The Music and Musical Instruments of Southern India
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Transcript of The Music and Musical Instruments of Southern India
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>X.
'A.
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PRESENTED BY
The MusicMusical InstrumentsSoiitbcni 3^^ia anb cLbo X>cccaii.
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NOVELLO,
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CO.
THE MUSICMUSICAL INSTRUMENTS^nutljcrn SlnMa anD ^\jc Otccan
C.
R.
DAYLight Infantry
Captain, Oxi-ordshire
WITH AN INTRODUCTION BYA. J.
HIPKINS,Y
F.S.A.
THE PLATES DRAWN
11
WILLIAM dlHB.
L0:N'B0C^^=^ #^^^3^^^1
^3=PS^|-^=S'adivedamangini.
rhJ=k^
:^
Sabhapantovarali.
No. 45.
No.
46.
I I./
i=;p* i^3^^^No.47.
h
il=:j=2z
=?S=|^Davyamani.No.!
-r3
?s-
Suvaranangi.
48.-^-
t:-S>-
~?c^3s|
|
GSmanas'rya.
No.
54.
^#=^=^=^=t^---^=
^
THE MUSIC OF SOUTHERN INDIA.Syamalangi.
35
No.
55.
S'anmukaprya.
No. 56.
^=^^-t-^S'rimhandra.
^
?-?)
^
C>_
^^^E^EE^.j Kio^ ?e-=Q=Hamo-vasantha.No.58.
No.
57.
iDharmovati.
=^^^PNo.59.
j-i>.^-^iL
d
?
Q60.
=)=?r-
-b
J
^^II
Nettimatti.
1^37^Kanlamani.
^=^^^^^^^^61.'
No.
No.
Rishavaprya.^Ji>TC''
No. 62.4?ji:
i^^^Latangi.
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Tt
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g>
fl ,
^
^^No.64.
I^S=35=
Vrj
No.
63.
Vachaspati.
ii
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^
^No.65.
tei: ^
^^^
Q
32:
^ChintSmani. No. 66.
ft
4=^ Q
-
i*
Matsy^ikaliani.
^No.
67.
^^Ei=*=^
^Jotisvarupeni.
^^^No.68.
Suchantra.
=^Dhartov^rdani.
f=Sta -|7^-^?^=*= No. 6g.Nas'icabharna.
iffci:
-? >
'
Q-
No.
70.-f ej
iKosala.
JNo. 71.
41,1
J
1'^=^i^Rasikaprya.-f3
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let
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No.
72.
-*^In
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Hindu music usually three octaves
only, termed
Sthayis, are
taken
into consideration.
Instruments such as the vina, kc, have, however, a compass of nearl}- fouroctaves.
In order to sii^nify the octave in which a noteit.
is
to be plaved, a dot or
each musician or writer upon music apparently advocates some method of his own. Music is not, as with us, divided by bars of equal duration. Divisionsis
dots are usually placed above or below
There
no
definite rule for this;
styled
Gitalu are in use, and are signified thus
|
or
;
they can be placed
anywhere, at the composer's discretion, and denote parts or phrases so to speak.
They
are frequently
marked thus
||
or
=, when they denote
the repetition
of a part, or the conclusion of a strain.
3*5
THE MUSIC OF SOUTHERX INDIA.Thesign ofthelotus flower
G?)
is
used by some writers for the same
purpose.
Time, bv which
is
imphed the
relative values of a succession of notes,
cannot
be expressed with anv degree of accuracy without
indeed
so complicated anis
arrangement of signs as to be almostfully in
unintelligible.it
The method
described
the Sanskrit works, but from this reasonis
has fallen into disuse.is
The
value of the note
invariably taught orally by a master, and the ear
thereby
cultivated to a very high degree.
The
following signs (or their equivalentsin
if
the character
is
Devanagari)
are,
however, made use of
order to convey
approximately
only
whether
notes
are to be of long or short duration
:^musical characters,
Dirgha
:
This
sign, used in conjunction with the
signifies that they represent " long notes"
Votu
:
This sign
in the
same way represents
" short notes
"
Theless
different degrees of time arefive
each being sub-divided into
termed Talas, of which there are seven, "jatis," or kinds; so that there are in use nojatis will
than thirty-five distinct measures.
Byduration
the
annexed table the various talas and their respectiveat
be
understood
a glance, the figures signifying thein a bar.
number
of beats of equal
made
Name
of Jati.
Nameof
J
Tala.
THE MUSIC OF SOUTHERN INDIA.Talas can be denoted by the following signatures u denotint I unit of time. Anudrutha
37
Drutha
oI
-7
Lagu GuruPlutha
48
63-(-
12i6
Kakupatha
The
jati of
the tala
is
usually appended to the signature in words,is
Should
nothing be appended, then the Chaturushra
generally understood.
In order to employ these signs they should be substituted for the figuresin the table:
thus ion will denote the Chaturushrain
jati of
Druvatala.
Hence,cor-
when
written
European notation, therein
is
often
a
constant rotation
responding to the tala of bars of different time signatures.
Each
tala
can be playedof the
any orderto
i.e.,
4244 can be played 2444,Graha, andis
4424, or 4442.
Thekinds, viz.
application:
talas
an
air
is
called
of four
Sama" Whenof theair.
(i.)
the
first
beat of the tala
falls
upon the
first
note
(2.)
Anagata When the air commences which therefore falls upon a rest.Atiyita
after the first beat of the tala
(3.)
When the
tala continues after the air
is
finished, the last
beat therefore falling upon a rest.(4.)
Vichama
Comprisesjati
anv irregularity not included
in
the above
three, such
as the beat of a tala falling
upon the
first
note of a
bar tied to the last note of the bar preceding, &c.
The ChaturushraAditala, andis
of Triputa
Talainis
is
also
known byclefs,
the
name
of
a very
common
time for javadis, and other love songs.
There being practically no harmonysystem, are not employed.
Hindu music,
as in the
Europeanis
The kevnote
always Sa, and, as already stated,
taken of any pitch to suit the requirements of the performer or the nature of theinstrument.'
This term
is
also used to signify the strong accent.
CHAPTERKa'? dp C C B? A G F| EP? D? C
SCALE OF PAVANLChandrajoli
C D7 Eff F# G A G B C
C B G A G F# Ebb Db C
SCALE OF REGONPRYA.Ghandarva Ghomatti
G A| B G DbB C Db Ebb
E?b Db C
B G.
F|:
G A# B
F# G A* B C B G G Ft EP? Db C B C
SCALE OF BHAVAPKYA.Kalamurti
C Eb Db Eb F$ G C
C Bf Ab
G F#
Eb Db C
SCALE OF SABHAPANTOVARALLPanto-Varali
Rudra-mangen Bhaulamuki.
Saddaks'eri
.
Deviakanthala
KamaranginiGovirdani
Naga-PanchamiGarudavirdani Latamati
C D7 E? Ft G Ab B C C D? E? G B Ab C C D? E? Ft G B C C Eb D? E? F;: G A- B C C Db E? Ft G A? C C Db E? D7 Ft G Ab B C D ? E P G Ab C C Ei? G B C C Db It Ft B Ab Ft G a:' B C G Ft G A? G C C D-i. .
C C C C C C C C C C
B Ab G Ft Ab Ft Eb B A7 G Ft E? D? C B Ab G Ft E? Db C B Ab Ft E? Db CB B B B B BAb G Ft E7 D7 C Ab Ft E? Db Eb C Ab B Fi E? Db C Ab G Ft E.7 Db C
D!^
C
G Ft Db C Ab G Ft Ab Ft
Ei?
Db C
SCALE OF SUVARANANGLRati.
