (Rudra Veena), Pundarika Vittala adopted Ramamatya’s 12 semi tones (Sruti). However, in his description of the Melas, he uses more than 12 Svaras. In his works Ragamala and Ragamanjari (a small work in two Chapters : Svara and Raga)  he develops a system of 18 micro intervals, the application of which was however restricted to middle octave (madhyama saptaka).

While discussing the 18 Sruti positions, he says that the octave contains 22 theoretical Sruti positions. However, 4 of which (that is: between Shuddha Sa and Shuddha Ri , and between the notes Shuddha Pa and Shuddha Dha) should not be used in practice.  Later, Somanatha in his Raga-vibodha adopted this system of 18 notes, omitting only one note (ekagatika Madhyama) and changing the name the Vikrta notes.

[Even as late as in the 16th century, the texts usually began with the traditional description of the scales in terms of the 22 Srutis. But, in actual practice (application), the octaves seemed to have been composed of 12 basic Srutis. In Sad-raga-chandrodaya, for instance, the octave is said to contain 14 notes. But, in his description of the fretting of the Veena, Pundarika Vittala locates only 12 frets, because, he says, the other two notes would be too close to their adjacent frets on the finger board. He adds, if these two frets should be needed in any Raga, the adjacent higher fret would be acceptable, as the difference of one Sruti will not make much difference in the general effect on the Raga.]

Pundarika’s system was later adopted by the North Indian musicologists. It is likely that Somanatha’s Ragas which reflect Pundarika’s theories mostly correspond to modern Hindustani Ragas, while the Karnataka Ragas of the same name developed along different lines.

Apart from Music, Pundarika Vittala was well versed in Sanskrit literature. He is credited with compiling two lexicons: Shigara-bodhini Namamala and Dutikarma Prakasha.

Besides the above mentioned works, Pundarika Vittala may have written the following treatises the chapters of which are available in the Tanjore Sarasvathi Mahal Library: Nartana-nirnaya (written to please Akbar – Akbar-nrupa-ruchyartha krutamidam); Sangita-vrtta-ratnakara; and Vittaliya.

[ I would like to post here a short Note on Pundarika Vittala’s  Nartana-nirnaya based mainly on the work of Dr. Mandakranta Bose.

logo_header_lg

  Regarding Nartana-nirnaya

The fame of Pundarika Vitthala rests mainly on the texts he compiled on the subjects related to Music. But, his work on dancing and dramaturgy, the Nartana-nirnaya, written in the sixteenth century, while was in the Mughal Court, is no less significant.  It is indeed a major work that throws light on the origins of some of the dance forms – particularly Kathak and Oddisi – that are prevalent today. But, it is sad that Nartana-nirnaya has not received the level of attention and depth of study that it rightly deserves.

By the time of Akbar, the Persian art and music had vastly influenced the cultural life of India, particularly the milieu surrounding the Mughal court. Though the regional traditions did exist, the Persian tradition was the dominant one.

Pundarika Vitthala, while in the Mughal Court, had the opportunity to watch. appreciate and enjoy excellent presentations of the Persian oriented dance and music. He also had the privilege of discussing varied issues related to art with the Persian scholars and connoisseurs attached to the Royal Court. 

Citing the circumstances that prompted him and that led to his writing of Nartana-nirnaya, a text about dance, Pundarika Vitthala states that he wrote the book in order to please the Emperor Akbar

Akbar nrupae icchartha bhuloke sangitam / krutamidam bahu tara bhedam sah-hrudam hrdaye sukam bhuyath // N N 53 b //.

 In the world, this simple Sangita is created with a lot of varieties in order to please the king Akbar. May it please the heart of the goodhearted ones.

The Nartana-nirnaya, an authentic text on dance and dramaturgy, written in a variety of metres (chhandas), has four chapters, one each on, rhythm (259 verses); drum (116 verses); vocal music (579 verses); and,  on dance (the largest, with 916 verses).

And, at the outset, Pundarika states that along with the various regional styles of dancing he would be describing the dance of the Yavanas, (meaning, the Persians).

In his work, Pundarika Vitthala does not confine only to the traditional dances of India and Persia; but, he also describes the various dance traditions of the different regions of India that were practiced during his time. The information he provides on regional dance forms is quite specific, in the sense that he points to the part/s of India from where the particular style came from, the language of the accompanying songs and the modes its presentation. The Nartana-nirnaya is, therefore, an invaluable treasure house on the state of regional dance forms as they existed in the sixteenth century India

Dr. Mandakranta Bose, in her very well researched paper ( The Evolution of Classical Indian Dance Literature: A Study of the Sanskritic Tradition )  stresses the historical importance and relevance of Nartana-nirnaya; and , states   :  This text ,thus, offers us a major breakthrough in understanding both the evolution and the continuity of the art of dance;  because , it enables us to reconstruct the styles prevalent at a transitional period in the cultural history of India.

Thus, Nartana-nirnaya serves as a bridge between the older and present-day traditions of classical Indian dancing.

 **

While explaining the title of his work (Nartana-nirnaya); and the use of the term Nartana, generally, to mean ‘Dance’, Pundarika said that by Nartana he meant it to be a general class name for Dance. And, that the term Natrana would cover the three forms of Dance: Natya, Nrtya and Nrtta. The last (Nrtta) would again be subdivided into three other types:  visama (acrobatic), vikata (ludicrous) and laghu (light and graceful), identified respectively as rope-dancing, a comic dance, and a dance based on easy karanas.

Thus, it seems, while Nartana stood for the general class name; the other three were its sub-divisions.

*

As rgards the definition of these terms, Pundarika said he would be adopting those offered by Sarangadeva (11th century).

And, Saragngaseva had, in turn, followed the explanations given by the earlier writers like Somesvara, Dhananjaya and such others (perhaps from Nadikesvara too?)

According to those explanations, generally (although there were some slight variations among them):

Natya: refers to an art form that gives forth Rasa (ultimate aesthetic enjoyment) ; and, is based in Rasa – Natyam rasam-ashrayam (DR.I. 9). It gives expressions to the inner or true meaning of the lyrics through dance gestures – vakyartha-abhinayatmaka.

Nrtya: is a means of putting forth different aesthetic moods or bhava (bhavahetu or bhavashraya) or giving expression to individual words of the song through appropriate gestures and/or facial expressions  pada –artha-abhinayatmaka

Nrtta: are  display of smart looking (shobhahetu) limb movements,  in  tune with attractive and catchy Taala (rhythym) and Laya (tempo) – Nrttam Taala Laya ashrayam (DR.I. 9). But, in itself, it is devoid of meaningful content; and, is valued for its mere visual beauty of  body movements (gatrasya viksepaha).

*

Nandikeshvara (Abhinayadarpana. 1. 15-16) distinguished Nrtya from Nritta, thus:

Bhavabhinaya-hinam tu nrittamitya-abhidhyate | Rasabhava-vyanjana adi yuktam nrityam ity uchyate

And, Sarangadeva said that Nrtya and Nrtta can both be of two kinds –Tandava and Lasya (SR. 7. 28); and, while Tandava is uddhata (vigorous), the Lasya is of Lalita (delicate) movements (SR. 7. 29- 30).

But, Pundarika, in his Nartana-nirnaya, throughout, uses the terms Nrtta and Nrtya interchangeably, perhaps, because, both those dance forms involved, in some measure, the elements of abhinaya or interpretative movements.

**

But, the more significant theoretical aspect of Nartana-nirnaya is the adoption of the two sets of concepts to classify the dance forms.

Pundarika adopts Marga and Desi class  concepts into the Lakshana and Lakshya (theory and practice) of Dance, for classifying its  forms.  

And then, he introduces a novel feature (hitherto not tried by anyone else), which is the principles of Bhaddha (structured) and Anibhaddha (neither bound nor structured) for stratifying the dance forms into two separate classes.

(1) Pundarika carried forward the practice of the earlier scholar-writers who distinguished the dance forms along the lines of Marga and Desi. The term Marga (literally ‘of the way’ or ‘path’) refers to those arts that adhere to codified rules; while Desi is understood as the unregulated regional variations.   

The concepts of Marga and Desi were originally introduced into Music by Matanga in his Brhaddeshi (around seventh or eighth century) to distinguish the pure and well-structured Music (Marga) from the innovative regional melodies (Desi).

As regards the dance forms; by about the eleventh century, Somesvara adopted the Marga-Desi classification to categorize the then existing Dance forms. Later, around the same time, Sarangadeva, in his Sangitaratnakara, systematically presented the Marga and Desi forms as distinct styles of dance. 

Here, in these texts, the classical style, that is the one codified by Bharata in the Natyashastra; and, acknowledged by tradition   as the core of classical art was regarded as the Marga.  The Nrtya, for instance, was classified under Marga form of dance.

The regional and popular dance styles, with easy movements, that allowed more freedom free improvisation within the given framework were classified under Desi. Nrtta, for instance, was treated as a Desi form of dance.

Pundarika Vitthala, in his Nartana-nirnaya, also adopted the Marga-Desi classification to categorize the different dance forms. Nartana-nirnaya describes several entirely new dance forms that were popular at that time.

(2) Matanga had classified Music  into two classes – Nibhadda and Anibhadda – the one that is regulated and structured with Dhatus (elements) ; and , the other  that is not structured (un-bound).

According to Matanga’s classification:  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. Sarangadeva explains Anibaddha as Aalapa which is not bound or which lacks rules (bandha-hinatva) – Alapir bandha-hinatvad Anibaddham itirita (Sangitaratnakara: 4.5).

And the Nibaddha Gita, in comparison, is a 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.)

*

Pundarika was the first scholar to apply the Nibaddha – Anibhaddha type of classification to Dance forms. That is to say; almost 1500 years after these terms came into use in music, Pundarika Vitthala’s work applied them to Dance forms in order to segregate well-structured dance forms from rather free flowing regional dances.

 While both parts followed certain rules of structure and of exposition, Anibaddha was comparatively loose in its construction since it was free of the regimen of Tala. Anibandha-nrttas are, thus ,  flexible in both form and content , within the broadly specified aesthetic frameworks .

Dr. Mandakranta Bose observes:

It would seem that the Anibandha nrttas were unlike any other dance pieces described in the literature before the Nartana-nirnaya.   The Anibandha-nrttas seemed to be short dance-sequences, using which a dancer could choreograph her own piece. Thus, they have the same function in the dancer’s choreographic design as the karanas of the Marga tradition. But, their structural principle is entirely different from that of karanas in that they are entirely flexible as to their components and structure while karanas are of course rigidly set structures.

Roughly, it would seem Bandha-nrttas denoted dances for which there already were prescribed rules; and, the Anibandha-nrttas denoted dances for which there were none or minimal.

In contrast, Bhaddha-nrtta was more rigorously constructed, bound as it was by the constraining patterns of Tala; and, was performed by dancers who were appropriately trained; and, who could interpret a composition perfectly, executing all the movements in detail and precisely as per the prescribed sequence.

Pundarika grouped under the Bandha-nrtta class those dances that were characterized by yati, tala, laya, sthana, carl and hasta etc. as prescribed in the Sastras. He enumerated twelve varieties; and, described in detail their specific movements, their structured sequences, including karanas (N2V.43a-45b)

All the other dance forms were drought under Anibandha dance form. In the Nartana- nirnaya, the Anibandha dances are described in two parts; the first consisting of twenty-one Anibandha urupas (denoting  a broad category of dance sequences formed with the karanas); and, the second consisting two Anibandha-nrtyas. Of the two Anibandha-nrtyas, one comes from Persia and the other is Raasa, which includes the form called Dandarasa (NN. 53a-b). Raasa is the only dance recorded by Pundarika which seems to have continued over centuries and is found even today in at least two regions of India, Gujarat and Manipur.

In the later times, many works on dancing followed the Nartana-nirnaya’ s approach to the categories of dance; and, that eventually became part of their conceptual framework.

*

Now, as regards the historical significance of Nartana-nirnaya; many scholars, after a deep study of the text, have observed that there is enough evidence to conclude that the text marks the origin of two major styles of India today, namely, Kathak and Odissi. Dr. Bose also concurs that such connection seems highly plausible. The text was part of the same cultural world of the Mughal court that nurtured Kathak.

 She points out that several technical terms used in Nartana-nirnaya match those used in Kathak today. And she goes on to say:

When we look closely at the technique of the dance described under the Anibandha category, we begin to see certain striking similarities with the technique of Kathak. One cannot say that the style described in the Nartana-nirnaya matches Kathak in every detail.  but one may certainly view that style as the precursor to Kathak; but the descriptions and the similarities in their techniques clearly show it to be the same as what we know today as Kathak.

The Nartana-nirnaya seems, thus, to be the proper textual source for Kathak. This claim becomes stronger still on examining points of technique, ….

 **

As regards Odissi, Dr. Bose observes that the Bandha-nrtta as practiced in the Odissi style is very similar to the descriptions given in the Nartana-nirnaya.  And, the basic standing postures prescribed in the Odissi style: Chauka and Tribhangi  . (Chauka and Tribhangi are the two main basic stances in Odissi. Chahka is a stable-wide  stance, with weight of the body distributed equally on both the sides; and, the heels facing  the center. It is said to be a masculine posture.  Tribanghi, is a graceful feminine posture, with the body bent in three-ways) . These are comparable to vaisakha-sthana and Agra-tala-sanchara-pada of the Nartana-nirnaya.  Further, some acrobatic postures still in use are: danda-paksam, lalata-tilakam and nisumbhitam (the foot raised up to the level of forehead),  and several others are found both in Odissi and in Chau dance of Mayurbhanj region of OrissaFurther, there is in the Nartana-nirnaya, the description of a dance called Batu involving difficult poses; and it is very similar to the Batunrtta, a particularly difficult dance in the repertory of Odissi.

For more on Nartana- nirnaya and other texts on Dance forms ; as also  for the details of the few mentioned here , please do read  Dr. Mandakranta Bose’s research  paper ( The Evolution of Classical Indian Dance Literature: A Study of the Sanskritic Tradition

[Ref: Pundarika Vittala by Dr. Padma Rajagopal; Musicological Literature by Emmie te Nijenhuis; Dr. Mandakranta Bose’s research  paper ( The Evolution of Classical Indian Dance Literature: A Study of the Sanskritic Tradition]

Lotus image

11 . Raga-vibodha of Somanatha

Raga-vibodha of Somanatha (1610 A.D) is an important text in many ways. It is also an interesting link between the Karnataka Sangita of the South and Hindustani Music of the North.

Pandit V. N. Bhatkhande in his ‘A Short Historical Survey of the Music of Upper India’ writing about Ragavibodha of Somanatha says:

The date of Raga Vibodha appears to be the 3rd Asbvin Shuddha, Shaka year 1531, i.e., A.D. 1610- as given by the author.

The work clearly shows that the author had himself come under the influence of the music of Northern India. He uses in the Raga Vibodha the svara—names of both the Southern and the Northern systems of music. It is; impossible to say whether he had obtained a copy of the Raga Tarangini because the only names of his predecessors he refers to in his book are Hanuma, Matanga and Kallinatha. His use of the svara names as Tivra, Tivratara and Tivratama; and the term ‘Thata’, as a synonym for “Mela,” will also show that he had come into contact with Northern music. Somnatha Pandit, unlike the writers of his time, makes use of the Svara names Mrudu-Sa, Mrudu-Ma, and Mrudu-Pa to denote the sounds of the third Shruti of each of the notes Sa, Ma and Pa.

Ahobala in his Parijata refers to these notes  and follows Somanatha. Their works may safely be cited as instances of the tendency of those times to establish! good musical relations between the North and the South.

*

Apart from discussing theories (Lakshana) of Music, the Raga Vibodha pays special attention to practical (Lakshya) aspects of music performance. It deals elaborately with the Gamakas and Alamkaras (graces and ornamentation) that adorn and enhance the beauty of music-presentation. Though his exposition is based on the vocal styles of Gamakas and Sthaya (a characteristic phase of a song) , Somanatha excels in offering varieties of  left and right-finger-techniques for  playing on stringed instruments (Veena) –Vadana bedha –  such as, deflections , slides  and others that help to explore the limits of the subtleties that the instrument is capable of.  Veena occupies an exalted position in Raga- vibohda.

