tT b e J o u r n a lOf

^Tbe / I f t u d c H c a b e n n p/Ifoa&ras.

A QUARTERLY

DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC.

Vol. II] 1931 [No. 2

THE JOURNAL COMMITTEE.

Editor.Ml*. T. V. SUBBA Row, B.A., B.L.

Editorial Committee.,, Vidwan T iger V akadachakiak.„ M. S. Ramaswamy Aiyau.„ P. S. SUNDARAM AlYAR.,, Pandit S. Subramanya SaStri,,, T. L. V enkatarama Aiyau, b.a., b.L.

Manager.„ K. S. V lS W A N A T H A SA S T R I, B.A., B.L.

Published by

T T H E M U S I C A C A D E M Y , M A D R A S .

323, Thambu Chelty St., G. T. Madras.

Annual Subscription:—Inland: Rs. 4 ; Foreign: 8 she.

Single Copy Re I -4-0; Post paid.

N O T ieEAll editorial correspondence should be addressed to the Editor.

All business correspondence should be addressed to the Manager.

Articles on musical subjects are accepted for publication on the understanding that they are contributed solely to the Journal of the Music Academy.

All manuscripts should be legibly written or preferably typewritten (double spaced— on only one side of the paper) and should be signed by the writer (giving his address as well).

All articles and communications intended for publication should reach the office at least one month before the date of publication (ordinarily 15th of the 1st month in each quarter).

The Editor or the Academy is not responsible for the views expressed by individual contributors.

All advertisements intended for publication should reach the office not later than the 1st of the first month of each quarter.

All moneys and cheques due to and intended for the journal should be sent to the Manager at No. 323, Thambj Chetty Street, G. T. Madras.

ADVERTISEMENT CHARGES.

per issue.

COVER PAG ES:Full page. Half page.

(back) Outside Rs. 25(front) Inside „ 20 Rs. 11(back) Do „ 20 i t 11

INSIDE PAGES :

1st page (after cover) „ 18 t i 10Other pages (each) .............16 t t 9Preference will be given to advertisers of musical instruments and

books and other artistic wares.

Special positions and special rates on application.

5% discount for cash with order.

Contents.PAGE.

My Musical Reminiscences—By Mr. T. Lakshmana Pillai, b.a. (Continued frompage 244). 81

T he E arly W riters on Music—By Mr. Vinjamuri Varaha Narasimhachary,Cocanada {Continued from page 262) 85

Sangita SUDHA—Sanskrit {Continued from page 44). 89

Sangita Sudha—Translation {Continued from page 212). 113

T he Super Veena.—Invented by Prof. S. M. Jayaraj Pillai, Vellore. 116

Correspondence:—Mr. P. Sambamurty {Germany). 118Mr. T. R. Viswanatha Sastri Mayavaram: T he Katapayadi Chakram

and the Mela Karta Ragas.—Some inconsistencies. ... 119

L ectures delivered by Mr. P. S. Sundaram Aiyar, Tanjore, under the auspicesof the University of Madras {Tamil Translation). 122

Venkatamakhi oa Veena.—Tamil Translation of “ Veena-Lakshana in Chatur- dandiprakasika,” {Vide) p. 24 Vol. II, No. 1 by Pandit S. Subramania Sastri Tanjore. 131

Sruti determination (Sruti Nirnaya)—[Tamil). By Sangeeta Vidwan Umayal-puram Swaminatha Iyer. ... 135

H ari Keertana Vimarsa {Continued from page 57)-{Tamil). By GayanaPatu Keertana Patu Srimati C. Saraswati Bai. 138

Xist of portraits.F acing Page

Maha Vaidyanatha Aiyar 81Raghava Aiyar DoThe Super Veena

Illustration 1 116Do 2 & 3 117

MAHA VAIDYANATHA AIYER.RAGHAVA AIYER.

91

TEbe JournalOf

ZEbe /Ibusic Hcabemif? flbabras.A QUARTERLY

DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC.

VOL. II ] ^ 3)® - I 931 - & 1® [NO. 2.

MY MUSICAL REMINISCENCES.

Ill

Mr. T. Lakshmana P illai, b. a.

(Continued from page 244.)

We shall now make a brief reference to the career of Maha Vaidyanatha Iyer (popularly known as Maha Vaithi), a Brahman of Tanjore and a famous musician, who was one of the combatants in the celebrated musical duel which took place during the time and in the presence of His Highness Ayillium Tirunal, Maharajah of Travancore. Young MahaVaithi, while he was in his teens, underwent a sound training in music under the guidance and su­pervision of the then Pandarasannidhi* of the Tiruvaduturai Matam, Tanjore, which is one of the celebrated seats of Tamil learning and Carnatic Music in South India. It may be known that some time afterwards, the great Nagaswaram player Natesan, underwent a si­milar training at the said matam. As for Tamil learning, Maha Mahopadhyaya V. Swamina- tha Iyer, the great Tamil scholar received his Tamil instruction first under the auspices of this matam. Maha Vaithi Iyer, through this training, came to possess a sound knowledge

of the theory and commendable skill in the practice of music. During the latter part of his life, he lived at Tiruvayar (Tiruvadi), the native place of the great Tyagayya, where also lived the celebrated composer and musician, Patnam Subramania Iyer.

Almost the first time that Maha Vaithi Iyer gave a public performance after his training, was at the temple Mantapam, Tinnevelly, before the deity Nelliyappan. “ Is there any Mridangam player hereabouts, who can accompany me in my singing?" he enquired, “ for I have not brought one with me.” He scarcely expected that any.playerin Tinneve- velly could keep pace with him, for he was a fast and fertile singer, and with all,conscious of his superiority as such. None came forward and this fact of itself raised him in the esti­mation of those around him. But there was one ill-clad, unpretentious man of the name of Sundaram Iyer of Shermadevi,-a player on

* Maha V aidyana lha Aiyar is said to have learnt all his music at the feet of his fa ther and this may be seen from a publication of his life in 1894 by his b ro th e r Ramaswamy Aiyar.—Ed.