Vrushabha-vahini
Mamachsheri Ratnamati
C C C C
D.-- E? Ft G A B C d: Ff G a B C D? E7 Ft G B C E7 Ft G Ft A B C
E?
.
.
C C C C
B A G Ft Eb D"" C H A Ft E? Db C B A G Ft E." F? D-' C A G Ft G Eb DP C
SCALE OF KAMAVIRDANLRamakrvaDipakaDevagiri t Vilambini Rudragandari
Vipramandara Svatambodi.
Pankaruham Viagranandanam ManmatalataPushpalalita.
KumudaprabhaNote.
C C C C C C C C C C C C
D7 E Fit G Ab B C E Ft G A!^ G C D? Ft G AC C Ft E Ft G B Ab B C D? E Ft B C B? Ft G A? B C Db E Ft G C Ft E Ft G B Ab B C D7 E G Ab C B C Db E Ft G A7 B C E Ft Ab B C Db E Ab B C. .
C C C C C C C C C C C C
Ab G Ft Db Ft E Db Ab B C E G Fi E D? Ab G Fi E D"* C Ab B GFt E C G Ft Db C Ab G Ft E D? C B AP G Ft E D: C B G Ft E Db C B Ab B Ab G Ft E D7 Ab G Ft E Db C B C Ab G Ft D? C G Ft E B C
B B B B B
Ragas marked
f
have two readings, the other readings are given
at the
end of
this chapter.
O
54
THE MUSIC OF SOUTHERN LXDIA.
SCALE OF GAMANAS'RYA.Nameof Raga..
Ascending Mode.
Descending Mode.
GamakakryaPartiravamS'ri-Lalita
Purvi-Kaliani.
Jeya-MohannafDarpa-Mangeri Maivra-Vasantha
C C C C C C C
D? li F# G B C D? D? E F| G A B C E F| G A C D? E D? F| G B A G C E Dt E F|: G B C D? E Ff G A B C.
EFfGABGABGC
C C C C C C
CBGABAGFitD> F#EDl>EC
B G Fit E D> C B A G F| E D7 C B A B G A G F;i E Ff E Db Ff C B A G Ff E D? C B A G F* E D? C B A G Ff E C
SCALE OF S'RIMHANDKA.Siimala Simanthini
.
Madhava-ManohariSuddha-raga fMara-jej'antham.
C El7 D Eb F|; G Ab B Ab C C D E> F| G A? B C C Eh D E7 F| G B A^ B C C D E> Ff G B C C D Ff G Ab B C. .
C B Ab G FS Eb C G Ff Eb D C D C C B Ab Ff Eb Fit E7 D C C B G Ff E-- C C B Ab G FS E'"- D C
CD
SCALE OF HEMOVASANTHA.Sinharavam.
Ciiandi'arckha
Sankaravam
.
Yeshaprta Sinhadvani Chackoradvani.
C D Ff G Bb C C D Et? Ff G A C C E7 D Eb F| G A B7 C C D F$ G B? C C D C Eb Ff G A B.7 C C D Eb Ff G A B? C.
.
C C C C C C
Bb G Ff D Eb D C Bb A Ft Eb D C Bb G Ff Eb D C Bb A G Ff Eb D C B? A G Ff E7 C Bb Ft Eb D C
SCALE OF DHURMOVATLRangini
C DC C
Ei?
DumyaragaArunajualita
D D
Ff A C
Eb Ff Eb f1
GAC ABC
THE MUSIC OF SOUTHERN INDIA.
55
55
THE MUSIC or SOUTH ERX LXDTt
CHAPTER:
V.
Taste of European and Oriental nations how differing Reason for non-employment of harmony Method of singing Of Indian melodies P'orm Classification of Rhythm Employment of mixed times Tonality often doubtful Resemblance of Indian music to that of other Examples of popular melodies Hindustani musical system how differing from countries Examples of Hindustani melodies Scales employed in the Hindustani system. Karnatik
:
THEclothedlittle
wide divergence of taste
in the
matter of music between European
and Asiatic nations has doubtless arisen from the fact that while ^Vestern nations gradually discarded the employment of mode, and and now,in
the melody with harmony, the Eastern nations in this respect;
or no progress
India, the
employment
of authentic
made modes
and melody typesSpeaking of
(or ragas) isthis,
still
jealously adhered to.:
Willard remarks
"
To
expect an endless variety in the
melody of Hindustan would be an injudicious hope, as their authentic melodv is limited to a certain number, said to have been composed by professors universally acknowledged to have possessed not only real merit, but also the original genius of composition, beyond the precincts of whose authority it would be criminalto trespass.
What
the
adapted themor
to their
more reputed of the moderns have done is that they have own purposes, and found others bv the combination of two
Thus far they are licensed, but they dare not proceed a step Whatever merit an entire modern composition might possess, should it have no resemblance to the established melody of the country, it would be looked upon as spurious. It is implicitly believed that it is impossible to add to the number of these one single melodv of equal merit, so tenacious are themoreof them.farther.
natives of Hindustan of the ancient practices."^
A
Treatise on the Music of Hindustan."
Capt. N. A. Willard.
Calcutta, 1S34.
58
THE MUSIC OF SOUTHERN INDIA.
This continued employment of mode, combined with the almost entire absence of harmony, has prevented Indian music from reaching anv higherpitch of development, such as has been attained elsewhere.It
stands to reason
monotony which causes Indian music to be little appreciated by, to, European ears. Since the early periods of Indian history, music would seem to have been cultivated more as a science than an art. More attention seems to have beenalso that thisis
the chief cause of theif
not repellent
paid to elaborate and tedious artistic
skill
than to simple and natural melody.pristine sweetness of
melody the must be attributed to the art falling into the hands of illiterate virtuosi. Their influence, which caused music to suffer both in purity of style and simplicity, is being felt less and less. The great aim of all music " Rakti," or the power of affecting the heart now asserts itself more and more, and is slowly but surely bringing about a returnrules that
Hence arose technicallife
marred the
very
of
all
real music.
To
a great extent this
to the early type of sweet, simple
melody.
good or classical music of India is heard b}' Europeans. What is usually played to them consists, as Colonel Meadows Taylor very trulv remarks, of modern ditties, sung by ill-instructed, screaming, dancing women, at crowded native durbars, marriages, and other ceremonials. And when this is the case, it does not cause much surprise to hear native music often described as abominable, and devoid of all melody. But music of great intrinsic beauty nevertheless exists, and only requires to be heard by an unprejudiced ear to be appreciated. Throughout India music and poetry go hand in hand. Their influence may be seen and felt in almost every phase of native life, from the Music has there been palace of the rajah to the humble dwelling of the ryot.Verylittle
of the
developed to a degree far greater than has been generally recognised in Europe.It is
there
felt to
be a
means
of passionate expression, such as
is
apparently
unknown amongst nations farther East. And indeed the very soul of all Indian music may be said to be raga which in its literal sense means that which creates passion. And that this has been fully appreciated in Europe would seem to be
evident, for a musical
reviewer writing in the
A thenccii in, and:
contrasting the
music of India with that of Japan and Siam, recently wrote " In the Indian Peninsula we are really in another world. We exchange a music in which
and dry executive skill prevail for one vibrating with sentiment and passion, and that combines a refined execution with the highly nervousnoise
organization thatplayer {beenheard, at a
makes the
poetic
artist.
Such a one washeard, but
a Jeypore been
a
kind of vina),
who was'
to be
we
fear
lillle
exhibition called
India in London,' in iS86.
was not much To go from one
THE MUSIC OF SOUTHERN IXDIA.atmosphere of a desertscale,
59
of the clever Siamese ranat players of the Inventions Exhibition the year beforeto this
man, was
to quit the
for
one redolent of sweet
air
and flower scents.