Raga-vibodha of Somanatha closely follows the Svara-mela-kala-nidhi of Ramamtya. The author himself has written a detailed commentary (titled Viveka) on his work.

The Raga-vibodha is made of five Chapters.  The first chapter deals with Sruti and Svara-s; the second with Veena; the third with Mela; the fourth with Raga; and, the fifth with Raga-rupa (structure of the raga). There are 83 verses in the First chapter; 53 in the Second; 61 in the Third; 48 in the Fourth; and, 225 in the Fifth.

 Somanatha mentions that, in his work, he has adopted the Arya Chhandas (meter) throughout, as it is the only meter that  provides the facility to express short syllables  like Sa, Ri, Ga and Ma in quick succession.

 [For a complete text of Raga-vobodha of Somanatha along with his own commentary thereupon (Viveka) as edited and translated by Pandit M Subrahmanya Sastry (Adyar Library; 1945), please click here.

 Please also do read the scholarly explanations provided by Dr. C . Kunhan Raja in his elaborate introduction to Pandit Subrahmanya sastri‘s edition of Raga-vobodha. He covers a number of technical aspects such as Sruti-s- Svara-s; Shuddha Svara; Vikrta Svara-s; their respective positions; Murchana-s; varieties of Alamkara-s etc. He also discusses the differences in the treatment of these concepts by Sarangadeva and Somanatha .]

While discussing the technical aspects of music and particularly Veena, Somanatha, in his commentary, offers lucid explanations and also quotes many previous authorities. He quotes mainly from Sarangadeva’s Sangita-ratnakara together with its commentary by Kallinatha. The other authorities, ‘sources’ mentioned by Somanatha include ancient Masters such as Kohala, Matanga, Hanuman and others.

 In the process, Somanatha presents the details of Art as it was practiced during his time, in comparison with what was in vogue in the earlier periods. Thus, Raga-vibodha, apart from its own merit, also serves as a valuable source-book on the history of Indian Music. Further, its Chapter Four would be of particular interest to those studying   the history of musical instruments in India.

The Raga-vibodha, a distinctive text, serves as a bridge between the music of the sixteenth and seventeenth centuries and that of the present-day. Somanatha is, therefore, regarded by many as the most important and the most original of all the sixteenth and seventeenth century Musicologists.

Somanatha makes a very valid observation that the Shastra-s (texts on technical subjects) should present and explain the facts as they really are; and, should never twist the facts to suit it’s own views and pet opinions.

Shastranam laksha-anugruhaya pravrutvat yatra tayo viruddhah tatra shastrasya niryamitasyapi arthasya upa-lakshana-tvadina  prakarantarenaapi gatihi kartavya  I  Na tu lakshyam upekshyam I

Raga-vibodha deals with the Marga and the Desi streams of classical Indian Music. Following the earlier tradition, Somanatha describes Marga Music as that which was sought for (from the root Mrg, to search) by the gods; And, as the pristine Music that was practiced by Bharata and other sages  in the presence of Shiva . Marga, therefore, he says, is worthy of veneration.

 Margaha sa yo viricchadyoh   anvistau Bharatadi Shambhor-agre pratyukto-acharyah II 1.6 II

[  Somanatha brings in the concepts of the Tantra School to explain how the sound is produced within the body-mind complex; and , is put out ( 1.10-13) : ‘ The urge to speak excites the mind; the mind strikes fire in the body ; this , in turn , sets in motion the air that resides in Brahma-granthi. This air raises up through the navel, the chest , the throat , the head and the mouth producing sound. It is only the sound which passes beyond the chest, the throat and the head that can be used for singing.

 About the organs of speech; and, the differences in the pitch of the sound: the twenty-two Naadi-s in the chest , produce twenty-two Sruti-s; each successive Sruti being higher in pitch than its preceding one. A similar arrangement exists in the head and the throat.]

**

Somanatha (1610 A.D – Ku-dahana-tithi-ganita-Sake 1531)) a musician scholar hailing from Andhra Desha, son of Mudgala Suri a versatile scholar in all arts (sakala kala) , was perhaps the earliest musician-scholars to introduce the system writing notation (Raga-sanchara) to music passages in a systematic manner. Some say that Raga-vibodha is perhaps the only example before the modern times of any Indian Music using Notations. That may not be entirely correct.

[Examples of early Indian Melody in Notation occur in the 7th century Kudumiyamalai Inscriptions, the Brihaddesi of Matanga, and Sarasvathi-hrdaya-alamkara-hara of Nanyadeva of 10-11th century. Nanyadeva the ruler of Tirhut in Nepal is cited as an authority by Sarangadeva . His text not only includes descriptions of several Ragas but also about 15 examples of compositions ( called Panikas, which are of lighter nature might have been used for dancing as also for singing in groups)  with notations  for vocal rendering. The Panikas belong to a genre of music forms called Gitakas or Prakaranas of varying rhythmic patterns ( as opposed to the modern compositions set to a particular Taala). These are no longer in use. Each rhythmic suit is identified by the number of  matras (time units) , by claps and gestures to measure the time of the beats.

The Notation used by Nanyadeva are simple pitch notations by numbering the Svaras (Sa, Ri, Ga, Ma, Pa, Dha, Ni). However no distinction is made between Shuddha Ga and Antara Ga; or between the standard Shuddha Ni and Kakili Ni. Some notations are indicated by placing dots as superscripts. In some cases it is not clear; as it appears the copyists might have got confused.

For more on Nanyadeva and notations on Panika songs please the remarkable study made by D.R .Widdess in his paper :Tāla and Melody in Early Indian Music: A Study of … – jstor]

Somanatha also scripted Dhyanas the pictorial or iconographical descriptions of certain Ragas. He also outlined the norms regarding the preferred time of performance, the special characters (Raga-lakshana) or the atmosphere in regard to some 27 Ragas. Somanatha improved upon the traditional themes associated with Ragas as in the Dhyanas of Sudhakalasha and Kumbha and of the later scholars Damodara, Shubhankara and Srikantha; and, he diversified Dhyanas by relating Ragas to deities, human characters, seasons etc.

It is sad; Raga-vibodha did not get the level attention it deserved from merited composers and musicians of Karnataka Sangita. Further, the system of musical notations that Somanatha introduced was not followed upon; and it is now almost completely lost. Similarly, the Dhyanas, the ancient system of aesthetics that characterized the Ragas, were totally by  passed in Karnataka Sangita, though some norms regarding the time of performance or the special character or atmosphere of some Raga still lingers on in the Hindustani Sangita.

Somanatha largely adopted  Ramamatya’s Mela system and his Veena techniques, as also the theoretical aspects of Music as in the works of Pundarika Vittala.  His Raga-vibodha, spread over five Chapters, also follows the general plan of Ramamatya’s Svara-mela-kalanidhi and Pundarika Vittala’s Ragamanjari.

The first Chapter of Raga Vibodha closely resembles the first Chapter of Pundarika Vittala’s Ragamanjari. It summarizes the ancient terminologies in the same order. Somanatha starts in Chapter Two a discussion on tuning of the Shuddha and Madhya-mela Veena, which resembled Hindustani Bin (Rudra Veena). This Chapter corresponds to Chapter 3 of Svara-mela-kalanidhi of Ramamatya.

In Chapter Three, Somanatha mentions eleven Persian modes, just as Pundarika Vittala did at the end of his Ragamanjari. The seven out of Somanatha’s eleven names for Persian Maqamat are mentioned: Irakha, Huseni, Musali, Vakhareja, Hijeja, Puska ( or Muska) and Saraparda.

The Chapter Three of Raga-vibodha again corresponds to Chapter Four of Svara-mela- kalanidhi; of Ramamatya; and, it deals with Melas. Here, Somanatha added five  more Melas  (Bhairava, Malhara, Kalyana, Suddha-vasanta and Hammira ) to the 20 listed by Ramamatya  and deleted two Melas  ( Hindola, and Hejujji ) to bring up the net number of Melas to 23. (In this list ,  Malava-gauda  is sometimes accepted in place of Bhairava).

Somanatha’s  arrangement of 23 Mela (scales) is based on the division of the Octave (Saptaka) of 17 notes, some of which bear two names. Therefore, the 22 (theoretical) names of the notes cover only 17 actual Srutis.

Out of these, thirteen Melas are identical with Ramamatya’s Melas; and, three (Shuddhavarati, Sriraga and Karnatagaula) are slightly different from their equivalents in Ramamatya’s system.

Out of the remaining Seven Melas, three (Todi, Hammira and Saranga) corresponds to the Melas of the same name which Pundarika Vittala describes in his Ragamanjari.  Of the other four, Somanatha’s Kalyana has its equivalent in Srikantha’s system. And, Somanatha’s Mallari, Bhairavi and Vasantha Melas are not found in any of the works of his predecessors.

In Chapter Four, which corresponds to Chapter Five of Somanatha’s Svara-mela-kalanidhi, describes the individual characteristics (Lakshanas) of the Ragas. Here, after giving the division of the Ragas according to the different standards, their structure in terms of Graha, Amsa and Nyasa are presented.

Somanatha in his Raga-vibodha mentions 51 Ragas, of which 29 are used in the Music of the present-day: 17 in Karnataka Music, 8 in Hindustani and 4 in both the systemsSome scholars surmise Somanatha’s Ragas mostly correspond to modern Hindustani Ragas; and, though the names of some his Ragas resemble those in Karnataka system it is likely they developed along different lines.

Chapter 5 which is the last Chapter is the most valuable part of Raga Vibodha. Following his processor Srikantha, Somanatha gives the pictorial descriptions (Dhyana) of the Ragas and specifies their appropriate times of performance.  But, in Somanatha’s opinion a mere abstract, aesthetic picture (Devamaya rupa = Divine form) of the Ragas would not suffice. He therefore presents their sound-pictures (Nadatmaka rupa) as well through musical notations.

Thus, Somanatha has presented most interesting music examples of the history of Indian Music.  In contrast to the ancient and almost forgotten music-examples of Jati and Gramas as in the older treatise, Somanatha’s music-pictures give an insight into contemporary music practices. The notations he provides indicate various musical ornaments (Gamakas) that were played on the Veena.

The notations

Somanatha’s work is unique because right from the older times Music compositions have come down to us through Oral traditions; and,   no composition could have had musical notations. And, where their lyrics (Sahitya) were written down, they were, sometimes, marked at the top with only the names of the Ragas and Taalas in which the song was set.  Even in the case of  the Music-texts (Lakshana granthas) that described various concepts and  theories and provided illustrations ,  they  merely discussed   the Lakshanas, Svaras, of the basic scale.

However, Somanatha’s music illustrations offer more details. They not only illustrate the scale (Mela) and the modal character (Lakshana) of the Ragas but also indicate the musical ornamentation (Gamaka) and special ways of playing Veena, the left and right hand techniques, by means of particular notational symbols or signs. Since no Taala is involved in these examples, Somanatha’s explanations virtually represent written guidelines outlining    Raga Alapana and other modes of elaborations i.e. a map for improvised explorations in freestyle.

Although Somanatha’s system of notations was not generally accepted and did not lead to a common system of Gamaka-notations, his explanations and his application of various types of ornamentation (Alamkara) to Veena playing (Vadana-bheda) are indeed highly interesting. Somanatha has described twenty Vadana-bhedas plus three other terms to indicate (1) specific registrar positions (Sthana) of the Svaras and (2) phrase endings. His Vadana-bheda techniques roughly fall into four categories: (1) fingering, (2) deflection, (3) slides and (4) others.

Gamakas and Notations

Veena

The Veena techniques (Vadana-bheda) expounded in Somanatha’s work generally follows the traditional pattern. Some of Somanatha’s terms referring to the techniques have equivalents in the ancient Gamakas mentioned in Matanga’s Brhaddeshi and Sarangadeva’s Sangita-ratnakara.

Matanga, in his Brhaddeshi, while discussing about Raga-giti , one of the seven charming song-forms, he mentions that Ragagitis should be rendered with varied delicate Gamakas (lalithau–Gamakau-vichitrau); and should be adorned with Svara pronunciations, lucid, powerful and even (300); and that the Vibhasha–giti should be sung blending in the Gamakas that are pleasant on the ears (Gamakau–srotra-sukhadai-lalithairasthu) and are also delicate , according to the will of the singer (yadrucchaya samyojya)   to the delight of the people (lokan-ranjathe)- (308).

 Gamaka is any graceful turn, curve or cornering touch given to a single note or a group of notes, which adds emphasis to each Raga’s unique character. Gamaka, in short, is the movement of Svaras which bounce, slide, glide, shivers, rapidly oscillates or skips. It provides movement and animates Svaras to bring out the melodic character and expression (bhava) of a Raga. Each Raga has specific rules on the types of Gamakas that might be applied to specific notes, and the types that may not. Every Raga has, therefore, to be necessarily rendered with the appropriate Gamakas. They depend on the manner of quivering, oscillations or shaking that the Svaras can be endowed with.

Gamaka-rendering is a highly individualistic and a specialized skill. Not merely that the Gamakas are designed specifically for vocal music and for instrumental music, but also that each performer would, in due course, develop her/his own Gamaka-improvisations. And therefore, two Ragas with identical ascending (Aroha) and descending (Avaroha) Svaras and born out of the same parent (Janaka) Raga might sound totally different in character and expression, mainly because of the Gamakas that are employed. [In Hindustani Music, Meend and Andolan are similar to Gamakas.]

Sarangadeva in Chapter three: Prakīrņaka-adhyāya of his Sangita-ratnakara treats Gamaka in greater detail. He lists fifteen types of Gamakas (Panchadasha Gamaka): the various kinds of shake or oscillations that Svaras can be endowed with.

**

Prof. Ranganayaki Veeraswamy Ayyangar, University of Pennsylvania , (who has studied, edited and translated the manuscripts, lithograph versions and printed versions of Raga-vibodha),   in her Gamaka and Vadanabheda: a study of Somanatha’s Ragav- ibodha in historical and practical context, mentions:

among the many music treatises that describe the Gamakas, Somanatha’s Raga-vibodha is the most important because it is the only text that has an entire chapter on ornaments. Somanatha has called these ornaments vadana-bheda; and, has created notational symbols for them after having described, in detail, their realizations on the contemporaneous fretted instrument, the Rudra Veena. Further, he has exemplified the vadana-bhedas by incorporating them in his extensive music examples. Somanatha has acknowledged that his vadana-bhedas were based on the Gamakas and Sthayas (components of a raga) encountered in the Sangita-ratnakara (13thc. A.D) and  other earlier texts.

Somanatha has described twenty vadana-bhedas plus three other terms to indicate specific registral positions of the scale degrees and (phrase endings. A study of the vadana-bheda techniques indicates that most of them fall roughly into four categories, namely, (1) fingering, (2) deflection, (3) slides and (4) others… An analysis of the distribution of the various types of the vadana-bhedas in the musical illustrations in Raga-vibodha indicates that there are in each of the first three categories, at least one type that is widely distributed either singly or in combination and some that occur rarely, again either singly or in combination. Further, it also indicates that some combinations are widely distributed, whereas some others are narrowly restricted….

It is important to reiterate that Somanatha was the first theorist, in the descriptive tradition, to attempt to describe in his Raga-vibodha, instrumental vadana-bhedas based on vocal Gamakas. He was also the first to describe, with adequate notation using these vadana-bhedas, actual music of his time through extensive music examples.

*

Somanatha while describing the Veena techniques employs terms that are equivalents to the Gamakas mentioned by Sarangadeva   (Spurita – Pratihati; Kampa-Kampita; Kurulu-Parata; Uchata- Ahati; Ahota- Ahuti; Ulhasita-ghasana; Plavita-Gamaka ).

Dr. Ramanathan the noted Musician-scholar explains Somanatha’s Pratihati as equivalent to the present day Spurita. Similarly Somanatha’s Vikarsa, Dolana, Gamaka and Kampana , he says, are comparable to four types of modern Kampita: (1) Vikarsa : single deflection of the string , pulling it away from Veena fret; (2) Dolana : deflection and release allowing the string to assume its original position; (3)  Gamaka: number of slow oscillations – prolonged Kampita; and (4)  Kampa: small number of fast oscillations .