82 T H E JOURNAL OF T H E MUSIC ACADEMY

the Ghata Vaidyam, who offered to accompany the singer on that instrument. This was not the Ghatam Sundaram Iyer of recent fame. “ Can you indeed accompany me, with that poor unpromising instrument ?” asked Maha Vaithi.

“ With your benediction, Sir, I shall make a trial ”, answered the man. The fact that no Mirdangam player was bold enough to offer to play with him and that a player on a subordinate and a rather contemptible per­cussion intrument like the Ghatam, had the audacity to do so, raised a smile of scorn mingled with pity in Maha Vaithi, and he felt that he could make an easy prey of this player, But what was his surprise when he actually played on that instrument! Sundaram Iyer showed that he was not merely' superior to any Mridangam player, but that he was more than a match for the singer himself! In his Tani Avritam performance especially, Sundaram Iyer carried the applause of the audience and evinced such consummate skill that it turned the feeling of disdain on the part of Maha Vaithi, into one of open admiration. “ Well done, Sundaram Iyer!” said he, “ I never expected that so much could come out of that earthern pot.”

Maha Vaithi paid three visits in all to Tra- vancore during the reigns of three successive sovereigns, H. H. Ayillium Tirunal, H. H. Visakham Tirunal and H. H. Moolam Tirunal Maharajahs. It is the musical duel that took place during his first visit that is here described. It was in the year 1047 M.E. (1873 A.D.) during the Poojayeduppu (Das- ara) festival in the month of Purattasi. When he first sang, he produced a magnificent impression on His Highness, so much so, that the latter called his chief musician Paramcs- vara Bhagavatar in the evening and enquir­ed, “ Is there any of our musicians in Travan- core who can sing as a compeer of Maha Vaithi in pallavi ? ” The Bhagavatar who had heard

Maha Vaithi, felt that neither he nor any other musicians then in Trivandrum, could come forward and sing so as to match him in pallavi. That being the case, to name any one would be to expose himself and that one to imminent danger. So, with a tremor in his lips, he answered, “Your Highness, I must confess that there is none in Trivandrum at present who can come forward as a rival to Maha Vaithi.” “ Is there none in the whole of Travancore?” asked His Highness again. The Bhagavatar reflected for a moment; a. thought flashed across his mind and he then replied, “ There is one, Your Highness, at Haripad, by name Raghavan. who, I think, can meet Maha Vaithi on equal footing. There is none else. That’s certain.” “ O! Raghavan ! I know him. Is he not still one of our Court Musicians ? ” queried his High­ness. “ He is, your Highness,” was the answer, “nominally, for he receives the usual allowances. But^he is an exile at Haripad under command”. “ Then,” said His High­ness, “ let him be recalled. Write to him under my command and ask him to come to Trivandrum forthwith. Let a cabin boat be sent at once for his use.” When Parames- vara Bhagavatar’s letter and the cabin boat reached Haripad, Raghava Iyer had not yet fully recovered from a late attack of fever. Still in obedience to the Royal command he started and reached Trivandrum in ten hours,

He went straight to his old guru Parames- vara Bhagavatar and fell prostrate at his feet. The latter, on sight of his gifted pupil, felt greatly relieved and wept tears of joy and said, “Oh, Raghavan ! you are a godsend to me. You must save the situation now, and the country’s honour which is at stake. There is none else who can do this. Maha Vaithi has been working wonders before H.H. and it is you alone that can play the saviour now for us, for, otherwise we fear we shall lose our profession.” “ Revered Guru!” said

MY MUSICAL KEMINISCENCES 83

Raghava Iyer, “ Pray, do not talk in this fashion to your own pupil, but give your benediction and take me to this wonder worker and let me do my best.”

Paramesvara Bhagavatar lost no time in intimating the arrival of Raghava Iyer to His Highness who fixed the very next afternoon for the duel between Maha Vaithi and the new comer. It was to take place in the great hall of Ranga Vilas, H.H’s palace. It may here be mentioned that the reign of H.H. the Maha­rajah was one of the most brilliant periods in Travancore history as regards the practical side of music. If the reign of H. H. Swati Tirunal Maharajah was great as regards musi­cal composition, that of Ayillium Tirunal was famous for producing the greatest expon­ents of practical music, both vocal and instrumental. There was then a galaxy of some of the most brilliant musicians that Travancore ever produced, as for instance, Paramesvara Bhagavatar, Raghava Iyer and Ganapati Bhagavatar for vocal music, (to some extent the first and the last named were composers also), Mahadeva Bhaghavatar, Ananta Pillai Bhagavathar and -Mahalinga Bhagavatar for violin, Kalyanakrishna Bhagavatar, Sattu Bhagavathar for Veena, Violin, Swa-rabit and Jalata- rAngam, besides vocal music. In addition to music, there was, for the art of poetry, exponents like Elathur Ramawamy Sastri, known as Abhinava Kalidasa. Sanskrit lear­ning was represented by Raghava Iyengar, Kadayam Subba Sastri and Tiruvisanallur RamasWami Sastri. Katha performance flou- ished under the famous Meruswamy and Ramaswami Gosayi son of Maha Meruswamy, Maharatta Brahamans, whose voices could range between four octaves. The Mridangam players were Seturama Rao of Tanjore, Sankaran and Somasi of Trivandrum, who easily topped the list of master players in the whole presidency. To crown all His High­