The Hindu chromatic
from which the numerous
modes and melody types are selected, does not appear to differ from our own. As there is no harmony, slight differences may pass without notice. Very much of Hindu music impresses the European as being in the minor scale but deflections in the stringed instruments, and possible accommodations in the;
wind, introduce an enharmonic elaboration that defies notation.'"'"
And
here
it
might be interesting to quote the opinion of a learned native gentleman } " Manv of the Hindus themselves," he writes, " labour under a false impressionconcerning thethedifterence
between Indian
and
European music, even assoto
to
employmentthat
of
tones
and semitones.
natives,
pieces
played
upon the
piano:
The opinions held by or harmonium are
manythem
discordant, can be easily accounted for thus
they are simply confused
melody when they hear five or six notes The chief difference seems to me to be that the Hindus played in chords. prefer melodj' simply, while to European ears melody is preferred when clothed, as it were, with harmony of some sort." unaccustomedto anything but simple
being
Comparatively few Indianthat thereor the
airs
have found their way to Europe.
Those few
that have been published are mostly from either Bengal or Northern India, sois
but small resemblance in them to the national music of the Deccan;
South
for there is a
parts of India, which to
marked difference between the music of the various even the most casual observer is evident.
The
following examples of
songs thoughin filling the
a mere handful from so vast a
storehouse
will,
it is
hoped, aidcare to
vacancy, and thereby afford some
help to those
who may
makein
further research.
Many
of these
melodies
themselves are extremely beautiful, and their
simplicity adds
an additional charm that no words can express
the
airs
of
of
and feelings of the people to whom they belong. Some are pathetic and melodious music that exactly reproduces the feelings inspired bv the words others are gay and bright true accompaniments to the daily pursuits and occupations of life and in manvdifferent country districts are but a reflex of the character
;
;
them may be found
a vein of repose, slightly tinged with melancholy, that
offers a curious contrast to either of the
former
;
indeed, so
much
varietv
mav
be
^
The
Ill-own,^
New
Athencsum, Jan. York.
4,
i8go.
Review of
" Musical Instruments
and
their
Homes."
M. E. and \V. A.
T. M. Venkatas'esha S'astri.
6of'dund thatit
THE MUSIC OF SOUTHERN INDIA.is
unnecessarv to notice
in detail
merits that must he evident to the
musical reader.
Butthat
vet,
though the melodies themselves are sowell
beautiful,
it
is
but seldom
we hear them
sung;
;
indeed, singers of the ordinary type often entirelyfor native singers
ruin the effect of the music
appear to have an idea that the
highest form of their art consists in introducing as
much
grace as possible,they try to disguise
whether
it
adds to the beauty of their songs or not
;
in fact,
the real melody as
muchit
as possible by embellishments of their own, and so inquite impossible to follow either the air or the
nine cases out often
isis
words of a
sone, since the sinsrerskill.
onlv anxious to exhibit what he fondlv imagines to be his
Native
singers
rarely
practise,
for
they think
that
practice, to
even
a
moderate extent, ruins their voices. The treatment of the voice, too, is quite different to what experience in Europe has proved to obtain the best results. The voices of Indian singers are almost always weak and deficient in
volumetoneis
one
result doubtless of their
system of training, by which atheir
full
clear
singing
made to give way when much too young,shrill.
to incessant small inflections.
Girls, too, are taught
so
that
voices either break or
become
harsh and
A
singer rarely stands while he sings, and instead of using his proper range
of voice, he prefers a
which he can rarely control, and his endeavours to make himself heard generally cause him to make the most ludicrous grimaces. Singers of this kind it is who bring Indian music into
most unnatural
falsetto,
disrepute, and cause
it
to be regarded with
contempt by European audiences.are wonderfully sweet, and
But
still
there arc singers intheir
India whose voices
when they sing
own songs
in their
simple form, no hearer can doubt that, like
other national music, that of India possesses a
charm
peculiarly
its
ov/n.
The various
styles of Indian compositions, consisting as they
do entirely
oi
melodv, do not present to the casual observer differences as clearlythose of European music.cally,
marked as
in
Nevertheless these melodies are classified systemati-
andall
in their
construction are subject to certain definite rules of composition.
Almost
consist of a burden or refrain called Pallevi, a kind of answer to this
refrain styled Anupallevi,
and stanzas
(called
Charanam)
of
which there
is
usually
an uneven number.
These parts are in the several compositions arranged in different wavs, and bv this means the style of composition is determined. Rhythm is usually very marked, but differs largely from that of most Europeanmusic from thefiict
that the times are iVequently irregular.is slight,
Between
vocal and instrumental music the difference
the vina, the
THE MUSIC OF SOUTHERN INDIA.only instrument of anyor reproduction of thelart^e capability,
6i
being considered to be but an imitation
human
voice
;
and
if
an
air
be accompanied by that
instrument,
it is
usually only played in unison with the voice.
The
different exercises, compositions, &c., are usually classified:
under the
following heads
Saralas
Kruthis
Gentuversis
Kirthanas
AlankarasGitas
VernamsS'ankavernams
Prabhandas
PathamsJavadis
ThanasSvarajotas
Ragamalikaitself,
Aand(ii.)
raga,
when performed by
contains two movements
(i.)
Alapaandis
Madhyamakala.upon some theme aboundingall
Pallevi, a kind of fantasia
in imitation,
with a well-defined rhythm.
The rhythmother nations.is
existing throughout;
the different styles of composition
worth careful notice
and
it is
The
similarity
compare it with that employed by of that of the Turks and other Eastern nationsinteresting toinitself,
remarkable.
As in European music each period is complete marked by the talas, which divide the different periodssections, as the
being clearly
into regular or irregular
case
mayif
be, following
each other
in definite
The
periods
differ
only from those
that they
may
consist,
necessary, of an uneven
commonly found in number of sectionsemploymentofin
and regular order. European music inor measures,
the tala itself often being irregular, owing to the
mixed times.will
Hence when Indian music
is
written
ordinary notation
there
be a
regular rotation corresponding to the tala, of bars each of which may have a different time signature. A reference to the list of talas upon page 36 will explain this more readily than any words can. These periods or phrases areoften extended
by the addition
at the
commencementphrase,either a
of a few notes leading a
up
to
the
commencing note
of the
or by being terminated withrepetition
small cadence or
codetta which
may be
or
imitation of
what has gone before, or may lead up to the next phrase. The rhythm of the Pallevi and Anupallevi is usually a great deal more marked and regular than that of the stanzas, where the phrasing is frequently irregular,the periods being interwoven by means of, as it were, abbreviaturas, or extended by the prolongation and " rekhu," a species of turn or transient shake upon a
Q
62
THE MUSIC OF SOUTHERN INDIA.all
note in the middle of a roulade with which
Hindu music abounds.
This
is is
especially the case in the performance of raga as a solo, which in certain cases
absolutely timeless.
Hence the greatordinary notation.
difficulty of
expressing such music correctly by means of
The
peculiarity of the scales or
modes employed
in
Hindu
difficulty in determining the real tonality of many of the melodies, the Hindu Sa, taken by native musicians as the " Khuruj " or keynote
music often raises aot their scale,
not necessarily corresponding to what
is
the real tonic of the scale.
Indian music has been compared to that of Scotland, but the resemblance can
be traced principally to the frequent employment by both nations of a somewhatsimilarscale
of five
intervals, the
fourth
andis
seventh
being omitted
possibly also from the fact that a similar motivefirst
often found in both,
and where the;
note has one-fourth of the duration of the second, as
^^
In reviewing the national music of
with the wa}- in
any country, we cannot help being struck which special scales are employed, special graces worked in, all
more or less varying in the music of different nations. In the music of India, owing to the multitude of scales or modes which it employs, a resemblance here and there can be traced to the music of nearly every country. The chief characteristic, for instance, of Hungarian music is that it usually employs a scale with two superfluous seconds, or the harmonic minor with asharp fourth.