Somanatha’s Garshana is equivalent to Hindustani Ghasit and Karnataka’s ekku or erra and downward (digu) slide (jaru). Pida, heavily stressed (pressure by left hand) is Khandimpu. And, Naimnya, a heavy pluck of the string, is periya-mittu.

Dr. E. Te Nijenhuis, in her the Ragas of Somanatha, observes that Somanatha was well conversant with both the Karnataka and Hindustani systems of Music. And, eight of the twenty-nine Ragas that he dealt with in his work, are exclusively Hindustani Ragas that are still current. She also mentions that the notation systems adopted by Somanatha are admittedly more precise than most of the others in vogue; and, definitions and signs for various types of ornamentation are indeed distinctive.

Dr. Ramanathan , however, observes: It is doubtful if the Notations of Somanatha were ever used by the practicing Musicians. That is perhaps because; the Musicians of India had not felt it necessary to develop an elaborate system of notations as in the West. Up to the present day in Indian Music a great freedom is left to the performing artist in the form of Raga improvisation. In the South it might be Ragam, Tanam and Pallavi; and in the North Aalap, Jor and Gath. Even in the pre composed forms of the South (Kriti, Varnam and Padam) and of North (Drupad, Khyal and Tumri) are always rendered with improvised and elaborate ornamentation and figurative variations adorned with Gamaka (grace notes), Sangathi or Tans ( melodic variations) , Svara vistara or Sargam (sol-fa) and improvised preludes (Alapana) .

And, even in modern times, the Notation system did not come into use until the end of 19th century when the first printed books on Music of South India appeared. But at that time there was no uniformity, with each composer or editor developing his own system.

[As regards the use of staff notations for recording the classical Indian Music, the noted scholar Ananda K. Coomaraswamy (in his introduction to Sir Ernest Clements’ work the Introduction to the Study of Indian Music; Published by Longmans, Green & Co., London – 1913), observed: the publication of Indian music in staff notation, without warning that the scale is other than that usually implied by that notation, tends to the destruction of the character of that music… It is far better that the method of oral transmission should be maintained. That is because, this is the true method of learning for an artist; because , every singer so taught must be in some degree a composer (he is taught, not merely to repeat a given song, but to sing in a given mode and mood); and because, it is so great an advantage for the true musician to need no external aid to memory, such as a printed score.

Indeed, I suppose that even if we succeed in recording the greater part of Indian music as it still survives, the music itself cannot persist as a part of everyday life unless it is thus handed on as a sacred tradition.]

The Dhyanas

As regards the Dhyanas, although the earlier musicologists like Damodara, Shunamkara and Srikantha had presented Dhyanas, their descriptions seemed to have bypassed the traditional themes associated with Ragas. They switched on to Nayaka-Nayaki dramatic situations, personifying the Rasas (aesthetic experiences) particularly of Srngara (erotic) Rasa.

Somanatha obviously considered Rasa personification an important aspect of pictorial Raga description since he himself refers to eight types Nayaka-Nayaki situations or eight different states (avastha)of  Nayika in Nayaka-Nayaki relationship. Somanatha relates Abhisarika Nayika (eager to meet her lover) with Raga Bahuli; Vasakasajja Nayika (dressed up for the meet) with Raga Bhupali; and Proshitabhartruka Nayika (proceeding to meet the lover) with Raga Dhanasri. Similarly, he relates Khandita Nayika ( angry with the lover) with Raga Lalitha ; and Abhisarika ,Vasakasajja and  Uktha Nayika  with the Ragas Saurasri. He relates Dakshina Nayaka with the Ragas Hindola;  and the Proshitabhartruka  Nayika  (sojourning with lover)  with Raga  Kamodi .

Some of Somanatha’s Dhyanas resemble the ancient iconographical Raga descriptions which relate to gods. The Dhyanas of Raga s Bhairava, Kedara and Shankarabharana, for instance, refer to Shiva; the Dhyanas Natanarayana to Vishnu; the Dhyanas of Hindola and Pavaka to Krishna; the Dhyanas of Mallari to Vishnu-Krishna; the Dhyanas of Ragas Adana, Paraja and Vibhangada to Kamadeva; and the Dhyana of Vasantha to god of spring Vasantha.

Besides, Somanatha presents some very vague descriptions which do not refer to any particular deity, human character or state of mind. For instance; in the Dhyanas of the Ragas Dhavala, Gauda , Gaudi, Hammira and Pauravi.

There is an interesting Dhyana which refers neither to a deity nor to a human character. It is the Raga Chaity which personifies the month of Chaitra. This perhaps was the forerunner of the Barahmasa poetry and paintings.

One of the illustrations provided  in Chapter Four of Raga-vibodha describes Raga Abhiri (equivalent to Abheri as it is known now) as a woman (Abhira) , dark in complexion , wearing a black dress adorned with a garland of fresh flowers around her neck, attractive ear ornaments. She has a soft and a tender voice; and, wears her hair in beautiful strands. Abira is idealized as a pretty looking Gopi of the Abhira tribe of Mathura region. She is an attractive looking dark complexioned tribal girl.  In the traditional Indian Music , dark complexion of the Ragini and her  dark clothes correspond to the predominant note (Amsa) Pa

As Emmie te Nijenhuis remarks: Apparently, the ancient Indian aesthetics had already fallen into disuse. The ancient Dhyanas which associates Svaras with particular deity deities, social class, animals, sentiments, colors etc – the system reflecting the ancient Indian mystical view of life – became rather irrelevant, when in the course of time, musicians changed the modal characteristics of Raga.

After Somanatha, the ancient system of aesthetics which was already on decline was completely forgotten in the South. Modern Hindustani Music however has preserved something of this ancient system. Its rules regarding the time of performance or the special character or atmosphere of some its Raga still remind us of the ancient Indian aesthetics.

[Ref: The Rāgas of Somanātha: Musical examples. Part 2 by Emmie te Nijenhuis; Musicological Literature by Emmie te Nijenhuis; DR. S Ramanathan on Raga-vobodha

For a complete text of Raga-vobodha of Somanatha along with his own commentary thereupon (Viveka) as edited  by Pandit M Subrahmanya Sastry (Adyar Library; 1945), please click here ]

461d01a1eef5916b606c78b4ea258ed4

 
Leave a comment

Posted by on June 8, 2015 in Music, Sangita

 

Tags: , , , , , , , , , , , , , , , ,

Music of India – a brief outline – Part sixteen

Continued from Part Fifteen – Lakshana Granthas– Continued

Part Sixteen (of 22 ) – Lakshana Granthas – Continued

8. Sangita-ratnakara by Sarangadeva

Sarangadeva

Sarangadeva’s Sangita-ratnakara (first half of 13th century) is of particular importance, because it was written just before influence of the Muslim conquest began to assert itself on Indian culture.  The Music discussed in Sangita-ratnakara is free from Persian influence. Sangita-ratnakara therefore marks the stage at which the ‘integrated’ Music of India was before it branched into North-South Music traditions.

[Sarangadeva’s Sangita-ratnakara was published by Adyar Library in four volumes. Please click here for : Vol I; Vol II ; Vol III and Vol IV ]

It is clear that by the time of Sarangadeva, the Music of India had moved far away from Marga or Gandharva, as also from the system based on Jatis (class of melodies) and two parent scales.  By his time, many new conventions had entered into the main stream; and   the concept of Ragas that had taken firm roots was wielding considerable authority.  Sarangadeva brought together various strands of the past music traditions, defined almost 267 Ragas, established a sound theoretical basis for music and provided a model for the later musicology (Samgita Shastra).

Sarangadeva’s emphasis was on the ever changing nature of music, the expanding role of regional (Desi) influences on it, and the increasing complexity of musical material that needed to be systemised time and again. Yet; Sarangadeva was rooted in the prevalent musical practices of his time. His stress was consistently on the Lakshya the music as practiced than on ancient theories which though he respects them highly.

Thus, Sangita-ratnakara not only provides materials for the study of the ancient music , but it also gives an insight into the then current practices. In his writing, Sarangadeva draws a clear distinction between the well established ancient (purva prasiddha)  and the contemporary  popular (adhuna prasiddha)  Ragas. He also gives descriptions of the  structures and temperaments of   musical instruments such as Veena and Vamsa (flute ) according to the practices of his times. 

Sarangadeva gives some information about himself in the beginning of the work. Sarangadeva introduces himself as belonging to a family which hailed from Kashmir. His grandfather Bhaskara, an Ayurveda physician, moved from Kashmir into the newly found Yadava capital Devagiri (Maharashtra) in the Deccan region at the invitation of King Bhillanna V (1173-1192). After the death of Bhillanna, his son Jaitrapala or Jaitugi ascended the throne and ruled for a short period. He was succeeded in 1200 by Singhana (1200-1247). He was a very powerful king and also a great patron of arts, literature, and science. It is during his reign that Sarangadeva was appointed in his father’s (Sodhala’s) post as the Royal Accountant (Sri-karana-agrani). Along with his work at the King’s offices, Sarangadeva continued to practice the family profession of Ayurveda. He is also said to have written an Vedanta work entitled Adhyatma-viveka. That work is not available now.

During his spare hours Sarangadeva was busy composing his monumental work on Indian music the Sangita Ratnakara, the Ocean of Music. It turned out to be one of the important and comprehensive Sanskrit texts on Music of India.

The Samgita Ratnakara of Sarangadeva is a great compilation,  not an original work, that ably brings together various strands of the past music tradition found in earlier works like Nāţyashastra, Dattilam, Bŗhaddēśī, Sarasvatī-hŗdayālańkāra-hāra and one that is greatly influenced by the commentary of Abhinavagupta  the Abhinavabharathi . But for Samgita Ratnakara, it may have been more difficult to understand Natyasastra and Brhaddesi and other ancient texts. And, Samgita Ratnakara also established a sound theoretical basis for music related issues and practices. It also provided a model for the subsequent treatises to elaborate on music-theories and practices (Samgita Shastra).

**

The Sangita, according to Sarangadeva, is a comprehensive term. It includes vocal (Gitam) and instrumental (Vadyam) music; as also dance (Nrtyam) – Gitam, Vadyam tatha Nrtyam trayam Samgitam uccyate. The last one, Nrtyam, the dance, is composed of all the three elements.

 In his work Sangita-ratnakara, Sarangadeva devotes seven chapters for discussing these three components (Anga-s) of Sangita.

The Gitam, the song format, is a fusion of Nada (sounds) and Akshara (composition made of words). Its musical element is named Dhathu; while its composition made of words is called Mathu. Lohana Pandita, in his Raga-tarangini, says: – Dhatu-matu-samayauktam Gitam iti uccyate budhaih; tatra nadatmako dhatur matur akshara sambhavah’.

Gitam, going by its traditional definition, strictly belongs to the Salaga Suda class of Prabandha, which is composed two Angas (elements) – Pada (words) and Taala (time-beats); and, having three components or Dhatus (Tri-dhatuka Prabandha):  Udgraha, Dhruva and Abhoga. For more on that, please click here. But, in common practice, anything that is sung goes by the name of Gita (Giyata iti Gitam).

The term Vadyam, covers a wide variety of musical instruments, such as : the varied string instruments; different types of Drums; bell-metal cymbals ; and a host of wind instruments including  flutes, pipes , conch,  trumpets etc.

The Nrtya covers rhythmic limb movements as also eloquent gestures expressing emotions through Abhinaya. It is a harmonious combination of facial expressions, various glances, poses and meaningful movements of the hands, fingers and feet. Nrtyam, the dance, delightfully brings together and presents in a very highly expressive, attractive visual and auditory form, the import of the lyrics (sahitya), the nuances of its emotional content, to the accompaniment of soulful music and alluring rhythmic patterns (tala-laya).

 [Please also read the highly educative introduction written by the renowned scholar SriT R Srinivasa Ayyangar to the Sangraha Chudamani of GovindaEdited by Pandit Sri S .Subrahmanya Sastry ; published by Adyar Library, 1938.]

**

Thus, the Samgita Shastra as envisaged by Sarangadeva was a composite art consisting Gita (melodic forms), Vadya (instruments) and Nrtta (dance or limb movements). By the time of Samgita-ratnakara, three Angas (limbs) of Samgita were well developed. Of these, the Vocal music was regarded as the essential, fundamental music through which all other forms of music were to be understood and interpreted. Here again, Sarangadeva focuses on Desi Sangita, though he comments on aspects of Marga Sangita. On Dance (Nrttya) he offers clear picture of both Marga and Desi traditions, although in a concise manner.

Sangita Ratnakara is a standard and an authoritative text; and it hugely impacted  almost all the writers in the subsequent period. It is also a reliable source book on ancient music traditions and their authors. Sarangadeva, gives an elaborate resume of the general system of Indian music in theory and practice as had been developed in the centuries previous to the thirteenth. He gives detailed exposition of th jatis, and the grama-ragas, accompanied by actual notations.

But the most valuable information that this text conveys to us is as to the ancestry of several of the ragas, whose names occur for the first time in the Sangita Makaranda and which ragas must have acquired those names some time before, say about the eighth century. The text of Sarangadeva affords the only evidences as to the sources from which these well-known ragas derive their character and existence. But for Samgita Ratnakara, it may have been more difficult to understand Natyasastra, Brhaddesi and the other texts .

The text of Sangita Ratnakara has 1678 verses spread over seven chapters (Sapta-adhyayi) covering the aspects Gita, Vadya and Nritta: Svaragat-adhyayaRagavivek-adhyaya; Prakirnaka-adhyaya; Prabandh-adhyayaTaala-adhyaya; Vadya-adhyaya and   Nartana-adhyaya. The first six chapters deal with various facets of music and music-instruments; and the last chapter deals with Dance.

The first chapter deals with Nada (the sound); the second with Raga; the third with Prakirna (miscellaneous topics relating to music); the fourth with Prabandha class of Music ; the fifth with Marga and Desi Taala systems; the sixth with Vadya (musical instruments); and the seventh chapter  on Nartana dance.

In general, Sarangadeva follows Abhinavagupta very closely.

Chapter One – Nada: What seems rather unusual for a formal text on music is that Samgita-ratnakara opens with a lengthy chapter (Svara-gathadhyaya), divided into eight Prakaranas or Sections running into more than 170 verses purportedly dealing with Svara. It does not talk much about music.  But, it goes into elaborate details of human anatomy (according to the Ayurvēda) , the centers (Sthanas) in the body associated with  origin, development and articulation of sound  – heart (Hrid), throat (Kantha) and head region (Murdha) – in three varieties of pitches – Mandara, Madhya and Tara.

The third Prakarana of the first chapter is Nada-Sthana-Sruti-Svara-Jati-Kula-Daivata-Risi-Chanda-Rasa-prakarana. It also goes into the philosophical aspects of Nada, sound, which it regards as the manifestation of the undifferentiated, absolute principle Nada Brahman. Then it talks about two forms of Nada the un-struck or un-manifest (anahata) and the struck or the manifest (ahata). The sound in the human initially commences as an impulse or an idea in the mind with an urge to express itself. That idea is individualized and activated by the mind. It takes the aid of breath (Prana), the medium, to act as the vehicle to carry that idea. When the intention (idea or impulse) strikes (ahata) a bond with breath (Prana), the un-manifest turns into manifest Nada.

The, ahata, like its prior form (anahata) is neutral Svara, sound. It is only after passing through series of processes; the Svara is differentiated into Sruti (pitch) modulations.

Srutis are units of tonal interval with which the interval of a Svara is measured. Hence the Svaras are described next. After describing the intervals of the Suddha-Svaras those of the Vikrita-svaras are given. Suddha-svaras are those which conform to the arrangements of the seven Svaras of the Shadja-murcchana of Shadjagrama. Those which differ from this arrangement are the Vikrita-svara-s. There are 7 Suddha and 12 Vikrita-svaras.

The Sruti-s (pitch) are said to be of 22 kinds of time-intervals.  When certain of these are located along the chosen octave-continuum   , modified (sharp or flattened) from their normal and highlighted, a recognizable pattern of Svaras emerge.  Here, the Prana and certain body parts play vital roles to transform Sruti into Svaras. Body is considered as an arched harp with 22 strings activated by Prana (vital breath).

Three Gramas are described – Sahdja-grama, Madhyama-grama and Gandharva-grama. The names of the Seven Murcchanas in each Grama are also given.