ness himself was no ordinary vocalist as testi­fied to by so great a master as Maha Vaithi himself, whom he out-rivalled in speed and facility of singing. Imagine the magnificence of a Court in which the King himself shines as one of the best vocal musicians of the day, with a deep, personal interest and enthusiasm in music, attracting great musicians to his court and rewarding them with a lavish hand. What a glorious epoch would it be for music ! All the musicians would try to vie with one another in earning the good graces of the King and thus advancing the art and practice of music. Such was the court of H.H. RamaVarma Avillium Tirunal. Besides the ve- - >teran musicians above named, there were rising stars like Raghupati Iyer, Rama- swamy Bhagavatar and Ramachandra Bhagavatar who were then drinking deep at the fountain of music that daily poured from the lips of the greatest musicans of the day to enable them, in their own turn, to shine as the greatest musicians of a later day. Of course, Paramesvara Bhagavatar, the Guru of Raghava Iyer, with his mellifluous voice, was the veteran leader of the whole band who, by his proficiency, saintliness and piety, com­manded ithe admiration and respect o f one and all. All these musicians and learned men graced the hall of Ranga Vilas on that memo­rable day, as its high walls resounded with one of the greatest musical performances, South India had ever heard or was ever to hear. All were asked by H. H. to take their respective seats. Near Maha Vaithi sat his own brother, Ramaswamy Iyer, a Tamil poet (the author of Periyapuranam Kirtanas). Raghava Iyer sat alone on the opposite side. The figures of the two great, handsome'musicians, surrounded by the other musicians and scholars, looked like two shining brilliants, symmetri­cally placed in a necklace, while H. H. the Maharajah, with his superbly charming per­sonality, sat on a green velvet cushion, facing

84 T H E JOURNAL OF .THE MUSIC ACADEMY

the whole audience like the main, central sparkling gem of its pendant. Then there followed a calm such as would prevail before the breaking of a terrible storm. The scene held the audience in the deepest silence and attention. The ice was broken by H. Highness saying, “You may begin now ”. Raghava Iyer then opened the performance by elaborating the Raga Sankarabharana in his own majes­tic style and then singing a pallavi in it in Ata Tala which ran thus. ‘ Vinavayya Pan- chandeesa.' The pallavi was taken up by Maha Vaithi and sung with wonderful ease and fertility. The singing which kept the audi­ence spell bound for three hours, closed at 5 P.M. It was resumed after sunset, at about 7 O’clock and lasted till half past ten. Kalyani Raga was elaborated by Maha Vaithi and a pallavi in it beginning ‘Taraka Brahma’ was sung by both the musicians.

* How shall we describe the scene of that glorious musical combat, wherein the greatest of the Eastern singers was pitched against the greatest or the to be greatest singer of the times in Travancore ? Shall we compare them to two prowling fierce lions that, shaking their proud and shaggy manes, rush against eaoh other like the furies and fight to death ? Or shall we liken them to two Roman gladiators, feeding the eager curiosity of the spectators with the giant exhibitions of their strength ? How can we picture to the reader the excellence of their singing ? Shall we say they were two musical fountains sprouting perpetually, rising one above the other, and falling in magnificent showers on the greedy ears of the audience ? Or shall we say they were two sky-seeking musical rockets, which, leaving the sullen earth, one after the other, coursing through the silent air, and reaching their point of culmination, suddenly burst

into a hundred brilliant starlike melodies and combinations by which the ear was flooded ? The scene was one more to be witnessed or imagined, than described.

The tug of war was continued on the next day. Todi raga was elaborated and a Pallavi in Adi Tala beginning with, ‘ Emani-matladi- neevit Rama Rama Rama !’ was sung. A pa l­lavi in Kharaharapriya raga, being the initial portion of Tyagayya’s Chakkaniraja, was sung. It must be remembered that Maha Vai­thi was no easy opponent to deal with, being the master of many ragas which were yet un­known in Travancore, and gifted with a voice unrivalled in clearness and sweetness, coup­led with a special capacity for rapid perfor­mances. Raghava Iyer, on the other hand, could not boast of these natural endowments and facilities. But all the same he impressed the audience .with his originality, manly vigour and ready resourcefulness. His voice, though somewhat gruff, was yet strong and seemed to suit the boldness and majesty of his style. His method was Ghanarn, while Maha Vaithi’s voice was ‘ Nay am.’ Ghanarn means gravity and Nayam means persuasive­ness; the one forces admiration, the other lures it; the one may be characterised as a tower of strength, the other as a well-laid-out garden; the one a mighty river, the other a fresh water lagoon; the one was imposing and sublime, the other mellifluous and dazzling. Indeed Raghava Iyer was so much admired for his sublimity that he seems to have found­ed almost a school of his own. Whatever he sang was stamped with his individuality. He was a man who despised the beaten grooves of singing and cut out his own way, as it were, through rugged mountain heights and pathless forests.* It was difficult to say which

*Tlie following is quoted from iny essay on of " E nglish Essays."

T rav an co re Music and M usic ians" — vide p. 127 of my book

T H E EARLY WRITERS ON MUSIC 85

of the combatants carried *the day, but it was proved beyond doubt, that Maha Vaithi for the first time discovered his most formidable rival. Both the musicians were treated with equal courtesy and equally honoured by his Highness, who gave them pairs of bangles, laced shawls and other valuable presents> besides a monetary reward of 1500 Rs. each. There was no doubting that His Highness gained his object which was to show that Travancore could meet Maha Vaithi on his own ground. This incident added wings to the fame of Raghava Iyer, which from this moment knew no bounds. Everyone was

applauding him. Kalyanakrishna Iyer, the greatest Vainika of the day, by his genius and perseverence, so successfully re­produced many of the splendid combinations of Raghava Iyer on a later day, as to compel the admiration of the latter. Mahadeva Iyer, another genius, equally distinguished himself on the violin. Not a week passed, but Raghava Iyer’s music was heard before His Highness, or elsewhere in Trivandrum. Thus lived this great musician, admired and honoured by all till he retired of his own accord to Haripad.