This scale
is
in
every respect similar to the Indian scale called
S'rinhandra, and nearly similar to onetovarali, both of
which
will
be found
much employed and called Siibhapanamong the list of scales upon pages 32-35.
ManyHungarvseventh
of the graces and embellishments employed in the gipsy music in
are to be found in Indian melodies.
Mr. Carlin
Engel' has drawn attention to the employment of the minorServian,VVallachian, and
bothin
Scotch
music.
This interval
is
emploved both
Arabic and Indian music.it
Some
idea of the plaintive and
impressive effect of which
is
productive can be gained from the song, " Seki
yenaka thake," given upon page 80. Mr. J. A. Kappey, in his collection of " Songs of Eastern Europe,'"' draws attention to the characteristics of Turkish songs, and to the fact that they employ a scale having a minor third with an augmented fourth, and a minor si.xth'
^
" All Introduction to the Study of National Music." Carl Engel. London, 1866. "Songs of Itastcni l'".iH(jpc." Edited by J. .\. Kappey. Lundoii, 18S1.
THE MUSIC OF SOUTHERN IXDIA.with a major seventh.India willis striking.
63
comparison of the examples he gives with songs of be of great interest and the similarity of both melody and rhythm;
A
One;
of the songs quoted
ain
song of sorrow by Nihad Bey
mightalso to
be from Indiabenoticed
it
appears to be writtenit
much
the%
same form, and\,
it is
that
employs a mixed time of
and
precisely the
Indian
Triputa Tala, already noticed.In a previous chapter attention has already been drawn to the resemblancethat Indian music bears to that of Greece,
and
this is
still
by a careful study of modern Greek national
airs.
In a
more fully borne out work not long published,
by M. Bourgault-Ducoudray,'' the construction of the peculiar scales found throughout the East have been made the subject of most careful research, and the use of what the author terms the " chromatique oriental" is especiallyits
Mayamalavagaula, and to M. Bourgault-Ducoudray's work to students of Eastern music is especially interesting, and the careful analysis that is given of each air renders the work most valuable. The Indian songs between and resemblance the examples of melodies from the Levant is so striking that, in many cases, it is difficult to believe that theirnoticed.is
This scale
no other than the Indian
frequent use attention has been drawn elsewhere.
origin
is
not identical.calls attention to the fact that
Mr. Engel
Chopin,5),
in
one of his studies for
the black keys (Douze grandes Etudes, No.beautiful effect that
may;
has given some idea of the be produced by a melody which employs a limited
number
of intervals
only in this case he notices that as the accompaniment
employs other
intervals, the pentatonic effect of theis
whole
is
somewhat marred.
In Indian music, too, a frequent use
made
of the pentatonic scale, as has been
already remarked.
Again,
in
constant occurrence,
especially in
Spanish national music, embellishments are of descending the diatonic scale the same; ;
predilection can be observed in Indian melodies
indeed, a further resemblanceof
can be tracednature
in
the
occasional
employment
endings of the following
^XT'
iSEg=g=^=ilsuchas are heard in the jungles and countryare not unfrequent.
which
in
the
districts of
common songs, many parts of India,
The'
following
observations
by
Captain
Willard
are
short and to
the
Trente Melodies Populaires de Grece
et d'Orient."
L. A. Bourgault-Ducoiidray.
Paris, 1876.
64 point,
THE MUSIC OF SOUTHERN INDIA.and seem:
to
apply
equally well
to
Southern as to Northern
Indian
melodies1.
2.
The melodies are short, lengthened by repetitions and variations. They all partake of the nature of what by us is called a Rondo,being invariably concluded with thefirst strain,
the piecefirst
and sometimes with the
bar, or at least with the first note of that bar.3.
A bar
4.
measure or a certain number of measures are frequently repeated with slight variations, almost ad libitum. There is as much liberty allowed with respect to pauses, which may beor a
lengthened at pleasure, providing the time be not disturbed.
The times employedfrequent
in
Indian music are peculiar
;
simple times are of most;
occurrence,is
mixed
times;
are
largelyis
employed
true
triple
time,
curiously enough,is
of the rarest
but there
a time, the accentuation of which
upon the
first
(although in
and second beat, which may be said to be a kind of triple time reality a mixed time of % and C), and is much used for love songs.in
The tempo
which the various melodies are sung
is
sometimesor
irregular,
and
from being exactmiddle of a song.
sometimes changes
into
a
recitative
ad libitum
in the
The
peculiarities in the
working out of the motives areis
striking,
and the employment of
rests of short duration
noticeable.
The endings are often not definite, the last few bars leading up to commencement the reason for this is probably that it is usual to repeat melodies, and when the performer wishes to end, he generally leads up to note upon which he wishes to conclude, and prolongs it in this manner;
the
the the
m 3Indeed,differentit
^^F^g?
seems more natural
to regard all
endings of Indian melodies rather as
forms of
Da
capo than as real closes, the object in most cases beingof the song.
a return to the
commencement
The
fact so often noticed
by those
who have endeavouredof
to collect Indian airs, that almost every interval of the
scale can be found used as a close, can possibly be thus accounted for.
The words most of these songs, particularly those sung by the common people, such as lavanies and javadis and svarajotas, are generally a long ballad, so that a definiteendingis
not required after each stanza.
Many
singers indeed, as a variety,all
improvise their words, so that after each stanza closes on intervals ofare found.
kinds
real ending is what he regards as the key-note of the Indian scale. Judged from a European point of view, it appears that closes on the intervals of
But when the
reached, the performer frequently leads
up
to the key-note, or
THE MUSIC OF SOUTHEKXthe third andtonic chord;
INDIA.
6S
fifth
should be regarded more as
//i^//
closes
upon the
intervals of the
those on the second and seventh as upon intervals of the dominant
chord; whilst those on the sixth or minor third betray the relative minor; sometimesthe third
may
be looked upon as the
fifth to
the relative minor.
This view can ofit
course be equally well applied to the national airs of any country, butto be specially applicable to those of India.
appears
Somefound
of the melodies in their conclusion imply a modulation into the relative
minor, showing thereby a trace of the old pentatonic scale.
Examplesfifth,
will be
among
the following melodies of endings with the(like
the
si.xth,
the
seventh, the second, andfourth are rarelyif
those of the Servians) with the third.
Closes on the be foundin the
ever employed.
An example
will nevertheless
Khyal upon page 88. In the examples following an endeavour has been mademelodies are composed.
to point out
some
of
the chief peculiarities and characteristics of the different ragas in which the
Thescale of
first e.xercises
taught to pupils are called Saralas, they are always in the;
Mayamalavagaulaeachtala.
similar exercises
called Gentu-versis,
containing
repeated notes, are next taught, after which Alankaraslearnt, several in
exercises upon time are
The
simplest melodies are called Gita, and are of two kinds
Pillarigitahymnsfollowingtois
and Ganaraga-gita. andit is
The
first-named are four in
number andin
are
the god Pillari or Ganesha.
The Sangita
Parijata mentions four Pillarigitas,still
believed that these are the four that are:
use.
The
an example of one of these ancient PillarigitasAndante.
(
Raga Malahari.Tala Rupacca.
=^=^
T'^ir:'*
^S
^TJt
-^*-i
^-^^are
r7r
2*
Ganaraga-gitas are very similar to the above.
Somewhatlonger, andSkilful
similar
to
gitas
Prabhandas, only that they are usuallyin
are divided
into
two or three parts by breaks called Khandam.order toexhibittheir
performers are fond of playing such pieces
proficiency to an audience.