The sixth Prakarana is on Varna and Alankara. Varnas denote the different kinds of movements that a melodic line can take.  Four Varnas are described:  Sthayi, Arohi, Avarohi and Sanchari. Alankara-s are ornamental patterns of Svaras that decorate a melodic line. Alankaras are classified under the four Varnas.

The seventh Prakarana is Jati-prakarana in which the lakshana (characteristics) of eighteen Jatis are given. The first seven are classified into Suddha and Vikrita; and the remaining eleven  as Samsaragaja. The characteristics or the laksana-s that are used for a describing a Jati are the same ten as mentioned in Brihaddesi.

The last Prakaraņa is called the Gīti-prakaraņa. Although it is named thus it takes up the treatment of certain musical forms called Kapāla and Kambala first and then goes on to Gīti-s. The Kapāla songs are based on some derivatives of Jāti-s and they are made up of words describing the fierce form of Lord Shiva.

Chapter Two – Raga viveka: is about the descriptions of the Ragas which are treated under two broad heads of Marga and Desi. He mentions six varieties of Marga Ragas: Gramaraga, Uparaga, Raga, Bhasha, Vibhasha and Antarbhasha. He also gives a list of purva-prasiddha (well established) and adhuna-prasiddha (recently established) Ragas. Many Ragas are illustrated in notation. There are also Sanskrit compositions in notation.

But, Sarangadeva’s focus is primarily on the Desi Ragas. He describes and discusses four types of Desi Ragas: Raganga, Bhasanga, Upanga and Kriyanga.

The Gramaragas resemble the Jāti-s closely and they are further classified on the basis of the different melodic styles. These styles are called Gīti. In this chapter, the five Giti-s, namely, Suddha, Bhinna, Vesara, Gaudi and Sadharini are described.

**

Vidushi Prof. Uma Garg in her Melodic Flavours According to the Season, observes: The ragas of the music (in the Hindustani system) have been categorized in many ways, such as Raga-ragini-paddhati; Thaat-raga paddhati; Raganga-paddhati etc. These classifications are technical by nature, involving the grammar of the concerned raga/ragas. But there is another classification of ragas, which does not involve the grammar of a particular raga. Instead, it focuses on its performance time. This concept is called the Time Theory of Ragas. According to this theory, performance of a raga is done in two-fold ways –according to the time of the day or according to the season of the year

The Time Theory of Ragas is a very unique concept in Hindustani Classical Music. It is a purely imaginative concept. It was developed over centuries in poetry, songs, as also in the texts of music. For instance; Nanya Bhoopala (11-12th century) in his Sarasvati-hrdaya-alamkara hara, while discussing seasonal Grama ragas, quotes Matang thus –yadah matang – 

sarve raga mahadeve samyak santoshkarakaha |hemant-greeshma-varshasu kaleshu gan-shasimiha | shadja-madhyam-gandhargrama geya yathakramam ||

All Ragas are dear to Lord Mahadeva. Yet; it would be proper to sing the songs  of shadja; madhyama ; and , gandhara gramas during winter, summer and rainy seasons.

Narada, in the third khanda 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

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

Following that tradition, Sarangdeva in his Sangeet Ratnakara, emphasized the importance of the performance of the ragas in their proper season and time.

In this chapter Raga-viveka-adhyaya, Sarangdeva laid special emphasis on the specific times and seasons for the performance of ragas. He also makes mention of the allotted times and seasons for the rendition of the ancient Gram-ragas. For e.g. he says Shadjagrama raga is to be performed in Varsha ritu; Bhinna Kaishik in Shishira ritu ; Gaud Pancham in  Grishma ritu ; Bhinna Shadja in Hemanta ritu ; Hindol in Vasanta ritu ; and, Raganti in  Sharad ritu.

**

As described Prof. O C Ganguly in his monumental work Raga and Ragini (Nalanda Books, 1935)

Sarangadeva devotes a large section of his chapter on Ragas (raga-vivekadhyaya) to the Desi Ragas famous in ancient times (prak-prasiddha desi-ragah). He gives an historical survey of Ragas according to theancient scholars Yastika and Matanga. He then gives a preliminary list of eight Uparagas: Tilaka, Saka, Takka-saindhava, Kokila, Pancama, Revagupta, and Pancama-sadava.

Next, he gives a general list of twenty Ragas , namely : Bhavana-pancama, Nagagandhara, Naga-pancama, Sri-raga, Natta, Vangala, Bbasa, Madhyama-sadava, Raktahamsa, Kollahasa, Prasava, Bhairava·dhvani, Megha-raga, Somaraga, Kamoda, Abhra-paficama, Kandarpa-desakhya, Kakuba, Kaisika, Natta-narayana.

He then enumerates, on the authority of Yastika, fifteen melodies-which are asserted as generic ragas from which the minor melodies bhasha (raginis) are derived- (Bhasanam Janakah panca-dasaite Yiastikoditah). These are: Sauvira, Kakubha, Takka, Pancama, Bhinna-pancama, Takka-Kaisika, Hindolaka, Vhotta, Malava-kaisika, Gandhiira-pancama, Bhinna-sadja, Vesara-sadava, Malava-pancama, Tana, Pancama- sadava.

Then he proceeds to enumerate the different bashas or derivative melodies affiliated to these ragas. In the next section, he describes the further subdivisions of the melodies into Ragangas, Bhashangas and Kriyangas on the authority of Kasyapa, son of Sodhala and enumerates thirtyfour melodies. “These 34 ragas are said to have been famous in early times.” Catus-trimladime ragah prak-prasiddhah prakirtiah.

 “Now,” says Sarangadeva, “I am proceeding to enumerate those which are famous in modern times.” (Athadhuna prasiddha namuddesah pratipadyate) “The aggregate numbers of these ragas amount to 264”. Kallinatha, commenting on this list explains Desaval as equivalent to Kedaragauda, and Tauruska as equivalent to Malavagauda

**

Chapter Three: Prakirnaka: deals with varieties of topics such as: Guna –Dosha (merit and de-merits) of Vak-geya-kara (composers who set their songs to music) ; Guna –Dosha  in voice culture of male (Gayaka) and female (Gayani) singers, articulation (Sabda) and resonance in voice (Sarira); improvisations in song-rendering  by application of  ornamentations (Gamaka) of fifteen kinds*;  expressions that manifest the feelings or effects associated with Raga phrases (Sthaya) , which are of ninety-six kinds; and, Alapi  free and improvised rendering of Raga and the song  of two sorts Raga-Alapi that is not bound (Anibaddha)  or  restricted by Taala ; Rupaka-Alapi , melodic improvisation done while rendering the text of the song.

[*He recognized fifteen varieties of Gamakas- Tiripa, Sphurita, Kampita, Leena, Andolita, Vali, Tribhinna, Kurula, Ahata, Ullasita, Humpita, Plavita, Mudrita, Namita and Misrita; and, three kinds of Yatis – Sama, Srotogata or Shrotovaha and Gopuccha.]

Chapter Four –Prabandha: is a detailed discussion on Prabandha class of Music that was dominant during the days of Sarangadeva.  He says: the Gayana (singing) is twofold – Nibaddha and Anibadda. That which is composed of Anga-s (limbs or elements) and Dhathu-s (sections) is Nibaddha Samgita. And Alapita which is free from such structures is known as Anibadda Samgita. Then he goes on to say that Nibaddha has three names: Prabandha, Vastu and Rupaka.

By the time of Samgita-Ratnakara, Prabandha 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. Sarangadeva described about 260 types of Prabandha-s with their variations.  Sarangadeva generally followed Manasollasa and Sangita-Samayasara.

He describes the four sections (Dhathu) of a Prabandha song (Udgraha, Melapaka, Dhruva, and Abogha) along with Antara the intermediary; and its six elements (Anga) or limbs (Svara, Birudu, Tenaka, Pata, Pada and Taala) . These comprehensively cover the three aspects of a song: the text, the Raga (melody) and Taala (rhythm).

Then he takes up the discussion on class of Prabandhas: Shuddha Suda, Salaga Suda, Alikrama and Viprakirna. Of these , Sarangadeva selects Salaga Suda for detailed treatment. Sarangadeva was the first to present the class of Suda systematically, lending it a theoretical base. For about 300 years thereafter, the terms and descriptions provided by Sarangadeva were adopted by all the later authors.

He discusses seven types of Salaga Suda songs: Dhruva, Mantha, Prati-mantha, Nihsaru, Addatala, Rasaka and Ekatali.

Chapter Five – Taala: deals with time units or rhythmic patterns Taala. Sarangadeva deals with Marga Taala and Desi Taala separately.  Under Marga Taala , Sarangadeva mentions five varieties : Caccatpuţa ;  Cācapuţa ; Şaţpitāputraka ; Sampakvēşţāka ; and Udghaţţa. Under these he discusses the different aspects of the Taala such as the time-units Laghu, Guru and Pluta; the Kriyā-s; the different forms of a Taala like Ēkakala, Dvikala and Catuşkala.

After the Marga Taala, 120 varieties of Desi Taala employed in Prabandha songs are discussed.

Chapter Six- Vadya: generally follows the discussions on Music instruments (Vadya) as elaborated in Natyashastra. Sarangadeva also describes various class of instruments in terms of : Tata (stringed) Susira (hollow) , Avadhana (Drum type) and Ghana ( solid like cymbals).

Under these, he names some specific types: Tata (Ekatantrī, Citrā, Vipañcī, Mattakōkilā, Ālāpinī, Kinnari); Susira (Vamśa, Kāhala, Şańkha); Avadhana (Huḍukka, Paţaha) ; and, Ghana(Kāmsyatāla, Ghaņţā).

He also talks about the construction of these instruments and ways of playing them.

Chapter Seven– Nartana: The seventh and the last chapter is in two parts.  The first one deals with Nartana. The term Nartana is a common term representing the arts of Nŗtta, Nŗtya and Nāţya. In describing the Marga tradition of Dance, Sarangadeva follows Natyashastra. As regards the Desi class of Dance he improves upon the explanations offered in Manasollasa of King Someshwara and Sangita Samayasara of Parsvadeva

[ For more on the last and the Seventh Chapter Nartana-adhyaya, dealing with Dance : please check the following link

https://sreenivasaraos.com/2018/12/10/the-texts-of-the-indian-dance-traditions-part-sixteen/  ]

Although he follows Bharatha in describing the movements of the body, he differs from Bharatha in dividing the limbs into three categories, Anga, Upanga and Pratyanga. he follows the Manasollasa in using the term Nartana for dance; dividing Nartana into three categories : Natya, Nrtya and Nrtta (SR. 7. 3).

He also differs from Natyashastra which identifies Tandava as Shiva’s dance and Lasya as Parvati’s. According to Sarngadeva, Nrtta and Nrtya can both be of two kinds, Tandava and Lasya (SR. 7. 28). Tandava requires uddhata (forceful) and Lasya requires lalita (delicate) movements (SR. 7. 29- 30).

Sarangadeva’s description of Cari, Sthana, Karana and Angaharas of the Marga type are as in the Natyasastra. But the Desi Caris, Sthanas and Utplutikaranas are the same as those in the Manasollasa of Someshwara.

Next described are Gaundali and Perani, the two dances commonly performed in  in the Desi tradition. Here he follows Sangita-Samayasara.

Sarngadeva explains the importance of aesthetic beauty, lays down the rules of exercise, and describes the qualities and faults of a performer (including a description of her make-up and costume), and those of the teacher and the group of supporting performers. Then he describes the sequential process of a performance, including the musical accompaniment, in the pure mode or suddha-paddhati.

After describing these two dance pieces, Sarngadeva deals with the qualifications of the Acharya (the teacher), the Nata (the actor), the Nartaka (the dancer), the Vaitalika (a general entertainer), the Charana (an expert in understanding gharghara) and the Kohlatika (a performer who specializes in Bhramari, rope-walking and dancing with a dagger). Next, he describes the audience and the sitting arrangements.

In the second part of this chapter, the author describes Rasas (nine in number), Sthayibhavas (thirty-three in number) and the definition of Sattva (the essence) and Sattvikabhavas (eight in number). Sarangadeva largely follows the explanations offered by Abhinavagupta on the theories of Rasa. The chapter concludes with final prayers

The significant commentaries on the text include the Sangitasudhakara of Simhabhupala (c.1330) and the Kalanidhi of Kallinatha (c.1430).

[ Ref : 1. Sangitaratnakara of Sarngadeva by Dr.N. Ramanathan ; 2. Sangitaratnakara  of Saringadeva  translated into English with detailed notes by Dr. C. Kunhan Raja, the Adyar Library, 1945. 3. Sangitaratnakara of Saringadeva by Natalie Savelyeva.  4. The Evolution of Classical Indian Dance Literature: A Study of the Sanskritic Tradition by Mandakranta Bose ]

single-line-border-clipart-img_1222727556554_3931

 

9. Swaramelakalanidhi of Ramamatya (1550AD)

9f891f62aae2a775bac413f6869c2af6

Ramamatya who described himself as the maternal grandson of the learned scholar Kallappa Desika (Vidyanidhih Kallappa Desikaste matamaho) – identified by some as Kallinatha (the author of a commentary on  Sarngadeva’s Sangita Ratnakara ) ; was the son of  Todarmalla Timmamatya (Todara-malla meaning  in Kannada – the hero-malla– who wears the honorific anklet – Todar).

Ramamatya was a noted scholar and musician in the court of the Vijayanagar King Sadashiva Raya (1542-1570). It is said; that Ramamatya was requested by Venkadri, the brother of Rama Raja the Minister of King Sadashiva Raya, to write a book on Music, particularly to reconcile the tradition and the current practices. The result of his efforts was Swaramelakalanidhi having five Chapters : Upodgata (preface),  Swaraprakarana, Veenaprakarana, Melaprakarana and Ragaprakarana with a total of about 328 couplets in Sanskrit. The text systematically deals with Svara, Veena, Mela system and Ragas. The date of the text is said to  be Shravana Shuddha 10th, Shaka year 1472, I.e, A.D. 1549.

[Please check  for the text in English script;  and here for the  text in Sanskrit  ]

Swaramelakalanidhi is a fitting introduction to the post-Sangita Ratnakara period in the history of South Indian Music. Ramamatya’s work   makes it evident that the Sangita of his time (around 1550) was yet to be influenced by the Muslim music. The Raga-vibodha of Somanatha (1609) supports this view, although Somanatha himself seemed to be getting familiar with Muslim music.

As desired by his patron, Ramamatya brings the theory up to his times, rationalizes music principles and practices). He speaks of two kinds of Music: the ancient Marga or Gandharva which was Lakshana (theory)  oriented (pradhana) and the Desi Sangita which is in practice (Lakshya pradhana). He seemed to favor the practice of Music over the theory (Lakshya pradhanam khalu Gita-shastram).

Ramamatya describes various types of Veenas used in his day as well as their tuning. He distinguishes two main types: Veena with fixed frets which that allows all the Ragas to be played (Sarva-raga-mela-veena); and, Veena on which only one Raga could be played at a time (Eka-raga-mela-veena) and for playing another Raga the frets had to be moved and re-arranged.

Besides these he mentions three other types of Veena differing in in the tuning of their main strings : Shuddha-mela-veena (Sa, Pa, sa, ma); Madhya-mela-veena (Pa, sa, pa, sa) ;   and , Achutharaya-mela-veena (Sa, Pa, sa, pa) .

An interesting aspect of Ramamatya‘s description is the method of placing the frets. Ramamatya bases his technique in the principle of Samvadi Svaras as described in in ancient texts.

Applying this principle, he introduced (svayambhuvah svara hyete na svabuddhya  prakalpitah)  the concepts of Svayambhu-Svara (self-generating note, which some say is the equivalent of the ancient Samvadi- perfect consonant)  to all other notes . Based on this he determines the positions of all the frets on the Veena. He explains that the different Shuddha and Vikrtasvaras can be derived as the Samvadi-s of one another, starting with the basic Svaras viz. Sa, Pa and Ma to which the strings of the Veena are tuned, are termed Svayambhu-Svara. And in turn, he says, the other Svaras derived through Samvadi relationship are also called Svayambhu-Svaras.(caturthasaryam samjatah svarah sarve svayambhuvah)

He also brought certain improvements into the technical aspects of Music. For instance; the ancient music-theories mentioned 22 Srutis, although only 14 were used as Svaras (notes). Ramamatya reduced the number of Srutis to 12, because, he said, the difference in pitch between Antara Ga and Cyuta Ma (prefix cyuta means lowered) and the notes were negligible. He specified the implementation of this tuning by describing the location of six frets on his Veena

Veena colour

The most important contribution of Ramamatya was in the formulation of a logical principle of classifiation of the ragas, on the basis of the common elements of their characteristic note structures. Following the precedent of Yastika (Bhasanam janaka panchca-dasaite Yastikoditah), whom he cites, he enumerates the fifteen major Ragas ; and, also indicates that these fifteen Ragas  are the father (janaka), that is to say, the genus of the minor melodies (bhasas).