THE EARLY WRITERS ON MUSIC.By

Mr. Vinjamuri Varaha Narasimhachary. Coconada.

(Continued from page 262).Till now we saw how the few above men­

tioned authors on music, out of a galaxy of classical writers, were independent in their writings and produced their own theories and explanations on ~the subject. They only quoted, here and there, their predecessors either to support their views of to criticise them in order to make their own theories ab­solute. This period might have run up to the 5th or 6th century, when the great commenta­tors like Lollata, Udbhata, Sankuka, Abhina- vagupta and others took upon themselves the task of commenting on the works that already existed. This commenting business continued till the 12th century, when the great Nanyadeva brought forth his monu­mental work “ Bharata Bhashyam,” which is almost an independent work, although it strikes one as a commentary on Bharata’s work. In the next 13th century, the great Sarangadeva again brought forth his original

work on music, even though, it was consr dered, that he drew much of his information from Abhinavagupta and Nanyadeva.

So we see, even in the early period and during a considerable part of it, there flourish­ed original writers like Bharata, Kohalk, Matanga and others, while the remaining period up to the 12th century, witnessed commentators like, Lollata, Udbhata, Abhi­navagupta and others. It is to be noted that, as in every case, the original works shone bright in the musical firmament, only in the light shed by the numerous commentators. Thus,the above works became popular only in the hands of the able interpreters that lived for 6 or 7 generations, when again, the old order changed and new theories had to find place in accordance with the taste and suscep- tibilites of the people of those times.

But it is a curious irony that many of. the commentators took upon themselves the task

• Note .—W e learn tha t an eye-witness to the combat, Mridangam Seturama Row of Tan jore , remarked th a t R aghava A iy a r’s music contained a l it t le admixture of Desiya style compared to the pure Carnatic one of M aha Vaidyanatha Aiyar— (Ed.)

T H E JOURNAL OF T H E MUSIC ACADEMV

of commenting only on Bharata, as if his were the only work worthy of their task. Unfor­tunately, for an unknown reason, the other works of Kohala, Nandi, Kasyapa and others were not given due consideration, so much so, the original works existed for some time and then passed away into ‘dark oblivion.’ We cannot trace any single writer on music in the six centuries that followed the last writer Matanga, attempting to scan the classical works, other than that of Bharata. His was the only work they took up for consideration. There were none to follow or criticise the other works in toto. Only a few stray quo­tations are found, from the works here and there, in their commentaries on ‘ Natya- Sastra'. And it is no wonder that ‘ Natya Sastra’ acquired a great fame in the hands of the commentators, while the other works were gradually unrecognised and unremem­bered, till at last they found a place in the un­known regions, which it is too difficult for us to explore, living as we do, at a great distance of time. Yet, happily, some glimpses of a few of these works are now to be seen in some lib­raries, where the enthusiastic explorer had se­cured, for the information of the curious. Even these are not complete or clear, or ac­cessible to the avaricious music lover.

To comment or criticise an original work was not the only task of the later critics, as we can presently see, but they had their inde­pendent opinions and theories inserted in all their works. Some of the works appear to be compositions full of the theories of the author, although they purported to be commentaries on the original one. The grand work of Nanyadeva is thus an independent composi­tion like Ratnakara. Nanyadeva introduced new matter in his treatment of the various subjects. In commenting upon the theories of Bharata he even deviated from him in some places, where he could not agree with the author and was bold enough to introduce

86

his personal theories into his commentary. In order to support his views, he even quoted some instances from old authors like, Kohala, Dattila and others, whenever he could see that they agreed with his views. These works are therefore neither commentaries, nor original compositions and, for that reason, have occupied a place secondary to the real commentaries like that of Abhinavagupta.

The above facts go to show that the art of music, as every other art in India, was chan­ging from time to time, in order to be in con­ciliation with the changing minds of the people. Nowhere do we find a better appli­cation of the saying,

" T he old o rde r changeth yielding place to new And God fulfils^ H im se lf in many ways,L es t one good custom should co rrup t the w o r ld .”

than in the domain of our Music. As tastes and sentiments of the people varied from time to time and from country to country, new theories and principles had to be introduced into the art. The views of Bharata, which were once agreeable to the people, were dis­tasteful to those that lived in the 12th or 13th century. Even those who followed him could not agree with him in all his views and so many authors ljke Sarada-tanaya, Bhoja- deva, Rudrata, Bhatt'anayaka, Mommata and others have at times differed from the sage and introduced their own views into their works. The early commentators on Natya Sastra, Lollata,Udbhata, Sankuka and others, also had introduced their own theories here and there into the original works of Bharata. This throws some light on the process of gradual interpolation and recasting of the text of ‘ Natya Sastra ’. The process of in­troducing new matter into their commen­taries continued for sometime, till at last, original works like those of Natya Bhupala, Sarangadeva, and others appeared in the musical world.

T H E EARLY W RITERS ON MUSIC 87

Till now I have been taking a bird’s eye view of the conditions and the circumstances that led to the various commentaries and original works based on ‘ Natya Sastra And it is for me to substantiate the above fact by mentioning each of the commentators in an orderly form.