Thanas
are studies for the vina, teaching special styles
and
difficulties
metK
with in the performance of the various ragas.
They
are particularlv intended as
66
THE MUSIC OF SOUTHERN INDIA.difficult
an introduction to the
movement called Madhyamakala ofGreat attentionis
a raga.left
Thanasa great
are in no particular talas, the time heing taught orally, and
in
measure
to the performer's discretion.;
bestowed upon proper
accentuation and grace
the tempo
is
usually very rapidRaga Nata.I
^f^--
^4-i-t^-gJ-^|/^'
V^
"^
1-MI f?4ii
C
b/F
^^
hH
L^
1%^
^^=1RagaArabi.
^^rr
g^
^Some
t^^
S g^#-^ ^ ^Raga Gaula.
^l-^J-^i-l-^Qof the
iy
^Srri -* *-
5=^4.a^^a^&^=^1
s S^;
^
r
I
most popular ballads of Southern India are called Svarajotas, and are sung by almost everyone. The words are usually odes to some deity or popular hero of the country. A song of this kind commences with a kind of following in quick succession is the anupallevi, a kind of refrain termed pallevi short stanza, the words of which are an addition to a comment upon those of the The stanzas, which may be After this the pallevi is again repeated. pallevi.dissimilar both in metre
and melody, follow
in order,
each concluded by a repetition
There is an almost entire absence of superfluous grace in these songs, and their marked rhythm renders their execution within the attainment of nearly all. The following examples of these melodies are interesting, and display theof the refrain.fluent
and decisive nature so characteristic oi themFine.
all
to the greatest
advantageRagaBilahdri..\di.
Allegyo modcrato.Pallevi.
Anupallevi.
Tala
THE MUSIC OF SOUTHERN INDIA.
^rl
i
|j"3?
J?S
^^ ^ ^^:?2=z
$ ^
g_^
.
ji,^
I
J"^a^ffl,^=j^^^:T^^^
^^ .TTJ^^^^J^^^aj-^^^gfe^ P^^^iSacred songs, called Kruthis, are very popular.
E
The
airs of
some
of thesefor
hymns
are very old,
and have been handed down by successive generationsKruthis are, asarule,
hundreds of years.
in
theis
morestanza.
difficult
ragas, the
characteristics of which are
made
as prominent as
consistent with the melody.
They
consist
of
a
pallevi,
anupallevi,
and
one
Some
few
have
three stanzas, and this
number is never exceeded. The pallevi is sung at the commencement, then the anupallevi, after which the pallevi is repeated witha slight variationat
the option of the
singer,toiipo
followedis
by the stanza, andcon
concluding with the pallevi again.vtoto,
The
rather of an Andante
and the whole
is
sung
in a
dreamy way, with a great deal of expression,of Tanjore,
and as much grace as
is
wished.
These hymns were revived by the Rajah Sarabhoji
and were
greatly improved in style by the celebrated musician Tiagyaraj
of that place,
who composedSubbaraya
a large
number which
are
still
popular.S'astri, Diksitalu,
Other famous composers of kruthis have been SiamaS'astri.
and
As
will be noticed
from the following example, kruthis have a curious mixture
of pathos and hilarity, and the words are always in accordance with the emotions
expressed
by the music.
Thereadily
peculiarly
plaintive
effect
imparted to theseusual
melodies by the employment of grace embracing intervals less than semitones,
and
its
special
charm so
shown upon the vina
to these
hymns
no notation can be found'
the
companion
capable of expressing'
Upacharam Chesavaru.
Andante.Pallevi.
J
Riga
Bhairavi.
.\nupallevi.
^
(Tala Rupacca.
72
THE MUSIC OF SOUTHERNStanza.
INDIA.
1st time.
1 1
2tid time.
agq^pS^PpMF^^^J^^^^-^-^^^g^Thescale ofthis
melody
is
" Nata-Bhairavi,"
which,
as
can be seen,
corresponds exactly to the ancient Hypodorian mode. The peculiarities of the raga Bhairavi, in which it is composed, admit of E being taken eitherash
or b at will.
Henceif
this
melody, although partaking partly of the nature
of a minor key, should be regarded as founded
upon the dominant of the major
harmonised to preserve its character, WTitten in one flat only, and harmonised with the triad of the dominant as the principal chord. The vibrato upon Bb is characteristic of the raga, and is never omitted.key;
and, therefore,
The composer of The compositionpopularity.
this
melody was Tiagyaraj.
of the next
melody
is
attributed to Kolashekara, a formerin
Maharajah of Travancore, which, perhaps, accounts
some wayis
for its
wide
Oneinsertion
great peculiarity of the compositions of the Maharajahof
the copious
what
are called " Svaraksheras " in them.
To make my meaning
clear the Hindu gamut, as has been stated, is signified by the syllables " Sa, The composer has adroitly introduced these syllables ri, ga, ma, pa, dha, ni." at the very place where the notes signified by them occur in the song, without This is the more difficult to do when interferine: with the sense of the words. we remember that in Hindu music the notes must follow each other in aparticularorder,
according to
the
raga,
and
not
exactly
according to the
composer's fancy.para nava7rt," &c.
In the following piece the words are " 5rtrasa vSrtmamukha
Sa and Ma are introduced at the very points where the notes C (Sa) and F (Ma) stand in the song. The Hindus regard, in this song, C and not F as the key-note, though the latter is clearly the real tonic, and there is apparently no difference in the tonality of this and the
The
syllables
**,
The melody " Smarana Sukam," in which they allow the tonic to be F. other two melodies, also from Travancore, are compositions of KolashekaraMaharajahSARA5A SaMAMUKHA. "Moilftlttu.I'.iUevi.
Kamachi. fRSu'a Kama (Tala Adi.
^--^^iEijEga^;i:3^:
THE MUSIC OF SOUTHERN INDIA.Anupallevi.
73
p^SJ-JJ^^
m
i^ n,i\
r-
r;
i
J
J'^G^
Stanzas.
pr
f.
^
'''^^\^^=^^^nu ;'J^
^aJJ
^rp^2nPallevi.
r>/JU^^^I
jJlJ.l^tz^
i:i
\
P-^-^rf\f r J
r.jviir
r.r
^Sl f.-^^^RagaBilahari.
i
pztUj:; N ^ -*i-^-^^ ^i^i
^
Melopy from Travanxore.
mi
Anupallevi.
tefe*
^
e
f
g-
i^j^=^
Stanzas.
^r g -
i
fefe
^
m
^fe^
^'^i^
^
mRaga Mohanna.i
Melody from Travanxore.Pallevi.
Anupallevi.
hShH^^^SmiMir^l rjStanzas.
1
r
rrlrrr -j^ LI
Q
[,ri
Cfe^
rtf^r r ii=i=i^
rI
^Gfrg
^ ^^j
^'
feSmarana Sukam vo Ramanam.'
^^^;^^Raga Garudadvani. ITala Eka.
Modi'ynto.
^SPallevi.,
^^^=3:
^
^5=1^^^J
^
^^-gj^
3:^|:^-.l
Jl/^^^^
ffi
74Anupallevi
THE MUSIC OF SOUTJHERX INDIA.
^music, andeither
^is
.^:^-
"^
-r-r5iit
^ ^is;
itfc
^mThe twofirst
An exampleconsist of nine
of an irregular
melody
shown below.
periods
and seven bars respectively. This frequently occurs in Indian probably produced simply by rests having in course of time beenor by a baris is
lengthened or disregarded;
imitated,
repeated, or over-
lapping
so that a symmetrical periodof bars.
transformed into one of an unevenoriginal,
numberThat
Thefully
effect
produced
this
has been
recognised by musicians in
and often very pleasing. Europe is well known, and
many examples might be quoted from
the works of classical composers to prove
that this has been largely appreciated as an important element of variety
Andante.Pallevi
Nanna Gan.na Talli.