This old janya-janaka system (corresponding to the raga-ragini-putra system of the North) is replaced by Ramamatya by an independent analysis of the Ragas; and, by a systematic classification based on a study of the common elements of the Svara compositions of the different varieties of Ragas, grouped (mela) according to their basic structural unity.

He clarified the distinction between abstract Mela ragas, Janaka ragas  and Janya ragas. He then combined these three concepts to identify 20 Melas under which he classified about 64 Janya Ragas.

**

Ramamatya’s Swaramelakalanidhi , thus , marked the revival or a new  beginning of an era of classifying Ragas on purely music principles; and, methodically grouping them under what came to be known as Mela system. After Swaramelakalanidhi, numerous other works were written following Ramamatya‘s theories of classifying Ragas into Mela system. Thereafter, the 16th and 17th centuries grew into periods of great importance for production of Lakshna-granthas. Bringing to fore the method of classifying Ragas into Melas could be said to be the major contribution of Ramamatya.

It appears that by the time of Ramamatya, the method of deriving tunes from the complicated arrangement of Grama-Murchana-Jaati was no longer in use. Similarly, the ancient model essentials (lakshanas) for identifying a Raga based on ten criteria was no longer in practice. The ten ancient criteria (lakshanas) had then been reduced to five.

Ramamatya, in his Svara-mela-kalanidhi classified the then known Ragas into 20 Melas. His classification of Melas was based on five criteria (Lakshana). That is, Amsa (predominant note); Graha (initial note); Nyasa (final note); Shadava (sixth note); and, Audava (pentatonic structure) were no longer considered necessary.  This meant that the ancient modal system was replaced by a scalar system. Nevertheless, individual Raga continued to preserve some of their ancient modal essentials (Lakshna), in certain case even until today.

In chapter 5 , Ramamatya arranges the Ragas into three classes :  Uttama (pure or superior) suitable for singing (Giti) ,  for elaboration (Alapa) , phrasing (Taya) and for composing (Prabandha). The second was the Madhyama (middle one) Ragas suitable for singing segments of  compositions (prabandha khanda). And , the third being Adhama ( inferior)  the Ragas that are meant to dazzle the masses  ( pamara -bhramaka) ; but , unsitable for Alapa, Prabandha or Taya.

Ramamatya also mentions traditional characteristics (Lakshana)  of certain individual Ragas , such as the initial note (Graha) , the dominant note (Amsa), and the   the final note (Nyasa) ; the number of notes ( 5,6  or 7) ; and, recommended suitable time for performance.

*

The germ of the idea of the genus-species system was perhaps present long before Ramamatya. But, he was the first to introduce a chapter on Mela called Mela-prakarana. In this chapter, he enumerates, the Melakas (unifiers) and then explains their characteristics.

Even prior to Ramamatya the method grouping the Ragas into Mela was in vogue. Mela is a Kannada word meaning gathering or grouping.  The practice of grouping (Mela) the Ragas according to their parent scale, it said, was initiated by Sage Sri Vidyaranya in his Sangita-sara (14th century). Govinda Dikshita (who reverently addresses Sri Vidyarana as: Sri Charana)   confirms this in his Sangita-sudha (1614). Sri Vidyaranya classified about 50 Ragas into 15 groups (Mela). The intention of the Mela system was to organize then known Ragas that were in practice. Sri Vidyaranya’s work on Melakarta system was followed up and improved upon in later times by other scholars.

Following Sri Vidyaranya, Ramamatya in the fourth Chapter – Mela-Prakarana– of his Svara-mela-kalanidhi introduced the theoretical framework for classifying then known Ragas under 20 Melas (parent scale), the notes and names of which were taken from the prominent Ragas of that time.  This was an improvement over the system initiated by Sri Vidyaranya.

Treating Ragas in terms of a Mela was possibly the most significant approach and development in musical history. Mela refers to a collection of seven Svarasthanas (Svara postions). All Ragas are Janya Ragas, and janya Ragas that have a common set of Svarasthanas are placed in the same Mela. The name of the Mela was given to the Raga among the group that was most significant or popular. At this stage, the Raga that held the title for the Mela did not need to possess all the seven Svaras; and though the Mela was referred by its name, it was still a janya Raga.

Following an older precedent, Ramamatya takes the Mukhari Mela, as the Shuddha scale and gives it the place of precedence. He said “Of all the Melas, Mukhari is the first. Other Melas are  followers” .

Ramamatya gives details of Shuddha-svara-s and Vikŗta-svara-s occurring in each of the Mela, a list of sixty-four Janya Raga-s classified under each Mela, and the Sruti positions of Svaras in the Melas. Mukhari is established as the Shuddha-svara saptaka in this treatise (For more, please see Swaramelakalanidhi of Ramamatya by Dr. N. Ramanathan)  According to Tulaja , the Karnataka Raga Mukhari (Raga as well as Mela) is the same as the ancient Suddha-sadharita.

Ramamatya lists 20 Melas : 1. Mukhari; 2. SriRaga; 3. Malavagaula; 4. Saranganata; 5. Hindola ; 6.Shuddha-ramakriya; 7. Desaki; 8.Kannadagaula; 9. Shuddanti; 10.Ahari; 11.Nada-ramakriya; 12.Shuddhavarjati; 13. Ritigaula; 14. Vasantha-bhairavi; 15.Kedaragaula; 16.Hejujji; 17.Samavarali; 18. Revagupti; 19. Samantha; and 20. Kambhoji.

[Later, Venkatamakhin pointed out that two of Ramamatya’s Melas – Saranganata and Kedaragaula – do not differ in their structure.]

In this scheme,  ten ancient model essentials (lakshanas) which had been reduced to 5 (the predominant note (Amsa); the initial note (Graha); the final note (Nyasa), the hexatonic structure (Shadava) and the pentanotic structure (Audava)) were no longer considered to be the criteria for classifying the Ragas. That meant that the ancient modal system was replaced by a scalar system. Nevertheless, individual Raga continued to preserve some of their ancient modal essentials (Lakshna) , in certain case even until today.

Such continuity in the Ragas is illustrated by the following Ragas: 1. The Karnataka Raga Mukhari (a Raga as well as a Mela) , which according to Tulaja is the same Raga as the ancient Suddha-sadharita; 2. Karnataka Raga Varali or Varati that is both Samavarali and Jhalavarali; 3.Hindustani Varari or Barai – Varati; 4.Hindustani Bhairava; 5.Karnataka Lalita; 6.Karnataka and Hindustani Dhanasri; and, 7.Hidustani Sindhubhairavi.

Ramamatya’s exposition of Mela, Raga and his technique of ‘Madya Mela Veena’ was a pioneering work in the systematic classification of Ragas. After his work, numerous others on Raga, Mela, Janya, etc were published.  Ramamatya was followed by:  Pundarika Vittala (16th century); Venkatamakhin (17thcentury); and his grandson Muddu Venkatamakhin (18th century).

Ramamatya’s work also enormously influenced Somanatha’s Raga Vibodha and Govinda Dikshitar’s Sangita Chudamani, two important works which deal with Ragas current at their time. Some regard Ramamatya, Somanatha and Govinda Dikshitar as the Trinity of Karnataka Sangita theory (Sangita Shastra).

Later scholars, that is after Ramamatya, started computing the maximum number of seven Svara combinations they could derive (melaprasthara) based on the number of Svara positions. Here, each author computed a different number of Melas based on the number of Svarasthanas he had theorised. For example, the Sad-Raga-chandrodaya Pundarika Vittala mentions a possible 90 Melas, while in Somanatha’s Raga Vibhodha there are 960 possible Melas. Even though they came up with this computation they found that only a limited number of these were actually used in the form of a Raga.  Therefore, Somanatha felt that 23 Melas would suffice to classify the 67 Ragas then in practice.

During the second half of the 16th century Pundarika Vittala (in his Raga-manjari) introduced Ramamatya’s Mela system in North India. But, he changed the names and scales of several Melas. Another South Indian musicologist who migrated North was Srikantha who wrote his Rasa-kaumudi at about the same time. He reduced Ramamatya’s 19 Melas (as Saranganata and Kedaragaula) were actually the same scale. This system resembled the contemporary Arabic system of 12 predominant modes (Maqam).

One of the most important texts in music of South India was Chatur-dandi-prakashika of Venkatamakhin (1660), which brought the Mela- Janya system on a rational basis. It classified the Ragas according to the system of 72 basic scales (Mela). This system still prevails in South Indian music, though with modifications.

In 1620, Venkatamakhin, son of Govinda Dikshitar, corrected Ramamatya’s Mela system by reducing the number of Melas from 20 to 19, because he said the notes of the two Melas Kedaragaula and Saranganata were the same. More importantly, in the Appendix (Anubandha) to his Chatur-dandi-prakashika, Venkatamakhin mentions the  possibility of classifying Ragas (Kanakangi to Rasikapriya) built on 12 Svara-Sthanas  under a  72 Mela-karta scheme made into two groups of 36 each (Shuddha Madhyama and Prathi Madhyama) . (It was at this time a theoretical possibility, since all those Melas were yet unknown.) The 72 Melas bear the names of prominent contemporary Ragas; and each of which is considered the basic scale of one or more Ragas.

It is believed that it was Venkatamakhin’s grandson Muddu Venkatamakhin, who gave the nomenclature for the Mela Ragas, (Kanakambari, and Phenadhyuti etc) in his Gitam called Raganga Raga Anukramanika Gitam (found in Sri Subbarama Dikshitar’s Sangita Sampradaya Pradarshini (1904).  Shri TM Krishna observes:

‘The Muddu Venkatamakhin tradition, which uses the terms Raganga Raga (equivalent term to Mela-kartha) and Janya Raga, adopts the opinion that the Raganga Raga needs to be Sampurna in either Arohana or Avarohana but non-linear. Sri Muthusvami Dikshitar gave form to most of these Ragas through his compositions.’

Again, during late 17th – early 18th century, Govindacharya the author of Samgraha-chudamani changed the names of some Melas of Venkatamakhin. He expanded on Venkatamakhi’s Chatur-Dandi-Prakashika  by introducing the Sampoorna Melakarta scheme which has a complete (sampoorna) arohana – avaroha structure. as well as delineating Lakshanas for 294 Janya Ragas, many of which were till then unknown, with their Arohana and Avarohana. In this scheme, the Melakartas arise out of systematic permutation of the seven Svaras into the twelve svara sthanas.  

Govindacharya also gave lakshana gitas and lakshana slokas for 294 Janya Ragas. And, he also refined the Katyapadi prefixes by linking the Mela Ragas to their first two syllables of their names. This system of 72 Mela is the Karanataka Mela system of the present day.

As per Shri TM Krishna: ‘Mela started out as a way to organize existing Ragas but moved to creating scales as Ragas using the Mela structure. Probably for the first time in musical history theory influenced practice. This is probably why many Ragas in performance even today are only svara structures sans features that give a Raga an organic form’.

The voluminous  Sangita Sampradaya Pradarshini by  Sri Subbarama Dikshitar (1839-1906) , the grandson of Sri Mutthuswami Dikshitar , running into about 1700 pages is a source-book on Music of India , tracing the history of Music from Sarangadeva to the 20th century through a series of biographies of noteworthy musicians and music-scholars . It  also provides  exhaustive details on 72 Melas  as also tables of Ragas, Ragangas, Upanga-s, Bhashangas with their Murcchanas, Gamakas, in addition to details of the  Taalas.

 Pandit Vishnu Narayan Bhatkhande (1860-1936), a scholar and a musicologist, in his colossal work ‘Hindustani Sangeet Paddhati’ reorganized the Uttaradi or North Indian Music, mainly,  by adopting the concept of Mela system as expanded by Venkatamakhin (1660) in the Appendix to his Chatur-dandi-prakashika.

Bhatkhande also adopted the idea of Lakshana-geetas that Venkatamakhin employed to describe the characteristics of a Raga. Bhatkhande arranged all the Ragas of the Uttaradi Sangita into ten basic groups called ‘Thaat’, based on their musical scales.  The Thaat arrangement, which is an important contribution to Indian musical theory, broadly corresponds with the Mela-karta system of Karnataka Sangita.

*

When you look back the long and interesting history of Raga in Karnataka Sangita stretching from Matanga to the present-day , you find that the system has evolved through several stages. If Matanga defined the Raga and lent it a sense of identity, it was Ramamatya that activated the process of binding the Ragas into structured groups. This has provided Karnataka Sangita a unique and a thorough theoretical foundation.

Thus, Swaramelakalanidhi of Ramamatya occupies a significant position in the history of the development of Karnataka Sangita. And, as Dr. N. Ramanathan remarks: Swaramelakalanidhi is an important work as the information contained in it is more relevant and related to the modern practice than the books written prior to it. It is not , therefore, surprising that Emmie Te Nijenhuis lauds Swaramelakalanidhi  as a landmark  in the history of Indian Music. 

[ At the end of his work , Ramamatya says he does not treat the subjects of Taala and Prabandha because these had already been treated exhaustively by Sarangadeva .]

[Ref: 1. Swaramelakalanidhi of Ramamatya by Dr. N . Ramanathan;2. http://www.chrysalis-foundation.org/Ramamatya-s_Vina.htm 3.http://www.thehindu.com/todays-paper/tp-features/tp-sundaymagazine/centred-upon-centuries/article1117724.ece;4.Indian Music: History and Structure by Emmie Te Nijenhuis]

 

 veena (1)

[Sagītaśiromai

Sagītaśiromai is a compilation or a Handbook of Indian Music prepared by a group of scholars, based on number of older texts in Sanskrit. It is said; Sultan Malika Sahi, who ruled the region surrounding Allahabad, invited a group of scholars to his capital Kada, during the year 1428; and, asked them to prepare a large book on music  , to serve as the source / reference material,  by making use of considerable number of  ancient  texts he had collected.

The resultant work Sagītaśiromai, which to a large extent was based on Sarangadeva’s Sangitaratnakara, soon gained the reputation as a standard and a very valuable reference book on Music. And, various scholars and authors often quoted verses from Sagītaśiromai. But, in the later times, sadly, the portions of the book dealing with musical instruments and dance were lost.

Please do read the edited and translated version of the first fourteen chapters of the Sagītaśiromai, as rendered by the noted scholar Emmie Te Nijenhuis. Her edition of Sagītaśiromai: A Medieval Handbook of Indian Music is remarkable for its scholarly and detailed explanation / illustration of the principles of Indian music such as : Sruti (intonation); Svara (notes); Grama ( tone-system); Murchana (scales); Taana (tone-patterns); Sadharana (overlapping); Varna (melodic line); Alamkara (musical figures or graces); Jati (mode); Giti (styles of singing); Ragas – their  classifications and characterizations; and others.

The introduction, which Emmie Te Nijenhuis has scripted, is highly educative; and, students and scholars, alike, would certainly benefit, greatly, by reading it closely.]

roses

 
6 Comments

Posted by on June 5, 2015 in Music, Sangita

 

Tags: , , , , , , , , , , , , , , , ,

Music of India – a brief outline – Part Three

Continued from Part Two – Overview (2) North – South branches

 

Part Three (of 22) –  Overview (3)

 

Karnataka samgita

1.1. The Music of South India was referred to as Karnataka Sangita, perhaps, even  slightly prior to 12th century. King Nanyadeva, a prince of a later branch of the Rastrakuta (Karnataka) dynasty who reigned in Mithtili (Nepal) between 1097 and 1133 A.D. in his Sarasvathi-hrdaya-alamkara-hara mentions Karnata-pata tanas. Further, the Kalyana Chalukya King Someshwara III (1127-1139 AD) in his Manasollasa (also called Abhjilashitarta Chintamani) calls the Music of his times as Karnata Sangita . This, perhaps, is the earliest work where the name Karnataka Sangita is specifically mentioned . Later, Thulaja the Nayak ruler of Tanjavuru in his ‘Sangita saramruta’ (1729 – 1735) calls the Music that was in vogue at his time as Karnataka Samgita. That was, perhaps, because the authorities and the Lakshana-granthas he quoted in his work were authored by Kannada-speaking scholars.  Later, Sri Subbarama Dikshitar in his ‘Sangita-sampradaya-pradarshini’ (1904) refers to Sri Purandaradasa as ‘Karnataka Sangita Pitamaha’ (father of Karnataka Music).