In my last article in this Journal, on page 194, I have mentioned Lollata, Udbhata. Sankuka, Kirtidhara, Bhattanayaka, Bhatta- yantra, Matrigupta and Abhinava, were the great commentators on the ‘Natya Sastra of Bharata. Sarangadeva has testified that Lollata, Udbhata, Sankuka, Bhatta, Abhi- riavagupta, Kirtidhara were the real commen­tators on the work. He says,

;qr^TiTTRT w rcffa i

The other authors mentioned by him viz. Rudra.ta, Nanya Bhupala, Bhoja Bhupala, Paramarthi, Somesa, Jagadeka Mahipati and others, might have been independent writers, according to him, on dramaturgy. But it is to be seen that even these writers, were not independent in tjte execution of their subject, and some, either followed, or criticised, the topics in the 'Natya Sastra' of Bharata. There are no doubt independent passages of their own in their works and they only called in the evidence of Bharata whenever they needed him to support their cause. These were not thus almost idependent in their dealings with the subject. Taking into account all those authors (other than Bha- rata’s commentators) that followed Bharata or only called in his evidence whenever they found it necessary, we get a good many of them. It is important to note here that many who were interested in Alankara Sastra, a part of dramaturgy, owed their allegiance to our Bharata and built up their works in his

wake, in that line. So we come across two kinds of followers of Bharata; first, those' that were fond of drama, histrionics and music and second, those that were interested in Rasa Bhava and all that was connected with poetics. Some laid stress on the importance of Rasa in poetry, an impor­tant section of dramaturgy, while, some ela­borated and magnified the ennobling musical section of it. Authors like Bhama, Udbhata Rudra, Rudrabhatta, Bhattanayaka, Dhanan- jaya, Bhoja, Sarada-tanaya, Mommata and others had advocated and enlarged that por­tion of Bharata’s ‘Natya Sastra’ which treated of dramaturgy and Rasa ; while waiters like Abhinava, Nanya, Lollata, Kirtidhara, Matri­gupta, Somesvara, Sankuka and others had developed the histrionic and musical portion of the same ‘ Natya Sastra ’. The works of the former authors have been useful to all Rasa Vadins and to those interested in Alankara Sastra, whereas, the treatises of the latter, have been advocated by all who are in sympathy with dramaturgy and music.

It is said that Bharata in his 'Natya Sastra' had dealt equally and adequately with all topics concerning dramaturgy, in all his 37 chapters. But he divided his work into 4 main sections viz, i. Satvika, ii. Angika, iii. Vachika, iv. Aaharya*. Of all the later wri­ters and critics on 'Natya Sastra ’ some had, as has been said till now, developed either Satvika or Angika or both, while some had enlarged portions of Vachika and Aaharya of Bharta’s work. So the treatment of the sub-A-ject of Sangeeta in the classical works may generally be on the following heads, i. Sva- radhyaya, ii. Ragavivekadhyaya, iii. Prakir- nakadhyaya, iv. Prabandhadhyaya, v. Ta- ladhyaya, vi. Vadyadhyaya, vii. Nartanadh- y ay a, as in Sangita Ratnakara of Sarangadeva. But the topics may still vary in all the works.

See the Journal of the Music Academy, Vgl. I. No. 3. Page 194.

88 T H E JOURNAL OF T H E MUSIC ACADEMY

Matrigupta.or

Matriguptacharya.Numerous quotations are to be found, in

many of the works on damaturgy, including that of the great Abhinavagupta, from the work of Matrigupta, which might have had its eminence by the fact, that it was the first commentary on Bharata’s ‘ Natya Sastra.' He was considered not only as a poet and a writer on poetics, but also as an author on music. F rom the work of ‘Natyapradipa’ of “Sundara Misra " we understand his work on music was only a commentary onNatyaSastra. He has been assigned to the 6th century A.D., and considered as a contemporary of Siladitya Pratapasila of Malwa (who lived between 550 A.D. and 600 A.D.). Matrigupta’s work is not available now and only some stray quotations are given from it in many of the musical works of later writers. It is con­sidered that it shared the same fate as that of Kohala and others. Yet, some hold that one ‘ Ralna Kosamrita ’ was the work of Matrigupta. Some extracts from Matrigupta’s work are given in ‘Manasollasa by the king of Venkatagiri, about 4 decades ago. Yet some consider ‘ Sangita Kalpavalli' was the work of our author. It is therefore for us, to secure the above copies to have an insight into their authorship.

Udbhata.

Udbhata was recognised as the next writer on music and poetics and was assigned to the 8th century A.D. Although his work on Music, as in the case of that of the above Matrigupta, has been lost in oblivion, yetf his other work on poetics, ‘Kavyalanbara Sara Sangraha’ is now extant. But many stray quotations from his work on music have been since given by many of the later writers on music. Rudra or Rudrabha- tta followed his theories in regard to poetics when he introduced Santi Rasa among other Rasas. So much so, he was considered as a representative of the Rasa school in poetics. In his time the Rasa school gained sufficient importance and was regarded as the worthy revival of the Alankara school. His work on music was considered nothing but a commen­tary on ‘ Natya Sastra,' which unfortunately, is not available now. He was often quoted by Mommata in his illustrious work * Kavya Prakasa.’ During the five centuries interven­ing between the time of Udbhata and that of Sarangadeva, there existed a large number of eminent authors like Nanyadeva, Bhojadeva, Somesvara, Abhinvagupta, Sarada-tanaya and others who composed large works on drama­turgy and built up a grand literature. Saranga­deva testified to the fact that his work on music was a commentary on ‘ Natya Sastra.’

{To be continued.)