Raga Manohari. Tala Eka.
f^T^rrj^^Anupallevi.
^^r
?=^^^
$Stanza.J?
sf\
I
fs-
*
*
^
,
w^=,
^^-
^^^zj\bothin
^mit
^ ^
:
r
\
'Ja
^
^* ^^
The two melodies gaula. The intervalswhenallis
following areof the
the scale called
scale are so peculiarit
jMavamalavaand so manv harmonical
combinations can be formed from them that
well deserves attention, especiallv
remembered that
this is a scale largely
used by the Hindus, and thatof.
elementary exercises taught to pupils are invariably upon this scale, insteadis
as would be supposed, the diatonic major, whichnatural.
by us commonly regarded as
THE MUSIC OF SOUTHERN IXDIA.;
75
are
These melodies are again irregular in construction the ragas in which they composed, though much alike, differ, in that the third is not admitted as aascending mode of the second example.in the
real note in the
A
characteristic of the
raga Purviof thefirst
is
shown air
" glisse " from
D
to
G
in the sixth
and seventh bars
'
Trii.oka mata.
Pa'levi.
iE1=
.^. .^. ^ ^;hi hI
SC=s:
^^
Anupallevi.
i
i^=1=Sian/a
^
^^
m^ r* ^
ZMUK.
F mI
*I
'i
^
=S^
rj ^ ^^^i^l'^g-
^=^=
'
Nagadhera.
(Raga NadirAmakrya.I
Taia Rupacca.
zt=a:
:^tt=6
f
=P=5:
^
*==*=
-*
g^^-i^^^^Lj \^\^'^^^=^I
1 11= -
-
. fr ltcj-
^
i"^
*:^ iSp^^C
:Ie
Sr-
i&
~^=r^Cju^ i
5=*=
~-:X=-
^^sg;i^^a^rt^ p-rn^-g(without words.)
rx^^xir-fjrr^m
:'T
r
f^^^^^^^^^^^s^
poco accel.
$
3:
U^^ fJ-U^^i1
sfStanzas adlib.i.
^
^^
*-i?-
^
f4^^^?
^^^^^^fe^g^^^ilg^g#^^
Pallevi (at end of each stanza).
ff^T-&1f^^g agggF#^F^^^=gE^r=Fr^fe^^^^
P
i
Q=c=ra:
^-^1-
feg^-
^
g^F=f=g=
&^
EfeSEE3E ^. ^^ " ^^^^Eg fU^^N^a^ ^=SE #Xp^^-g UJ L^= ^^ ^^^^^^1.J
^
:^=^
^
^
S'anka-vernams are somewhat similar to vernams, only that the tempo is less rapid. They are usually very elaborate in style, and abound with graces of allare commonly sung at Nautches and are intended to give full scope " bhavas " the gestures and sentiments conveyed by the dancer as she to conveykinds.
Theyand
sways
to
fro to the
music.
Javadis are songs of a light and pleasing nature, such as love songs, cradle
THE MUSIC OF SOUTHERN INDIA.songs/ &c.
79all,
They
are
of the higher classes
much sung by both Nautch They are in domestic life.
girls
and
especially
women,ballads
of two
kinds ordinary
and songs of a more or less indelicate nature, sung during the performance of a peculiar dance called Karwar. Javadis consist usually of a pallevi, anupallevi, andstanzas, sung in the usual
and are chiefly in popular The tempo is in accordance with the words, and not too slow, the ragas. Consequently, many of these songs bear a favourite measure being Rupacca.
manner
as described before,
resemblance to a waltz, only that they are taken
at a slightly;
slower pace.
The words of javadis are often very beautiful and Krishna and Radha are always popular. Musicians asmorein theiris
those upon the loves ofa rule sing these songs
stanza
naked form, and with sung to the same air.
less grace
than
is
their usual custom.
Each
These songs are of comparatively recent introduction, being first sung by the Kanarese musicians of the Court of Surapuri, a petty state near the celebrated Humpe ruins. The popularity of songs of this kind increased rapidly, and they are now to be heard throughout almost the whole of Southern India, where theytake the place of the
Tappa
of Hindustan.is
Among
the following examples the air " Anthalona Telavari"tala fallsit
perhaps the
upon the first and accompanied by this is much noticed when second beat of each bar instruments, such as the small tinkling cymbals and drums, which mark the time strongly. This song seems to be known throughout Southern India themost popular the accompanying rhythm of the;
is
;
version varies slightly in different places, but, on the whole, the air
is
much
the
same everywhere.
The
air " S'ri
Saratha "
is
very popular both in Mysore and Tanjoreis
the
modulation into the relative minorpentatonic scaleAndante.Pallevi.'
noticeable
as
it
shows traces
of
a
YlVANA PIRDIDU."
fI
Raga Biag.Tala Adi.
^
s==Stanzas.
=*
*
^
^I I
p ^E^
gsrKayalaga
f f
SI *IW=W=W^^^^^s^RagaJanjuti.
''^'ir
.tiu
^
dAvana.''
Tala Rupacca.
'
Simple cradle songs, called " Palna," are very common, and answer to the lullaby songs of Europe,
8o
THE MUSIC OF SOUTHERN" AnTIIALONA TKLAVARl."Pallevi.
INDIA.(Raga S'ank4rabharna.jTala Rupacca.
m
hi^^ ^^'T"XZEr-^
^^m3==f^
^E#
Anupallevi.
m^p-^^
-P-
f^^-
::?=*=
Stanzas.
^m W
^TV"^ -t^
l=i:
ggsfe|^g^^^fe^^^g^:
s
rail.
n tempo.3-TN
^p^*^n
v
~j>~^~
af
" Jenaka
Vaneanatha."
Raga
Janjuti.
(Tala Rupacca.
^is=sg3
P
*
Q
|-:f=4:
-F-t-
ii:
|fe^^-#1-*
:=t
^J^F-F^1
S^ niQ e Iarm-
m-
*,,--* Pi3^
?=-=p=r-&
^
tt.^fc
^o
'
>i^
g
pg^^^S^j^^M^j^^P^'
*'
n(Raga Kapi.(Tala Eka.time.
SeKI YENAKA THAKft."1st time.
Pallevi.
Anupallevi.
m^, *
\\
2nd
1 J J
T*^-*c
^~z^-^
t=f--=[-
^
i^^^m^^m-
L.
i^-
SiJ
^
p-
I>f>
^
^=i=^-li'
Ez
iJzzzfirrCzizifcStanzas.
^
*
atlit
o
-
-:sr-*-
^-T^ Ti
^
^=
4-
^pi4-^1=Fine.
2S^f,
Se^
^ ti
ll
^
=*=^
g^ig=B3=5
-d
^
4-
THE MUSIC OF SOUTHERN INDIA.'
8i
S'ri
Saratha."
Ra^a Kamachi. Tala Rupacca.
f\\
r
^'t
u-
* m
^'^^
-iS^
S2
**-
mS^
i^
Lji.
^^
=i=^
ggss
^i^ac
= :J^^
Very similar to javadis are songs called Pathams they are exclusively songs, and are sung largely both in the native drama and by Nautch girls. music is very much varied, and the performers frequently leave the air improvise cadences and embellishments, rejoining the melody at will.;
love
Theand
The
tempo
is
slower than that of javadis, and;
is
varied according to the expressionis
the singer wishes to put into the words
the tala
generally irregular, a mixed
time of
and C is the commonest. The most popular composer of pathams was Kshattrya, whose songs areI
and contain some of the most beautiful and poetical sentiments that can be found but, like all Oriental love poetry, they employ imagery toolargely sung,;
luxuriant for exact translation'
Valla tella vara."1st time.
jRaga S'ankarabharna.2ndtime.