The contributions of the Kannada scholars in terms of –  the Lakshna-grathas that articulated the theoretical aspects of the Music; defining the concept of classifying the Ragas under various Mela-s; refining the elements of Music such as Taala; coining fresh Music terms; and, systematizing the teaching methods , particularly in the early stages of learning  – had been truly enormous.

Texts

1.2. One of the reasons for naming the Dakshinadi as Karnataka Samgita could be that in the initial stages of its development and even in later times up to the 18th century the texts delineating the Grammar (Lakshana –grantha) of Music were authored mostly by Kannada speaking Music-scholars (Lakshanika). The texts were, however, written in Sanskrit and not in Kannada.

The notable among such texts (Lakshana–grantha) in question, mention could be made of 

: – Manasollasa ( also called Abhjilashitarta Chintamani ) ascribed to Kalyana Chalukya King Someshwara III (12th century) ;

: – Sangita-Cudamani of Jagadekamalla (1138 to 1150 AD ) –   son of king Someshwara , author of Manasollasa;

:- Sangita-sara of  Sage Sri Vidyaranya  (1320 – 1380)  which perhaps was the first text to  group (Mela ) Ragas according to their  parent scale;

: – Sad-raga-chandrodaya of Pundarika Vittala (1583 approx);

 :- Kalanidhi of Catura Kallinatha (Ca,1430),  a reputed commentary on on Sarangadeva’s Sangita-ratnakara ; he was in the court of Immadi  Devaraya ( aka Mallikarjuna) the King of Vijayanagar (1446-65);

: – Swaramela-Kalanidhi  by Ramamatya (Ca.1550) a poet-scholar in the court of Vijayanagar ;

: – Sangita Sudha, attributed to Govindacharya (aka. Govinda Dikshita, Ca 1630) ;

: – Chaturdandi-Prakasika (a landmark text in Karnataka Sangita) by Venkatamakhin, son of Govinda Dikshita (ca. 1635);

: –  Sangraha Chudamani by Govindacharya (late 17th – early 18th century), which expanded on Venkatamakhi’s work;

:- and,

the Ragalakshanam  ( early 18th century) of Muddu Venkatamakhin (maternal grandson of Venkatamakhin) which makes a drastic shift in the concept of Mela , identifies the Raga by the position of its notes (Svara-sthana) and characterizes a Raga by its Aroha and Avaroha ( ascending and descending notes).

Mela

1.3. The practice of grouping (Mela) the Ragas according to their parent scale, it said, was initiated by Sage Vidyaranya in his Sangita-sara (14th century). Govinda Dikshita (who reverently addresses Sri Vidyarana as: Sri Charana)   confirms this in his Sangita-sudha (1614).  Sri Vidyaranya classified about 50 Ragas into 15 groups (Mela). Mela is a Kannada term meaning collection or group; and it is still in use ( eg. sammelana- is meeting or conference).Sri Vidyaranya ‘s  work on Melakarta system was followed up and improved upon in later times by other Kannada–speaking scholars. For instance; Ramamatya, following Sri Vidyaranya, in his Svara-mela-kalanidhi classified the then known Ragas into 20 Melas. His classification of Melas was based on five criteria (Lakshana): Amsa (predominant note); Graha (initial note); Nyasa (final note); Shadava (sixth note); and, Audava (pentatonic structure). Ramamatya was thereafter followed by:  Pundarika Vittala (16th century); Venkatamakhin (17th century); and his grandson Muddu Venkatamakhin (18th century).

Taala

Sripadarajaru

1.4. Sri Sripadaraja (1406-1504) who presided over the Matta at Mulbagal in Kolar District, Karnataka, is credited with reorganizing the Taala system from out of the numerous Desi Taalas (rhythmic patterns) that were in use. He categorized the Taala under seven categories (Suladi sapta taala), each with a fixed number of counts: dhruva (14), matya (10), rupaka (6), jampa (10), triputa (7), ata (14), and eka (4). The counts were measured in terms of Laghu (of one matra duration- notionally to utter four short syllables) and Dhruta (half that of Laghu). He also provided scope for extending these counts (virama) by adding a quarter duration of a Laghu.

It appears; two other Taalas (jhompata, a Desi Taala and Raganamatya from folk traditions) were also in use.

Of course, today, the Taala regimen has completely been overhauled.

Music Terms

1.5 . Many of the Music-terms that are in use today were derived from Kannada. For instance: while the music-content of a song is called Dhatu, its lyrics are Mathu (meaning spoken word in Kannada). Similarly, the terms Sarale and Janti-varase are derived from Kannada. Sarale is, in fact, said to be the local (prakrta) version of the Sanskrit term Svaravali (string of Svaras). And, Varase (meaning style in Kannada) refers to ways of rendering the Svaras in high (melu-sthayi) and low (taggu-sthayi) pitch.

Further, the terms to denote ten modes of ornamentation (Dasha-vidha-Gamaka) were also said to be derived from Kannada: Hommu; Jaaru; Rave; and Orike etc.

Teaching Methods

1.6. Apart from charting the path for development of Music in South India, the teaching methods were systematized by Sri Purandaradasa through framing a series of graded lessons. Sri Purandaradasa is credited with devising a set of initial lessons starting with Maya-malava-gaula Raga and later in other Ragas. The Svaravalis, Janti varse, the Suladi Sapta taala alankaras and Gitams, composed by Sri Purandaradasa, form a part of Music-learning. He has also to his credit numerous lakshya and lakshna Gitams; Suladis, Ugabhogas, Devara Nama and kirtanas.

His compositions served as a model for Sri Tyagaraja. The other composers of the 18th century also followed the song-format devised by Sri Purandaradasa which coordinated the aspects of Raga, Bhava and Taala.

kanaka-vyasa-vadi ed

Contribution of Haridasas

2.1. As regards the Haridasas, their contributions to Karnataka Samgita, spread over six hundred years, have been immense, both in terms of the sheer volume and the varieties of their works.

Haridasas were proficient singers and composers; and, spread their message – of devotion, wisdom, ethics in life and social values- through songs and Music. They composed their songs in Kannada, the spoken language of the common people;  not in Sanskrit as was the practice until then. Their songs were accessible even to the not-so-literate masses; and, soon became hugely popular.

2.2. The range of Haridasa Music is indeed very wide. It spread from songs derived from folk traditions (lullaby (laali), koluhadu, udayaraga, suvvake, sobane, gundakriya etc) to Prabandha forms (gadya, churnika, dandaka, shukasarita, umatilaka and sudarshana), to musical opera and to the classic poetry.

But, the bulk of the Haridasa songs were in the format of: Pada; Suladi; and, Ugabhoga. When put together, their numbers run into thousands

2.3. As regards the Music, they seemed to have re-organised Ragas starting with malavagaula, malahari under 32 (battisa) Raga-groups.

[Incidentally, it is said, it was Sri Sripadaraya who first mentioned and introduced into Haridasa-music the stringed drone instrument Tamburi (Tanpura). And, later it came to be identified with the Haridasas in Karnataka music.]

Pada

3.1. Sri Naraharithirtha (13th century), a direct disciple of Sri Madhvacharya, was perhaps the first to compose Kannada songs in Pada- format. (His Ankita or Nama-mudra was Raghupathi.) The model he offered was fully developed and expanded by generations of Haridasa composers. That in turn led to evolution of other song-forms in Karnataka Samgita: Kriti, Kirtana, Javali etc.

3.2. Sri Naraharithirtha, after a considerable gap, was followed by Sri Sripadaraja (Ankita: Rangavittala) who lived for almost a hundred years from 1406-1504. He wrote a good number of Padas as also a long poem in Sanskrit (Bramara-geetha). He also introduced many innovations into Karnataka Music.

3.3. The later set of Haridasas, mostly, lived around the Vijayanagar times. The prominent among them was the most honoured Sri Vyasaraya (1447-1539), a disciple of Sri Sripadaraja. He composed many Padas (Ankita: Sri Krishna).  He enjoyed the patronage of the Vijayanagar King Sri Krishnadevaraya; and, also had a large following of disciples. During the time of Sri Vyasaraya the Haridasa movement (Daasa-kuta) reached its heights. Sri Purandaradasa and Sri Kanakadasa were prominent members of the Daasa-kuta.

3.4. During the same time, Sri Vadiraja (Ankita: Hayavadana) who had his seat in Sode (North Kanara District) composed varieties of Padas, popular songs and lengthy poems in classic style.

3.5. Among the Daasa-kuta , Sri Purandaradasa ( 1484-1564) a disciple of Sri Vyasaraya was  , of course,  the most well known of all. He composed countless Padas (Ankita: Purandara Vittala). Though he is said to have composed gita, thaya, padya-vrata (vrittanama) and prabandha (much of which is lost), he is today known mainly by his Padas, Suladis and Ugabhogas.  His songs cover a range of subjects such as: honesty and purity in ones conduct and thoughts; wholesome   family life; social consciousness and ones responsibility to society; philosophical songs; futility of fake rituals; songs preaching importance of devotion and surrender to God; prayers; narrative songs etc. He systematized the methods of teaching Music; and blended lyrics (Mathu), Music (Dhatuu) and Dance (Nrtya) delightfully. He is credited with introducing early-music lessons such as: sarale (svarali), janti (varase), tala- alankaras as well as the group of songs called pillari gitas.  These form the first lessons in learning Karnataka music even today. Sri Purandaradasa was later revered as Karnataka Samgita Pitamaha (father of Karnataka Music).

purandara

It is said; Sri Tyagaraja (1767-1847) derived inspiration from Sri Purandaradasa whom he regarded as one among his Gurus. Sri Tyagaraja, in his dance-drama Prahlada Bhakthi Vijayam pays his tribute to Sri Purandaradasa – వెలయు పురందరదాసుని మహిమలను దలచెద మదిలోన్ (I ponder, in my mind, on the greatness of Purandaradasa who shines in a state of ecstasy, always singing the virtues of Lord Hari which rescues from bad fates). Sri Tyagaraja brought into some of his Kritis the thoughts, emotions and concepts of Sri Purandaradasa.

3.6. A contemporary of Sri Purandaradasa was the equally renowned Sri Kanakadasa (1508-1606). He is remarkable for the range and depth of his works (Ankita: Nele-Adikeshava). He, like the other Haridasas, was driven by the urge to bring about reforms in personal and social lives of people around him. He wrote soulful songs full of devotion (Bhakthi), knowledge (jnana) and dispassion (Vairagya), besides composing classic epic-like poetry in chaste Kannada. His Kavyas: Mohana-tarangini (in Sangatya meter); Nalacharitre, Haribhakthisara and Ramadhyana-charite (in Saptapadi meter) are popular even today.

kanakadasa

3.7. Following Sri Kanakadasa there were generations of Haridasas who continued to compose Padas, Devara Namas Ugabhoga, Suladi, Vruttanama, Dandaka, Tripadi and Ragale (blank verse) etc as per their tradition. Among them  the prominent were : Mahipathidasa(1611-1681) ;  Vijayadasa (1682-1755) ; Prasanna Venkatadasa  (1680-1752) ; Gopaladasa (1722-1762) ; Helavanakatte Giriyamma  (18th century) ; Venugopaladasa (18th century) ; Mohanadasa (1728-1751) ; Krishnadasa (18th century) and Jayesha Vittaladasa (1850-1932).

They all have contributed immensely to the development of Karnataka Samgita. Be bow to them with reverence and gratitude

Dasas-300x300

Pada, Suladi, and, Ugabhoga

4.1. As said earlier; the bulk of Haridasa music can broadly be grouped under three categories: Pada; Suladi; and, Ugabhoga.

4.2. The Padas are structured into Pallavi which gives the gist, followed by Anu-pallavi and Charana (stanzas) which elaborates the substance of the Pallavi. Pada is set to a Raga and a Taala. The Pada-format is closer to that of a Kriti. The term Pada is again derived from Kannada, where it stands for spoken-word or a song.

4.3. Suladi ( some say that it could suggest Sulaba-hadi , the easy way) is a delightfully enterprising  graded and a gliding succession of different Taalas (Tala-malika) and Ragas (Raga-malika). Some others  say, the name Suladi also means Su-haadi (meaning a good path, in Kannada).

The Suladi is a unique musical form that evolved from the Salaga Suda class of Prabandha . It is made up of 5 to 7 stanzas ; and does not, generally, have Pallavi or Anu-pallavi. Each stanza explains one aspect of the central theme of the song. And,   each of its stanzas is set to a different Taala (Taala–malika) chosen from among the nine Suladi Taalas (They in their modern form are: dhruva, mathya, rupaka, jhampa, triputa, atta and eka; in addition to two others   jhompata and raganamathya. ) And, at least five Taalas are to be employed in a Suladi.  Occasionally, the folk rhythm Raganmatya Taala is also used.

Therefore, in Suladi, particular attention is paid to the Taala aspect. Sometimes Ragas are not prescribed for rendering a Suladi. Towards the end of the Suladi there is a couplet called Jothe (meaning ‘a pair ‘in Kannada). 

Mahamahopadyaya Dr. R. Satyanarayana explains that the Dhruva Prabandha after which Suladi  was patterned employed nine different types of Taalas, while they were sung as a series of separate songs. Thereafter, there came into vogue a practice of treating each song as a stanza or Dhatu (or charana as it is now called) of one lengthy song. And, it was sung as one Prabandha called Suladi. Thus, the Suladi was a Taala-malika, the garland of Taalas or a multi-taala structure.

He mentions that there was also a practice of singing each stanza of a (Suladi) Prabandha in a different Raga. Thus, a Suladi type of Prabandha was a Taala-malika as also a Raga-malika.

Earlier to that,  Matanga had  mentioned  about Chaturanga Prabandha sung in four charanas (stanzas) each set to a different Raga, different Taala , different language (basha) and different metre (Chhandas) . Similarly, another type of Prabandha called Sharabha-lila had eight stanzas each sung in a separate Raga and Taala.

Sarangadeva also mentioned several types of Prabandha-s which were at once Raga- malikas and Taala-malikas such as : Sriranga, Srivilasa, Pancha-bhangi, Panchanana, Umatilaka, and Raga-kadamba.

Thus , the Raga malika, Taala malika and Raga-Taala- malika concept  which was described in the old texts was adopted and improved upon by the Haridasa (Sripadaraya, Vyasaraya, Vadiraja, Purandaradasa and others) to produce series of Suladi songs.

4.4. Ugabhoga is a piece of single stanza, sung in a Raga of performer’s choice.  They are similar to Vrittams which evolved from the Prabandhas of Desi music.  But, they are free from restrictions of meter or the length of the line. Most Ugabhogas don’t have prescribed ragas. It is a form of free rendering where Taala is absent or is not of much importance.  Ugabhoga attempts to convey a message in a nutshell. Therefore, rendering of the theme is more important here. Ugabhoga is characterised by the dominance of Raga- ‘Svara Raga Pradhana’.

Some say; the name Uga-bhoga is related to elements (Dhatu) of Prabandha Music, called Udgraha and A-bogha.  In the song set in Prabandha format, the element Udgraha consisting a pair of lines grasps (udgrahyate) the substance of poem; and, the element A-bogha completes the poem.

Baliya manege vaamana bandante | BhagIrathage sri  Gange bandante | Mucukundage shrI Mukunda bandante | Vidurana manege shrI Krishna bandante | Vibhishanana manege shrI Raama bandante | Ninna naamavu enna naaligeli nindu | Sthalnali srI Purandaravittala ||

As can be seen, there is the opening section (Udgraha) and the last line (Abogha) with the signature (Birudu, Ankita or or Mudra) of the composer. The Ugabhoga is not structured into sections.