II II

II n

(Continued from page 44),

— imvrpft s rrft: —

cT^IT f ^ w f o s N c r l 3[ i

m r w T : q g n v r f t r ftr e T fn r c r e g m ^ t v r si?far: n

« m * N » < I W < N I STrfcrl > H K l h l d l V i f | f t d < H ,< l||IIH > I rndgui virgMiTTH ir e i i n n \o% n

w t q T * n ^ r s $ r fo s r n r ^ n i

N l g n ^ stA n t^ h t *T5T « r a w q q * f t vr II i i w i i

^TFJ5&5TT <rkft«MMUift VPBc^: » j4 ^ n ZT&1 I

ftv^ •TT^JT^ l i f t ^ F I T JqP i^ 'nn II

m ,« T T ? ^ f ^ r qgrrar ^ %<Ai«cft<hT ^ hitt: i

»TFVITT^T$ t fgKH*4l«Tf l T^T d ^ R g »TT% ^ Z T T T STCTft II

— MWl<: —

1. ITT *TT STT STT in ITT ITT

3 Z

2. JJT »m «TT 'TT V* H ITT f t VC f t *T

?: 3T f t % 3 m

3. f t VI 1 f t ITT IT H f t ITT ITT ITT *n

f t «T * *4. TTT IT IT <TT *T «I «TT ITT f t VI f t m

f t 5TT IT H U

5. f t VI V f t ITT IT H f t ITT ITT ITT TT

Z * 5 T f t 55T *12

II II || Jtjlblah

— 'h ^ p : —

US J^ l) * % l i

lb lit l it i i i iit i i i * 8 h ib •91

b

^ h b ^ £ b ^ lb lb ih ib •si

E h i s £ <fc X

an i l l H ii iit in iit IB lb >1

b la is b j ib la b

i l l m lb iit ys Ih U* «* TI

b % h

ib ib ib ib h b ib h b % 71b b b e b

£ b jg ib h b ih ib b b ib ' l lhi ifc £ Ih l i b

y* y* y* y* y* y* y* y* •oii ih b £ X

m m ib b h ib ib •6

b b b & b

ib ib ib ib 8 * h ib h b *8la X % &

lb y* b kj ib ih b ih ih b b ib

£ b b b l£g £ b

ib ib b b ib : ib ib ib lb ‘9

A w a a v D V D i s r m h h x a o a v N a a o f s h x 06

Jx» * £

lit Jit lit lit b b lb IB lb •8

k % *IB % b IB b b lit IB £ lit L

It lb Q

IB IB IB IB lb£ lit b it & •9

b i B £ l*lb £ & £ £ £ & & •£

* b it

b b it h b *1 B fcj b lit >

2 £JLtt .lit lit lit b it it lit lb ’£

k k IB b0£ ■£ ■lit lit IB lit it b lit •3

I t b it £ lbb b & b lb lit lit lit lit ‘I

— —

llft^ll t llt ii UiJliiJ^ kk )»fe^Ji^)h>

I ;|)frfrfclh^J»h-‘H> hjlfeh ijkjkis IfrklrH >»»hlaAlltelc

I! II k b b i hhz.hk’L im b filiB ib k %iit| >tlblbfeklt£lhjkftj IBB ^ai£B ^)t>» »7>S->teJa.

life) 11 jblb b ik £ Uslhblfok i b k l k J g k l g J l t i l B h »

I 'blhJB C^I»l& Jlh» bSih ^bflhl«rM>*.»IU

11 \\\ 't ltb Jit kVuS thaltbaSlb JBiULVtt B IBB^h febn>»

I .ychbihij->ifr..iifc £ b&B k balb le

— :kJlB lltta it —

,jg v n an s vxioNvs

— *ftqg —

qrg qqgjlrqrqq firftqqfir^nrg i 4il0«hiM c4M r*fe^f^ci g f irc m n II ii %K^ iiNd

the journal of tMe Music ACADEMY

— q grft snfcr: —

g ^ q teq tl q^firrrTfirqTqT q rM qqrqq rqqn r ^ i

*qTT q % 5 ^TiTfrT^g rTFTi rT?tq q tq t f tw if t f t ^TTr^ 1 1 ^ II

WTT Tt iT^^gRr^cTSTTT^TTCTT I

^n-tiK JTiT^ qqrfirq r^qT d^q F rrf^ f <jairqrqT^ n % l\s n

qr?qrc«rftq q q r iq c q fq ^ iq c q fa ip rt^g w tq r^ i

isqqretq qrsrreqq qqfiq qrq: ii %\<z ii

ficf>5r: ^ a tq q q rf irq r g ^ fir f r iq rs r r I

gprrfipn q firera* ^rt qFqTfimqcnr firqrfier u m - 11

q q q T W fa fi>55 ift^r W5TPIT firfiw tqq FTTr*, I

— IT cTTT: —

1. qr q fir *ft qt qr ift qT qT „

K * $ 5TT q '

2. m ITT *TT *TT qr qT qt qr

q q % 5T q q q

3. qr q i vtt qt qt qt qr *rt

q fit qr I ^ q

4. qr qr qr qt fir q qr qr qrq q q q \

5. qr qr a ^ *t a

q nr qt fir g - q q

q T fir q W 9 q *ft *ftg qr q qr ® **ft

6.

b lb bj b

lb B Jb Jb a ^ a m lb t

£ . % it iia & b

Jilt lb ut lit a b b lb lb t

—- t fr llt t K

i byibb ht£t hjryib £ jyitkiijifeJfcE lb

II Vt'i II ^ b U fe i-y S b } :b £ b l i t b ;J b i t ± b l i k i a 5 J ° J l b l E