Moderato.
^-P-u
\r~i a" *It
:mf)
^'\
3C=S3t
g
' r *
^>
jTSla Druva.
^^S ^^
r' ' r .
f^^f'^
.'
82
THE MUSIC OF SOUTHERN
INDIA.
tsj
-.=-
^^shown.peculiarity
^^r=M:
T '^ U U
!
i
U-
iit
^^
-PI
P#^ LI
pL^
,
\
p
>I
'l>
-sii
1^
/
^"^
^Cis:
:C5f
ig ^-^^.^^
In the above melody the characteristics of the raga S'ankfirabharna are well
The;
glide to the upper
never omittedat the
in
thisit
raga.
Anotherfret,
of this air should be noticed
sign \
will
be seen thatso a trembling
B
is
tied
the string
is
hvice
slightly
deflected
and shaken upon the
as to sharpen the note to a degree less than a semitone, witheffect.
Mysore country. The pace is moderately is sung in a soft, dreamy manner, that, coupled with the gestures of the singer and the tinkling of the accompanyingis
This song
very well
known
in the
quick but not hurried, and the melody
cymbals,
is is
peculiarly fascinating, especially
when heard
for the first time.
Here
another example of these songs(
Raga Mukari.Taia Triputa.
Andante.
^231
iOi^^
^^ sjac
t
=t=^\
m
-*
L
i^E
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^
~:
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Bg;the lower orders.in
EH fe^
1
Religious hymns, called Yallapathams and Tathvams, are largely sung bv
They
are very lugubrious and monotonous, and are invariably
the raga
Yedukula-Kambogi
The former
are
funeral
dirges,
the
latter
THE MUSIC OF SOUTHERN INDIA.allegorical chants
83
sung at religious gatherings. Yallapatham shows the nature of these songsAntlante.
The
following example of a
(Raga Yedukula-Kambcgi.{I Tala Adi.
The
ordinary
folk-songs of the
country are called Lavanis, and
will;
bethe
familiar to everyone
who has heard;
the coolies sing as they do their work;
womenare
nursing their children
the bullock drivers; dhooly bearers
or sepoys on
the march.
The
airs are usually veryin
monotonous.praiseofin
a sort of historv or ballad
The words, if not impromptu, some warrior or " burra Sahib."
Some haveThereis
a kind of chorus, each
man
turn singing an improvised verse.
no employment of raga.
At the time of thelavaniespartiescalled
Kamaare
festival in
Saval
sung.
honour of the Indian god of love, special The words of these are sung by two
one
called Turaihis mistress
and the other Kalki
intended
to represent the
god
Questions of a metaphorical nature are sung by one party and answered by the other. These were formerly sung extempore,
Krishna and
Radha.
but their performance
is
now
usually rehearsed beforehand.
This species ofof Kabi.
entertainment
is
The two following are examples of popular lavanies Allfgro vioderato,n
also practised in Northern India under the
name
No.
I.
1
~r * 0^
:^:i^
=^
^^No.
2.
^E? BE^-fs
^at
^^^ ^VI
IT-^tf^
tr
I^T^'""^is
Aheard.ragas.is
composition called Raga-malika, or " garland of ragas,"
occasionally
As
A
song that modulates into many different raga-malika consists of a pallevi or refrain, and stanzas. The pallevithe
nameat
implies,
it
is
a
employed only
the beginning and
the conclusion.
The stanzas
are
84
THE MUSIC OF SOUTHERN INDIA.
Each stanza employs a different raga, the name must be mentioned in the words, in order that the audience be able of which The tala remains the same to follow and appreciate the performer's skill.usually uneven in number.
throughout.
Somewhat
similar to the above
is
a Pallevi.
This word
signifies literally
"a creeping plant," and hence the name is given to a kind of fantasia upon some theme worked out in accordance with certain rules, and containing a large amount of grace and imitation. As this kind of composition is extremely popular it well merits some attention. A stanza or sentence of some poetical nature is sung to any air that the performer may improvise, and in anv raga and tala. This opening melodv is taken as the theme of the pallevi, and is varied, imitated, and answered subsequently according to the skill and inclination of the performer. Occasionally of counter theme is introduced, and a skilful musician will keep the a kind two parts distinct. If this is done the counter theme is, as a rule, introduced upon a fourth or sixth lower. But it is not intended to imply that there is any employment of counterpoint as understood in Europe for though in certain cases these two parts may be actually going at the same time, yet the native musician is guided by no contrapuntal laws, but by his ear, and the rules of rdga,;
entirely.
Much
greater license
is
given as to raga in a pallevi than in any
other composition.
There are usually three movementsallegro or scherzo.
viz.,
an adagio, a moderato, and an
Theavatar,pallevi
first
or tala that
movement commences with the subject being given out in any raga may be called for. The space of time occupied by this is termed an
and constitutes the chief rhythmical division or period into which the is divided. Each succeeding avatar, though consisting of several
short phrases, either linked together or separated by rests,
must be
of equal
length to the original.
and
if
the voice
is
Each avatar differs essentially from those preceding, employed, commences invariably with the first syllable or wordfollows withor without
of the original theme.
The second movement
a short pause between.
The measure remains the same, but the duration The third, or concluding movement, follows the tempo is much increased. In this it is usualspecial characteristics of each shall bein the original raga.
of the;
movement
is less.
the only difference being thatfor the
performer to modulatehowever, ended
into different ragas (called for at the time by the audience), taking care that the
madeis
clear; each avatar
is,
This movement
brought to a close by a repetition of the
THE MUSIC OF SOUTHERN INDIA.original
85in the
theme
in the original tempo, after
which a few bars
same raga
are
given ad libitum by
way
of a Finale.
In the performance of a pallevi no harsh or discordant instruments are
For marking a rhythmical accompaniment the hands are employed, Occasionally another performer hums or sometimes a Mridang or Gatha. softly a kind of accompaniment to syllables (ta, di, ti, ka, &c., as if sol-fahing)employed.intended to represent the beats of a drum;
this is called
konnagolu, or talavinyasa.at
Songs of salutation orof orall
hail,
called
Mangala, are sung
the conclusion
performances.
Melodies of this kind are usuallyfollowingis
in either the
ragas Surati
Saurelshtra.
The
one of the mostis
common Mangalas.
The
chief peculiarity in songs of this kind
evident here
the beats of the tala falling
upon
tied notes at the
commencement
of a barRaga Saurashtra.Tala Adi.
Paramana Suttu battu padara."
I
A dngio.
:S=^ ::?;Hindustani musicdescribed, and whichlatter,is
---
^^^some respectsKarnatik.
>
mof
i^
iis5
l^^Tl
in
differsIt
from
the
system previouslycopied from the;
called
has been
much
butof
its
professors are not often
men
much
education
and thoughis
manyis,
them
are skilled executants, their knowledge of the theory of their art
as a general rule, but small.
In Hindustani music more attention
paid toitself.
the minute distinction between the various ragas than to the actual melody
To
melodic form the same importance
is
not attached.but
The nomenclature
of
Hindustani and
Karnatik ragas
differs,
musicians everywhere quote the
Sangita Ratnakera as their principal authority.prevalent in the North and South of Indiathe former that of
They
also say that, apart from
Arabian and Persian innovations, the difference between the S3'stems of musicis
accounted for
b}-
the fact that inis
Hanumanmusic
is
preferred, while the Southern music
a relic of
the earliest system of Narada. In
Hindustaniis
the
elaborate;
arrangement of scalesnames,in
previously
describedarein
not used, but merel_y twelveuse,
all
of which, however, are found,
and
commonor
though under
differentin
the Karnatik system.