There is no prescribed Raga; and there is no Taala either. This Ugabhoga was rendered famous by Smt. ML .Vasantha Kumari who sang the first part in Hamsanandi and the rest in Maand

4.5. The Haridasas through their Padas, Ugabhogas, Suladis and Geetas set to attractive Ragas and Taalas carried to the doors of the common people the message of Bhakthi as also of worldly wisdom.

Trinity of Music

Trinity

5.1. The contributions of the celebrated Musical Trinity- Sri Tyagaraja, Sri Mutthuswami Dikshitar and Sri Shyama Shastri – are enormous. Their period could doubtless be called the golden age of Karnataka Samgita. Though the three did not meet together, they seemed to have complemented each other wonderfully well.  The approach of each was different from the other. And yet; their combined influences has bound the Music of South India into an integrated system and has given it an identity. For instance; of the three, Shyama Shastri seemed to favour tradition, as most of his compositions are in Ragas mentioned in older treatises. Sri Dikshitar was open to influences from the Music of the West (Nottu sahitya) as also that of the North (Drupad music of North India). Some of his compositions in Vilamba-kaala are set in Ragas derived from North Indian Music. Yet; Sri Dikshitar was authentically original; and was also rooted in tradition, following Mela-Ragas classification of Venkatamakhin and that of Muddu Venkatamakhin’s Ragalakshana.

5.2. Sri Tyagaraja seemed to be more innovative. He brought to life some rare Ragas that were long forgotten and had gone out of use. He also created some new ragas. He perfected the Kriti format of Musical compositions that are in vogue today; introduced the practice of Sangathi elaboration of the Pallavi; and built in Svaras into Sahitya. And, he was also  a prolific composer, having produced large numbers of Kritis/Kirtanas, Utsava-sampradaya kirtanas, Divya nama samkirtanas and Geya Natakas (dance dramas).

5.3. The post-Trinity period saw an explosion of light musical forms, such as: Varnas, Thillanas, Swarajathis, Jathiswarams, Shabdams and Javali. The composers of these musical pieces were mostly the disciples of the Trinity and their subsequent generation of disciples and their followers.

20171017203046

Today and tomorrow

6.1. As you look back, you find that the Music of India developed and changed, over the centuries, at multiple layers due to multiple influences. The Indian classical music as we know today is the harmonious blending of varieties of musical traditions such as sacred music, art music ,  folk music and other musical expressions of India’s extended neighbourhood.  And, yet the Music of India has a unique characteristic and an identity of its own.

6.2. The Music of India has travelled a long way. The modern day Music scene is markedly different from its earlier Avatar, in its practice and in its attitude. The traditional system of patronage vanished long back. Now, the professional musicians have to earn their livelihood by public performance, recoded discs, radio /TV channels, teaching in schools or at home. The relation between the teacher and student , the ways of teaching as also the attitudes of either teaching or learning have all  undergone a sea change; almost a complete departure from the past practices and approaches .   New technology and accessories are brought in to enhance the quality and volume of sound output. Many new instruments, starting with violin and Harmonium, are being adopted for rendering traditional music (saxophone, mandolin etc). The styles of rendering the Alap or the song or even selection of Ragas/kritis are all hugely different. Many musicians have been experimenting with fusion music of various sorts. And above all, there is the overbearing influence of film music.

6.3.  But, at the same time, I believe the fundamental basics of Indian music are not yet distorted. It is, as ever, growing with change, adapting to varying contexts and environments.  This, once again, is a period of exploration and change. It surely is the harbinger of the Music to come in the next decades.

Lotus Blossom_

 In the coming instalments of the series, we will take a look at the various stages in the evolution of the Music of India, separately, each at a time :the  Music of Sama Veda; the  Music in Ramayana; Gandharva or Marga Music; the Music of Dhruvas in Natyashastra ; the Desi Music of Ragas; the Prabandhas along with Daru and other forms  ; various types of song- formats; the best of all formats – the Kritis also ; and at the end , the Lakshana Granthas composed over the centuries, in a bit more detail.

****

In the next part of the series we shall try to catch a glimpse of the Music of Sama Veda.

power of Music

Continued in Part Four

Music of Sama Veda

Sources and References

ಕರ್ನಾಟಕ ಸಂಗೀತ’ದಲ್ಲಿ  ಕನ್ನಡ’

https://neelanjana.wordpress.com/

Important Treatises on Carnatic Music by Harini Raghavan

http://www.nadasurabhi.org/articles/39-important-treatises-on-carnatic-music

Haridasa s’ contribution towards Music

http://www.dvaita.org/haridasa/overview/hdmusic.html

 
7 Comments

Posted by on April 22, 2015 in Music, Sangita

 

Tags: , , , , , , , , , , , , , ,

Music of India – a brief outline – Part Two

Continued from Part One – Overview

 

Part Two (of 22) –

Overview (2) – continued

North – South branches

1.1. The Music of India, today, flourishes in two main forms:  the Hindustani or Uttaradi (North Indian music) and the Karnataka or Dakshinadi Samgita (South Indian music). Both the systems have common origins; and spring from the traditional Music of India. But, owing to historical reasons, and intermingling of cultures, the two systems started to diverge around 14th Century, giving rise to two modes of Music.

1.2. In that context, Sarangadeva’s Sangita-ratnakara (first half of 13th century) is of particular importance, because it was written just before influence of the Muslim conquest began to assert itself on Indian culture.  The Music discussed in Sangita-ratnakara is free from Persian influence. Sangita-ratnakara therefore marks the stage at which the ‘integrated’ Music of India was before it branched into North-South Music traditions. It is clear that by the time of Sarangadeva, the Music of India had moved far away from Marga or Gandharva, as also from the system based on Jatis (class of melodies) and two parent scales.  By his time, many new conventions had entered into the main stream; and   the concept of Ragas that had taken firm roots was wielding considerable authority.  Sarangadeva mentions names of about 267 Ragas.

1.3. In regard to the Music in South India, the Persian influence, if any, came in rather late. Written in 1550, the Svara-mela-kalanidhi of Ramamatya, a minister in the court of Rama Raja of Vijayanagar, makes it evident that the Music of India of that time was yet to be influenced by the Persian music. Somanatha (1609) in his Raga-vibodha confirms this view, although he himself seemed to be getting familiar with Persian music.

Mughal Shamsa, smallest

The Persian influence

Tansen

2.1. The Muslim Sultanat began to get foothold in India by about 1200 A.D, when all major Hindu powers of Northern India had lost their independence,

Conquering Muslims came in contact with a system of Music that was highly developed and, in some ways, similar to their own. The poet Amir Khsru an expert in Music in the court of Allauddin Khilji, Sultan of Delhi (1290-1316) was full of praise for the traditional Music of India. And, at the same time, Khsru was involved with the Sufi movement within Islam which practiced music with the faith that Music was a means to the realization of God.

2.2. But, that didn’t seem to be the general attitude among most of the later Muslim rulers. India in the sixteenth century was politically and geographically fragmented. There were also conflicting cultural practices and prejudices. Though the Mughal era, in general, witnessed musical development, Musicians and Music, as such, did suffer much.

For instance; Aurangzeb (1658-1707) threw the whole lot of musicians out of his court. The grieving , hapless musicians , wailing and lamenting carry the ‘bier’ of music and symbolically bury ‘music’ in Aurangzeb’s presence. Aurangzeb,undaunted, retorted  “Bury it so deep that no sound or echo of it may rise again” (Muntakhab-al Lubab, p.213)

burial-of-music

The unfortunate artists , no longer able to support themselves,  were scattered and had to seek their livelihood in humbler provincial courts. In the process, the accumulated musical knowledge and musical theories developed over the years were lost. The priority of the professional musicians, at that juncture, was to make living by practicing music that pleased their new-found patrons.

2.3. Yet; Music and its traditions did manage to survive and flourish in India despite the Muslim rule and its harsh attitudes towards Music in general and the Indian in particular. Persian Music along with Indian Music was commonly heard in Indian courts; and, the two systems of Music did interact. Amir Khsru, who served in courts of many patrons and assimilated diverse musical influences, is credited with introducing Persian and Arabic elements into Indian Music. These included new vocal forms as well as new Ragas (Sarfarda, Zilaph), Taalas; and, new musical instruments such as Sitar and Tablas (by modifying Been and Mridamgam). Another modification of Been is said to be Tanpura (or tambura, tanpuri) that provides and maintains Sruti. (Till then, it is said, flute – Venu – provided Sruti).  Of the vocal forms that were developed, two are particularly important: Qaul, the forerunner of Qawwali, a form of Muslim religious music; and, Tarana a rhythmic song composed of meaningless syllables.

Sitar Tabla

[As regards Sitar, Pandit Ravi Shankar points out that documentation of the history of Sitar between the thirteenth and eighteenth centuries is lacking; and, suggests that Khsru ‘adapted’ probably a ‘Tritantri Veena’, already known to Indians along with its many variations. Khsru gave it the name ‘Sehtar’; reversing the order of the strings in the instrument;  and placing them in present form i.e. ‘the main playing string on outside, and the bass strings closer to the player’s body’. This order is opposite to what we find on Been. But, strangely, the Persian treatise on music written in Gujarat in 1374-75 A.D. Viz. Ghunyat-ul Munya does not mention Sitar or Tabla, though it mentions a number of Tat, Vitat, and Sushira and Ghana instruments.– Bhartiya Sangeet ka Itihaas, Ghunyat ul- Munya, pp. 52-62, Dr. Pranjpay]

Ragaputra_Velavala_of_Bhairava

2.4. Even during the Muslim rule, Music did enjoy some patronage. It appears Sultan Muhammad bin Tughluq (1325-1351) had in his court as many as 1200 musicians. Many other Muslim rulers were also patrons of Music. And, some of them were themselves musicians. For instance; Husyan Shah Sharqi (1458-1528) Sultan of Jaunpur*, a musician in his own right, is credited with introducing a new form of song–rendering, Khyal (Khayal) lending greater scope for improvisation and technical virtuosity than did the ancient Dhrupad. Similarly, Ibrahim Adil shah (1582-1636) of Bijapur (Karnataka), a poet and musician, in his Kitab-i-Nauras (Nava Rasa) compiled his poems set to music. He is also credited with bringing to fore the Raga-mala paintings, depicting pictorial representations to Ragas, their moods and seasons. Similarly, it is said, the. Khyal singing came into its own due largely to the efforts of Sadarang and Adarang during the reign of Mohammad Shah Rangeela (1719-1748).

[* Swami Prajnanananda in his A History of Indian Music (Volume One- Ancient Period) under the Chapter ‘Evolution of the Gitis and the Prabandhas’ writes:

During Raja Mansingh‘s time Dhrupads were performed in different Ragas’ and Raginis. Khayal form is purely imaginative and colorful. There are different opinions about its evolutions (1) Some say Khayal evolved from Kaivada-prabandha, (2) it originated from Rasak or Ektali-prabandha, (3) it evolved from Rupaka-prabandha, (4) it was created on the image of Sadharani-giti.

In the opinion of Thakur Jaideva Singh, Khayal form is a natural development of ‘Sadharani-Giti’. So Khayal form was neither invented by Indo-Persian poet Amir Khusro nor by Sultan of Jaunpur Hussain Sharqui. The Khayal of slow tempo was designed and made popular by a noted Dhrupadist and Veenkar Niyamat Khan who was in the Court of Sultan Muhammed Shah in 18th Century A.D. Khayal already existed in some form at the time of Akbar in 16th-17th century and it was practiced by Hindu and Muslim musicians like Chand Khan, Suraj Khan and Baj Bahadur. There are lighter forms like Thumri, Dadra and Gazal etc.

[Sadharani –Giti was a style of rendering Dhrupad combining in itself the virtues of four other Gitis or modes of singing that were in vogue during the early Mughal times : Shuddha–Giti (pure, simple, straight contemplative); Bhinna Giti (innovative, articulated, fast and charming Gamaka phrases); Gaudi Giti (sonorous, soft, unbroken mellow stream of singing in all the three tempos); Vesara or Vegasvara Giti (fastness in rendering the Svaras).]

2.5. Even among the Hindu Kings there were Musicians of repute, such as Raja Mansingh of Tomar, Gwalior (1486-1516). He was a generous patron of the arts. Both Hindu and Muslim musicians were employed in his court. He brought back the traditional form of Dhrupad music (Skt. Dhruvapada). He edited a treatise Man Kautuhal, put together by the scholars in his court, incorporating many of the innovations that had entered traditional Indian music since the time of Amir Ahusraw. Raja Mansingh is also credited with compiling/editing three volumes of songs: Vishnupadas (songs in praise of lord Vishnu); Dhrupads; as also, Hori and Dhamar songs associated with the festival of Holi. It is said; later during 1665-66 Fakirullah Saifkhan, a musician in the court of Jahangir (1605-27) partially translated Raja Mansingh’s Man Kautuhal into Persian.

 [Please do read the article about the state of Dhrupad Music in the   Mughal reign during seventeenth-century, written by Katherine Butler Schofield  Professor in Music at King’s College London; and, brought out by the Royal Asiatic Society and the British Library.

Please do not miss to see the colourful illustrations of folios of the Dhrupad songs during the Mughal period.

 She says; of all the arts and sciences cultivated in Mughal India, outside poetry, it is the music that is by far the best documented. She also tells us about the role and power of music at the Mughal court at the empire’s height, before everything began to unravel

Hundreds of substantial works on music from the Mughal period are said to be still extant, in Sanskrit, Persian, and North Indian vernaculars. The following is a brief extract from her talk.

The first known writings in Persian on Indian music date from the thirteenth century CE; and, in vernacular languages from the early sixteenth. These often were translated directly from the Sanskrit theoretical texts.

A particularly authoritative model was Sarngadeva’s Sagīta-ratnākara, the Ocean of Music, written c. 1210–47 for the Yadava ruler of Devagiri (Daulatabad) in the Deccan. This was initially translated into Persian and Dakhni.

Later, the text also came out in vernacular languages, in rather interesting ways. These versions included large additional sections presenting contemporary material chosen from the region in which they were written.

Among such improvised versions, Katherine Butler Schofield  mentions, Ghunyat al-Munya or Richness of Desire, the earliest known Persian treatise on Hindustani music, composed in 1375 for the Delhi-sultanate governor of Gujarat.  

And the other being, Shaikh Abd al-Karim’s Javāhir al-Mūsīqāt-i Muammadī or Jewels of Music, a unique Persian and vernacular manuscript produced at the Adil Shahi court of Bijapur (Karnataka).

Though the Javāhir has its core the Dakhni translation of Sarangadeva’s Sangita ratnakara, it deviates from the main text in number of ways. The Javāhir sidesteps the traditional discussions on Ragas, their concepts, framework and varied forms, which perhaps was getting rather stale by then.  Instead, it introduced the new and vibrant concept of Ragamala (garland of Rāgas).

Katherine Butler Schofield mentions that the Sanskrit authors, in the Mughal domains, continued to write a variety of musical texts. But, what was more notable, during the seventeenth century, was the effort to re-codify and systematise Hindustani music, in new ways; and, in more accessible regional languages, especially suited to the Mughal era.

From there, the translations or the re-rendering of the older texts Hindustani music seem to have moved from Persian  into Hindi, Brajbhasha and other vernaculars , during the reigns of Jahangir and Shah Jahan. For instance; the well-known Sahasras or Thousand Sentiments, a compilation of 1004 Dhrupad songs created by the early sixteenth-century master-musician Nayak Bakhshu, was re-rendered into Brajbhasha, with an introduction in Persian.

The other instance of re-codifying the principles of Hindustani music was the rendering of Damodara’s Sanskrit text, Sagīta-darpaa or Mirror of Music, of early seventeenth century, into Brajbhasha by Harivallabha during the  mid seventeenth-century. Later, in eighteenth-century, it was followed by a gloss in modern Hindi by a hereditary musician, Jivan Khan

Another example is an eighteenth-century interlinear copy of the premier Sanskrit treatise of the early seventeenth century, Damodara’s Sagīta-darpaa or Mirror of Music. Here, alongside the Sanskrit text, we have Harivallabha’s hugely popular mid seventeenth-century Brajbhasha translation, combined with an eighteenth-century gloss in modern Hindi by a hereditary (khandani) musician, Jivan Khan.