i t ib ^ h ^ T t ah ^ b H :<bb IfrtThblft

II ftfe* IT %!fcgtL'tfi|l!fe& ^lli 1H1I& bjbi*

I tjy y i b IbBL

II \t\ II :blb Ml abjlb lb^flbib tbjyt Mkia te

I :^|li b ilfel blb lbb*yibjs.bj b tsaifelfe b lib

II ' tW H i b ^ b l b bt> ^ jsB u i^ ib a tifc

* fc ^ || ^ > k i »> R y m m U b b $ |fe b ^ a & b b j ^ b b b *fej In S lllt e

I ^ b b b b ^ b b £} yk^klEbShl^J^bJ^ ^ te i f r b

— : ^ i b y>bb —

II II Jglblob b

I ltb ibbiib±b*ilfeb jb}.b liii% b bblbJ^fe

— 'h £ $ t —

ih lb ih ib y* lb lb lb >g

b life ^ it i 2

lb lb lb lb lb lb lb l b ^

tf> y H a n s viionvs -

T H E JOURNAL OF T H E MUSIC ACADEMY

3. 5T S I SIT m »t «T s it f t r s i S I f t 1*TT

55 f t r d

4. 5TT 5TT f t ST f t ST 5TT f t ST 5TT 5TT

a 3T STT f t * *>

5. SIT SIT s f t qT SIT q T ITT ITT

55 f t r 55T 51

6. STT s it ’tt W SI s it f tr S I ET f t r SIT

3? 5T 5TT wr

7. SIT s it f tr 5T ftr 5T ftr S I qT STT STT

ST *r ^ 3 55

8. ft n stt 5TT 5TT sfr sfr sfr ^ r

* 5 T*

SI f t r f t r

9; 5 tt f t *T f t sT 5TT sfr 5TT STT SIT

<r 5T a

o. ST f t IT ST HT ITT UT U T HT

IT Of ITT f t r s j 5T

i ; s f t s f t s it SIT qT ft »T 5IT f t ST

l ;.. ?ft; . q 1 5T 5

,12. qr sit ttt h t sit sfr sit «rf

* f t g i

— ifcn*. —

t*i ry

ftormfir Hd*i\ f o w q f c d ^ * < H I I W I I

*6

& ig ir & It % B

m m m m f i j h m

% in £ 1

y* y* y* y* . ib y* y« *8

& k it e <fe £ B

y* y* nt £ IB IB lit £ ' i

& b % Its *lit in in m lb IB ib y* *9

y* life k £ it klit in lit lit lit lit IB IB •s

p £ It y*y* y* y* y* y* IB IB IB ‘fr

h lit s k B It

y* ifi y* y* n t lit IB IB •£

£ 11 B b * it

y* y* y* y* IB IB lit lb ‘Z

p *# k £ kifi ib y* y* y* y* *t

— —

se

| p*ji»>k 1P?$^ :J

I II Ih lb tk MU ^lU ^iU htK h»<fe-a>ie.>u»

i : i i i i£ fiififi m m t u h r ^ i& k£ t k i ^ j 1 1i ? )i\ it : ip |t^ h i^ ip ls&k u^rfcBtipfflt ^ afo iB tiit

I : a ^ h l l l ^bB £ ife] |ia^4>lifi

I s \ \ \ ii Ip ih ia p jijth a ^ u ^ b ^ b b P iffiu tfih :h $ \hn t&I n»>j uj fc» ; iu u n tu+ iu^b

— ;^U £ —

VHCIflS VXIONVS

I £ hj ?^» t lCiXfe ^Lh)S 31

II II :kUUiJ (IfePfr Ih &li±lt fctiaixfctbb yUt

| MlteC(hK»bHfe {jfcliiaillt (l*S-h P-»jtot+ ^ IboRfalPItt'

i \ \ II :nibj&£ a j f l l t e t t o ^ a f ^ i s i h S m

| ^IbUfetijItMlgb Pho.|H*>y> ^prifrBUft J>}2 IjS S

— : PJIUs ^fel^<teirVh —

— :njaiEk5U|# —

£t is* *» IS

y® y* y® in £ lit lit •91A

<fe it n % lit

£ y* i * m in y* lit lb •siU n Id i i i

m IBs J it S lit lit lit y* >1

*$ ns: n it u ev

£

£ £ £ £ y* y* lit lh •nu b

& y* y* y* b in in lit 71

it n £ £ £ Us

lit in in y* y* y* lb lb •II

* £ £ &l it l l t i b y* in lit in lit •01

AW3QVDV DfSOFi 3H X 3 0 iV N H n O f 3 H X 96

iT FW V t ?gTg STrftrT: ’Tflft ftgT g tsft g g ^ g s j I

ggts5ggwTrgggTg g?rr 11 -grc«figggl g 11 ^ w 11^55Tg5*t ^ ftl^TS J TJTUi STFJnr 5TST ^SrTT ST^fft I

SANGITA SUDHA 97

— g g n r : —

1. gT gT gr 9T g ft g g gr gT

2. *TT JTT gT gr gr gT gT gTg

3. «TT gT tt gr gT gr ft ft g3T g ^ 55 5T f t ft 55

4. * sft fft sft jft sft gt

%5. gr gr gr g f t gr gT gr gr

f t *: g g f t

6. VTT gr gr g f t gr gr gr gTf t 5 g g f t

7. STT gT 5TT gT gr gT gT gT

g jg g gr 3

8. gT gr gr gr g ft gr gr gT

g ft sg gg ft

9. 5TT m gr ft g gT ft g gT gT

* g % $

10. m gr gr gr gr gr ?fif t ft *TT *

11. gr *tt gT gT gr gTg g 55 g 5C g

12. gT ft g 5g ft gr gT g r

* 5T g ft f t

ir4a'ill jfftjfcfajJaj lh ih k %LLi :b& :lfciieI 1H|i k>uukiKkbiii^.itkb<iuft^ £ b> irai«te'»iK-.n>

II II J i ^ i HSBfc SiDi^i! E H ^S ^aE -E i

I :itUtt nil ‘fenjlH :jtyyi £i£«fcj

II II :Hjy± Jfe HfeJaJHlii iism nntJU aj H tiHfelfc^n ikfc I HtlH^feaE.felSj'M^lfeJ ikicV^ ip ak S lP h jiia^ ih ^