The
talas,
measures, employed
Hindustani music are similar to those
previously
describedin place
melodies,
of
upon page what has
36.
As regards the formstyled" pallevi,"
of
HindustaniY
been
" anupallevi," and
86
THE MUSIC OF SOUTHERN INDIA.or
" charanam,"
stanzas,
all
their
songs
consist
of
distinct
parts.
pallevi is styled asthayi
the
anupallevi antara
and
the
charanam ahhog.
The As the
differences
between the two systems consist mainly of technical points, whichslight interest to the reader, the following observations will, perhaps,
would be ofbe suflicient.
The Dhrupad perhapsIt
the most admired of
all
Hindustani songs
is
a
heroic song, with a slow and dignified style, and sung almost exclusively bv men.i.e., asthayi, antara, and abhog. Great scope is given upon the actual theme, and the time cadence is very complex. Other songs are called Tilanas and Sarigams (or svaragramas), and are in particular talas they contain onlv two parts. Ghuzals songs of the same nature as Kshattrya's pathams of the Karnatik are very popular; they consist of only asthayi and antara. Of a similar form to ghuzals are Tappa, resembling the Karnatik javadis, and consisting of two parts. There are also Thungri, Dadra, Hari; Gurbah, sung at the Dassera festival; and Palna, or cradle songs. Songs called Khyals, somewhat like the Karnatik kruthis, which display a great deal of grace, and have a slow time cadence, were introduced by Sultan Shirki of Jounpur; they consist of two Many Hindustani lavanis are very pretty, though most parts only.
consists of three parts
to
variations
;
melancholy.
The tuning
of instruments
used by Hindustani musiciansin
differs
from thatis
employed by Karnatik professors,admitted upon the open stringsis;
that the interval of the fourth
always
the modulation therefore of these instrumentsitself is less
less confined
;
hence frequently, though the melodysongs are preferred toin the
pleasing,
accompaniments to Hindustani
the
ordinary
Karnatik
accompaniments, and music playedthus
Karnatik style upon instruments tuned
much liked. Karnatik. They haveis
Hindustani musicians practise singing more thanbetter voices,
doidea
Karnatik
singers,is
as
has
been
and take more pains said before, appear
to to
cultivate them.
have
an
that practice
hurtful to their voices,is
and from attempting
to sing
when
too;
young, before the voice
formed, they are apt to ruin their singing entirely;
while Hindustani singers practise much, and sing in a more manly style
hence
Hindustani musicgiving
is
much admireditself,
in
Southern India, chiefly as a varietyit
the
softness of the languageit
and the ease with which
lends itself to singing,
an additional charm.
A
careful study of the
Hindustani melodies
given below will amply repay the time given up, and their great beauty andinherent passion can hardlyfail to
enchant one.
The
following examples, gathered principally from the Deccan, Guzerat, and
THE MUSIC OF SOUTHERN IXD! A.Rajasthan, display some of the chief characteristics of these melodies.
87
namesinto
of their respective ragas have, in
some
cases, been omitted, the
The names ofinterest.in
Hindustani
ragas being different fromragas.
Karnatik.are
Several
of
them modulateis
different
Such
technicalities
not
of nuich
general
Examples, however, may be found below.Guzerat, andItis
The ghuzal given
popular
sung quickly, but with great expression and varying tempo.inall
should be remembered that,
cases in performance, the airs are
much
varied by grace, and rarely are sung in their naked form.
All singers, both
Hindustani and Karnatik, make great use of aGhuzal.Allegretto.i >
slide akin to the portamento.
.
.
.
^^=^
S^7^^r-\
M
is
^
Efed.*-
^M^
-^
^mRaga S'ankara.
=5;=
In
Andantf
niosso
Lavani.
Andante4j
#
z^
M
d-
TT =aL
^^r ^^
^-i4J^
i
^
^^Tr *-
qaot
^
^ ^a^^i^gzf.
^^.^^^E^^^
88
THE MUSIC OF SOUTHERN INDIA.Thungri.
*jj
^
A ndanle.-tofc^^"
^1^~
pFF^s^gi
-
f-
^P^^^fF^g
* y
I
fO
gg a
Ifl
/oco accct
a tempo.
Khyal.
Raga Kedara.
^
S^*
4==?:
^
S^' -Tt-
^^H-X^^;i^
:p=r
).C.
iAndanteniosso.
^Patham.
a
fiij
J'j?.j
i
j7:i.^-g^3jgJj
^
s cz
EIj-JJIbB^Fine.
^^m
J.71
J^LJ^J^
^R4gasPilu
Thungri.CoHcspress
and Dcsh.
f^-
n ;;-j-uJr=r^rrT221=P5F
:^=d J
l=t^
-at-*-
m ^atirf:>l^tib
A
\-
r=^
^
J^
^"J
41.
J
I
'J-^
THE MUSIC OF SOUTHERN INDIA.
89
i i
f
T=r 'i
;
i
f
J r?=^I
mE ^=t^
=*=:
r^
^mTirm-
=^^P^S- r->I
a^
P
-1
* ^
=
^ ^
^Khyal.
atzit
^ ^mRiga Kalian.
Cos
esprcss.
^iJJ
I
j'i. U.J.J
^s? *-=
r-
J
j'l
J
;'b7^
* s
:=
tfazjzrh-^^^M3J-^--M=5 ^
^
g''
*
F
g^JN1
nr^-
rnrij ;jr7^4^L^N /fi"^Dadra.
Ragas Kafi and Desh.?s
^.
CoH
espress.
m^' m* 0SI
rn->r
'r
u-u'
l
-^^^l^---M^t"r1
^'^
;
i
iiJ^^.^^J / j.ji
#f r
f.
r
,r
I
r
u
I
-
^
^
I
":
r^f^f^n^TTTr
WmRaga Gauri
Lavani.Allegretto.
l^lf^ ^^l^g^^^tJ^a^f^^rt^
^
***
^
ii
>-^^-j
:^;|
-
^ijN^j|^/j :^ d
morcndo.
go
THE MUSIC OF SOUTHERN IXDIA.GURBAH.RSgaK&fi.
^pgp ^ ^^^^^m ^Andante.
J^^j^-J
J
J
J.
J-
I
I
at
^^
I
J bJ *
1^ ri
fet2=st
=3^^=l=*
*^iJbJ ^*
s
^Raga M4nd.I
EE ^H^7^^J???
l
J
rj'
I
f
^mpTp^-^^NN
i ^^ft
Modcrato.
^^
i
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^-4
^GURKAH.I
N
^
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-*^ d ^ i
d
d
^
3=:S==*=;i=5
GuRBAH.Andante.
^a=
^3i7T?y?^n^^i
^r]
I
^ J^
J^T
^^T^i^-N^
^^^^^
^->a^d-
^^Modcralo.
3E^
^T^eS
Thunori.
5^EB,
U^^:
U
r
ir-r^
:J=cJ=fe
y^^^ ^UP-l
^sr^n Mtf e^^r
rr
THE MUSIC OF SOUTHERN INDIA.Scales usedKalingra(151.
91
in
Hindustani music and styledBhairavi(S).
"
Thats.
UTodi(45).
5sJTirr
3^
~rj-
-I=[:
^^=f
^f=^^^
^^
-^
3
i^^
-^
-tr
J
?Q
1=
^^^-Q-
Sinda-Bhairavi \2o).
zj:
JZS2Z
o
^-
J2Z
^'^- BEd
Bilaval (291.
Janjuti ^28l.
I
-o-
-c*
s*-
SDinkapuria(51)
^
Kafi (22),
i ^^^Shamakalian(53).
-rj
o-
,^^^^^^=[
=^^
J
^(65).
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