**

The first major piece of Mughal theoretical writing in Persian on Hindustani were the chapters on music and musicians written by Akbar’s great ideologue Abu’l Fazl in his Ā’īn-i Akbarī (1593).

But, the process really took off during the reign of Aurangzeb. The translations during his reign were predominantly in Persian. The more prominent among such translated texts, which occupied the canonical position for the next two hundred years, were:

1) The Miftā al-Sarūd or Key to Music: a translation of a lost Sanskrit work called Bhārata-sagīta by Mughal official Qazi Hasan, written in 1664, at Daulatabad

2) The Rāg Darpan or Mirror of Rāga, a work written in 1666 by Saif Khan Faqirullah, completed when he was governor of Kashmir. Faqirullah cites extensively verbatim from the Mānakutūhala, an early sixteenth-century Hindavi work traditionally attributed to Raja Man Singh of Gwalior.

3) The Tarjuma-i Kitāb-i Pārījātak: the 1666 Translation of Ahobala Pandit’s Sanskrit masterpiece Sagītapārijāta by Mirza Raushan Zamir.

4) The fifth chapter of the Tufat al-Hind or Gift of India: 1675 Mirza Khan’s famous work drawn , mainly, from Damodara’s Mirror of Music and from Faqirullah’s Mirror of Rāga. The text which was exhaustive became hugely influential in later centuries.

5) The Shams al-Awāt or Sun of Songs, written in 1698,  by Ras Baras Khan kalāwant, son of Khushhal Khan and the great-great-grandson of Tansen. This work is primarily another Persian translation of Damodara’s Sangitadarpana or Mirror of Music.  The text is enriched with invaluable insights from the orall tradition  of Ras Baras’s esteemed musical lineage.

6) The Nishā-ārā or Ornament of Pleasure, was prepared ,  most likely late seventeenth-century prior to1722 , by the hereditary Sufi musician Mir Salih qawwāl Dehlavi (of Delhi).

These and other treatises written during the time of Aurangzeb cover, in significant depth, a wide range of musical terrain. Their overriding concern and unifying theme, was about the nature of the Rāga, their derivatives and structures.]

2.6. The Persian influence brought in a changed perspective in the style of rendering the classical Indian music as it then existed in North India. The devotional Dhruvapad transformed into the Dhrupad form of singing. And, the Khayal developed as a new form of singing art-music, in the 17th century.

whitelotusmandala

Taking positions

3.1. The periods of 16-18th centuries were rather confusing. While the songs of the Indian music were either in Sanskrit or in a regional language, the Muslim singers found it difficult either to pronounce the words or to grasp the emotional appeal. Similarly, Hindu musicians found it difficult to render songs in Persian, some of which elaborated Muslim religious themes. As a result, in either case, in the Music of North India, the words of the songs lost their importance or were of little significance to the singers, while all the attention was focused on voice culture, melodic improvisation and style of rendering the music. Further, an increasing number of Music-scholars of the North discussed Hindustani Art Music and wrote their works in Persian, Urdu, Hindi and other regional languages, instead of in Sanskrit. Such an admixture of Indian-Persian-Muslim influences over a period of four centuries from the sixteenth resulted in the Hindustani music of today.

karnataka samgita

3.2. Thus, while in the Music of South India the texts were written mainly in Sanskrit ;  and while its  Music continued to be based in structured formats (such as Kriti) and lyrics (Sahitya); the Hindustani music focused on experimenting  with  the possibilities of improvising the musical elements of a song. While Karnataka music retained the traditional octave (sapta svara), the Hindustani music adopted a scale of Shudha Svara saptaka (octave of natural notes).  And at the same time, both the systems exhibited great assimilative power, absorbing folk tunes and regional tilts; and elevating many of the regional tunes to the status of Ragas.

North- South interaction

Hindustani Music

4.1. The North and South regions of India had been aware of the developments in each other’s system of Music, art etc; and, there were also attempts to exchange.

For instance; Mahendra Varma Pallava (CE 600-630), who ruled from Kanchipuram in the seventh century, published some compositions of the North by having them engraved on the rocks on the hill at kudumiyanmalai, in Sanskrit (in Pallava-Grantha characters)  with footnote in Tamil. The inscription is actually an extract of Music lesson (Abhyasa gayana) for developing four types of finger–techniques (Chatush-prahara-Svaragama) for playing on the Veena. The type of the Veena is mentioned as Parivardhini. The inscription which is in seven sections mentions Ragas such as: Madhyamagrama, Shadjagrama, Shadava, Shadharita, Panchama, Kaisikamadhyama   and Kaisiki. It is said in the inscription that these lessons were ‘made for the benefit of the pupils by the King who is the devotee of Maheshwara the Supreme Lord and the disciple of Rudracharya’.

kudimiyanmalai2

The King Nanyadeva (11th century) who established the Rastrakuta dynasty of Karnataka in Mithila (Nepal) in his commentary on Natyashastra refers to Karnata-pata Taanas and to many other elements of the music of the South.

Sarangadeva  in his Sangita Ratnakara (Chapter : Ragadhyaya; Section : Ragangadi Nirnaya Prakarana ), while enumerating ten vibhasha Ragas, mentions a Raga with a Kannada name Devara-vardhini.

Every author of the South based his theory of Karnataka Samgita on the texts of Bharatha, Dattila, Matanga and Sarangadeva.

The  two systems have continued to influence each other  even after Muslim rule . And, that increased  since about the 14th century, in a number of ways. For instance; Gopala Nayaka travelled all the way from the South to become the court musician of Allauddin Khilji (1295-1315) in the North. He cultivated the friendship of the Persian musicologist, Amir Khusrau. Their discussion led to the development of new Ragas. These were incorporated in the treatise on music by the 16th century scholar Pundarika Vittala.

4.2. Till about the late 16th century both the South and North traditions followed the same set of texts.  Then, Pundarika Vittala (1583 approx) a musician-scholar from Karnataka (from around Shivaganga Hills about 50 KMs from Bangalore), who settled down in the North under the patronage of Muslim King Burhan Khan, wrote a series of books concerning Music of North India: Vitthalya; Raga-mala; Nartana-nirnaya; and his famous Sad-raga-chandodaya. Later he moved to the court of the prince Madhavasimha and Manasimha, feudatory of Akbar. Here he wrote Raga-narayana and Raga-manjari. In his writings, Pundarika Vittala carried forward the work of Gopala Nayaka (14th century) of grafting Karnataka music on to the newly evolving North Indian music.  In his work Raga-manjari, Pundarika Vittala adopted the parent scale (Mela) classification of Ragas as was devised by Ramamatya (Ca. 1550) in his Swaramela-Kalanidhi. (Ramamatya, in turn, is said to have taken the term Mela meaning ‘group’ and its concept from Sage Vidyaranya’s (1320-1380) Samgita Sara.) Pundarika listed 20 contemporary Ragas of North into Melas, which were not identical with their South Indian examples.

4.3. Somanatha (1609 A.D) a musician scholar hailing from Andhra Desha, largely followed the theories of Pundarika Vittala. Somanatha in his Raga-vibodha mentions 51 Ragas, of which 29 are used in the Music of the present-day: 17 in Karnataka Music, 8 in Hindustani and 4 in both the systems. Some scholars surmise Somanatha’s Ragas mostly correspond to modern Hindustani Ragas; and, though the names of some his Ragas resemble those in Karnataka system it is likely they developed along different lines.

Somanatha is also said to have brought into vogue the practice of writing notations (Raga-sanchara). Raga-vibodha is perhaps the only example before the modern times of any Indian Music using Notations. But, sadly, this valuable text did not receive the level of attention that it deserved.

He is also credited with outlining the rules regarding the time of performance, their special characters (Raga-lakshana) or the atmosphere of some of the Ragas. Some of his concepts are still relevant in Hindustani Music, but have not found place in Karnataka Samgita.  For instance; Somanatha in chapter four of his Raga-vibodha describes Raga Abhiri (equivalent to Abheri as it is known now) as a woman (Abhira), dark in complexion, wearing a black dress adorned with a garland of fresh flowers around her neck, attractive ear ornaments. She has a soft and a tender voice; and, wears her hair in beautiful strands.

[Abira is surmised to be a pretty looking Gopi of the Abhira tribe of Mathura region. She is an attractive looking dark complexioned tribal girl.  In the traditional Indian Music, dark complexion of the Ragini and her dark clothes correspond to the predominant note (Amsa) Pa]

4.4. The other significant work that attempted to introduce the elements of South Indian music in the North was Pandita Ahobala (early 17th century) who described himself as a ‘Dravida Brahmana, the son of Samskrita Vidwamsa Sri Krishna Pandita’.

Pandita Ahobala’s Samgita Parijata pravashika describing 68 types of Alamkaras or Vadana-bedha is said to be an improvement over Somanatha’s Raga-vibodha. And, it is regarded by some as the earliest text of the North Indian Music. Following Ramamatya and Pundarika Vittala, Ahobala classified 122 Ragas under six Mela categories. Instead of using specific names for his scales, Ahobala used phrases like vikrta svara, komal, tivra, tivratara, and so on. His scale of Shuddha notes, it is said, corresponds to the current Kafi Thath of the Hindustani system.

Pandita Ahobala’s famous Sangita Parijata was translated into Persian by Mirza Raushan Zamir (1666) as Tarjoma -yi- parijatak, with his own comments.

4.5. There were some other works that classified Ragas (including those of the North) according to Melas, such as: Rasa Kaumudi by Srikantha (Ca. 1575) a South Indian musicologist who migrated North; Raga Tarangini by Locana Kavi (?) recognizing 12 Mela Ragas and 86 Janya (derivative) Ragas which included some Ragas attributed to Amir Kushro; and, Hrdaya kautuka and Hrdaya Prakasha by Hrdaya Narayana Deva (Ca.1660).

lotus reflection

South coming close to North

5.1. By the end of 17th century the classical styles of the two strands of Music had stabilized in their own manners. Seeing that music of North and South were drifting apart in technical aspects, many scholars did make efforts to harmonize the two systems.

5,2, For instance, in the South, Venkatamakhin (1660), author of the monumental Chaturdandi Prakashika which re-structured the Karnataka Samgita, in his list of Desi Ragas included Bhibhas, Hammir, Bilaval, Dhanashri and Malhar which are primarily Ragas of the North.

5.3. And, Sri Mutthuswami Dikshitar, who followed Vekatamakhin’s classification of Mela Ragas, in his youth, lived in Varanasi for about seven years and learnt Dhrupad singing. He brought in the shades of Uttaradi-samgita in some of his Kritis, in his own unique and original manner without compromising pristine Music [e.g. Hamir Kalyani (Kedar), Hindolam (Malkauns), Dvijavanti (Jaijaivanti), Yamuna-kalyani (Yaman) and Brindavana Saranga.]

Gharana-s

6.1. As regards the North Indian music, it was, at that stage, had almost parted with the traditional theories of Music. And, it had come to be regarded more as collection of individual entities than as an organized system of Ragas. Their Ragas were known by the times and seasons they should be performed; their character; magical properties, etc.

6.2. Further, after the disintegration of the Muslim empire the political structure of North India fragmented into numerous small states ruled by Nawabs and Maharajas. Each ruler competed with his rival in studding his court with famed musicians. It is said, rulers of some states borrowed heavily to get hold of top-notch performers. Each ruler was keen to establish the superiority of the Music of his court over that of others. Each would goad his musicians to come up with different styles and techniques of singing, such as: Taans, Murkis, Layakaari, Tayaari, and so on. The Music across North India, thus, came to be stratified into styles of various court-music. Each was known as a Gharana (‘family’ or ‘house’), named after its patron (such as: Gwalior Gharana, Patiala Gharana, Jaipur Gharana and so on) . Each ruler desired to have his very own personalized Gharana of music. And if no particular geographical region could be identified then a Gharana would take the name of the founder; as for instance: Imdadkhani Gharānā named after the great Imdad Khan (1848 -1920) who served in the Royal Courts of Mysore and Indore.

A  Gharana, in due course,   turned into a symbol of social standing, affluence and power among the rulers .

gharana

6.3. The proliferation of Gharanas gave raise to bewildering styles of singing. Further, there was no exchange of ideas among the Gharanas, because of the element of competition among their patrons. Each Gharana guarded its technique as a secret; and each turned into an island.  Performing to please the patron had taken priority; and, the theoretical aspects were left far behind. Music had become a practical craft. Attempts at standardization did not begin until the twentieth century when Pandit V. N. Bhatkhande worked out a system of classification.

Bhatkhande’s efforts

PARTHA_BHATKH

7.1. Pandit Vishnu Narayan Bhatkhande (1860-1936), a scholar and a musicologist, in his colossal work ‘Hindustani Sangeet Paddhati’ reorganized the Uttaradi or North Indian Music, mainly,  by adopting the concept of Mela (grouping derived Ragas under a  principal Raga) system as expanded by Venkatamakhin (1660) in the Appendix to his Chatur-dandi-prakashika. [Venkatamakhin classified the Ragas according to the system of 72 basic scales (Mela)]. Bhatkhande also adopted the idea of Lakshana-geetas that Venkatamakhin employed to describe the characteristics of a Raga. Bhatkhande arranged all the Ragas of the Uttaradi Samgita into ten basic groups called ‘Thaat’, based on their musical scales.  The Thaat arrangement, which is an important contribution to Indian musical theory, broadly corresponds with the Mela-karta system of Dakshinadi samgita.

Rapprochement

8.1. Thus, after the early parts of the 20th century, there began a growing realisation that though the two systems differ from each other in their peculiar and characteristic treatment of Ragas, their fundamental principles are similar. At the same time, the differences in their style of presentation were recognized and given due credit.

Karnataka Music generally begins in Madhyama-kaala (medium tempo) while the Hindustani begins in Vilamba-kaala (slow tempo). The techniques of Alamkara (ornamentation), Gamaka-s and Jaaru (slides) also differ.

The classification of Ragas in the two systems under the Melakartas (the major category) does indeed differ. And yet; certain Ragas of one system correspond to a certain Raga of the other system, though their names differ. For instance; Shubha Pantuvarali, Hindola, Abheri and Mohana of Karnataka Music correspond to Thodi, Malkaunss, Bhimplas and Bhupali of the Hindustani music.

There are plenty more such Ragas that are common to both the systems. Further, there also pairs of Ragas that have the same/similar set of notes (svara-sthana) but slightly differ from one another.

Coming close again

9.1. In the latter half of the 20th century the music of the North and the South did come closer, with the musicians of either branch trying to understand the approach and the idioms of the other. On the performance stage, Ustads and Vidwans began playing together (Jugalbandi) the Ragas common to both; Tabla virtuosos played alongside Mridanga artistes. Now, ragas such as Hamsadhvani, Abhogi and Kiravani became as much Hindustani as they were Karnataka.

9.2. The barriers are thus breaking down and there is a greater awareness among the musicians of today that the music of India is one; and, that two branches that originated from a common stock are indeed the two facets or modes of expressions of an integrated, fundamental Music tradition of India.  And, that the Hindustani and Karnataka systems are but the two classical styles based on a common grammar but with different approaches and modes of expression. It is just their approach, techniques and Mano-dharma that have branched out.

9.3. It is good that the two styles have not attempted to merge into one; because, each enjoys its unique flavour, charm and brilliance. And, it is good that there is a growing mutual respect and appreciation of each other’s genius. The two are indeed variations of the same system and not two different systems altogether.

15056504_645354352310812_8567339100530740859_n

Continued in Part Three

…. Overview (3) – continued

Sources and References

The Rāgs of North Indian Music: Their Structure and Evolution  by Nazir Ali Jairazbhoy

Indian Music: History and Structure   by Emmie Te Nijenhuis’

The Music of India  by Reginald Massey, Jamila Massey

History of Hindustani Classical Music     WWW.itcsra.org

Origins of Indian Music – The medieval period     http://carnatica.net/origin.htm

A BRIEF HISTORY OF INDIAN MUSIC

http://kushanmusic.blogspot.in/2012/02/brief-history-of-indian-music.html

 
2 Comments

Posted by on April 21, 2015 in Music, Sangita

 

Tags: , , , , , , , , , , ,