II II b J t ^

I tii l j^ J !£ h k^li± JkkjlteB y^Hlx ^ ^a^J

II II l^iniHa h fen *>^iM i^ ih ( ^ > | ^ m y it

I HaH i h i i h

II II tlfe^ JU n n i^ S in iH a H Is m a i l n iifSlidiJiji Ife lh

I klfl]&£ £>Ml :Hltvh^kJ J ^ J ^ y ^ ^ U t ^ i l d k l i

II II >t »>Jt<fc.t»B.H HP JflIHInK

I iH ^ lfe te .fe ^ lllM iB ia ilt MjilinLfcj

k jh i^ 2 1

— Im yx —

i l l 111 l i t i l l H i 111 i l l lit -(j j

H fe Mi B It h £

H i j ia ik h h lh it h ih ik: !ii -gj

1 It £ tij lit la H

lit l it Ja h la HJ. iH lit 1H lit -H

-f £ i i Hl i t H i lit £ ^ it £ ^ H Hi ex

A w a a v D V o i s n w 3 h x a o a v N a n o f h h x 86

SANGITA SUDHA 99

^TRSW nTt SSTRcTST Srft.SS?lTT5rl gft I

3RST ST55T 3T^5T R sf^ E T ‘tr ^ ’S^T T ^T 5T«mT SJ55T FTTr*. II

‘ST ^ S’^T SSS755T fgrftaT S? S ^ fs 'S S S ST55T S'tfST I

^STrRHsft s t ‘« rfss7T ’ ^ n s g ‘3 * ^ 3 ’ *tt r s s f s s t f s?55T ^ it^ ii

s ^ f ir c g I 1: ^s t s s s t sr55rs s s t s s cssssr~5T s s f t s i

— ire s* : —

(S S ISSSRT: I ijfcrTsfifT I )

[ !■ 5TT 5TT 5TT 5TT ST ST ST STV

5T 55

2. ST ITT ST ITT ITT ST ST VTT

ST 33. 5TT 5TT ST ITT ST ST sft ST

*.3T & 5T 3

4. ST sft 5TT 5TT ST sft ST ST

IT or IT ST R S

5. UT m 5TT 5TT 5TT 5TT 5TT ST

5T f t 55T 5T & 55

6. ST ST ITT TT ST sft ST ST

S fir sft *7. 5TT ITT ITT ITT ITT ST 5TT 5TT

3T fir S»

8. sft ST »TT ST ST VTT ST ST

I & 39. 5TT 5TT ST ITT ST ST sft ST

at fir IF 3 & 5

10. ST sft 5TT «T VTT sft ST ST

ST IT ft S ST f t

11. ITT m RT 5TT 5TT 5TT 5TT STV3 ITT 3 \ 5T

100 T H E JOURNAL OF T H E MUSIC ACADEMT

12. qr qr qr qr qr w m m q q q fq t

— 3T5fJ iftrTRt —

tra ^ ^ g q q q q q fp q f^ rra q r isq fsT q t^ g i

arfqqnj& sg srw w r f i r ^ q rg rs r q q s f q r ^ ] 11 ^yy 11

— 3TO T f 3WT«TITT Trf T: —

qqrfir ’qprcf^Tflr«TflTzrr ^ trrw qrsrn qrrtsr: rrrrsr t

finm qqTqfa fqsrfq: *qr?«qr fqqiqTsfcroq: srqftr 11 W \ n

qr?qrc£s$r qf?r q£f?q q q q qqrRrqqT sorter i

qrf^cqq% sfq f^'TTT^ff ^^Tflqrf^fT «T qT5q*TTq: II W II

ftqTq«5Tqr%: qrqqrqqqlfqfq fqq^rqq: ^qrg i

fqqrq*TT?q rr^qi fU rsror^q qqr qqq%q<% 11 ^yvs 11

qqrr: q%qnr f?: qrqq<q qfjq qssrr: <pTC%qr% i

^ T ^ 'q q r f ^ urFTTt^Fnr ij& qr q n r * q rg II

?qml urfV q^r^qvqql qt qrrrqqpqrcrqqr ^rcq: ? g : 1

^qr?q^fqcrrgq^ qq qrereqqT fo ^ fq q g ^ ^ T F q r 11 11

q^T qq^qrqryj: qf^rqqpT^rqr qmfq^T q qtfq: I

qqqqrq fsc^reg »ftfq: qqrfaqr qrfefr qq qrq: 11 V a<» 11

qjFFsrajcq g q % q : FTTOrfaq^nff 3 g 5ST q qtfq: |

^^rfqqTTqT q q fq qqrqT *nq gqqtiq>^4 «m §; 11 \ 11^TdT^wrr fqftqNiyq>: qr^r qq?qre g ^ q ^ q j : I

qrqrfq^ srrq r q irq ^r *n*i q q ^ t q I I Va^II

— q q MWR': —

1. JJT *TT ST q qr q q JTT fq q fq q S 3T fq q 3; g *r

& <

£

— I m n —

n

lit in lit in n n n £ i b n 'll

in *j i i h £

IB Bb& n*j n n n ij n n m •n

* * in la n

in in n n n n n n jy in n n n in •oi

n

in in nn n n B n jy n in in "6

4 * ^ in n 1

i B n B n ij n it n y n n in •8

n n n n n % l i t

ith n n n n n n n n n n n n in in 7

n

lit lit lit in it it it £ l a n •9

B k * B n

B n n n ^ n n n *j a 14 n n in £

n B £ k m n

t Jt n n n n n n jy in in n n n n >

k

i b i b in in in £ in in £W B IB

1 n n n q n n n ^ H i in in 'Z

VHCins YiiONV?

1 0 2 T H E JOURNAL OF TH E MUSIC ACADEMY

— q q ^ r f t : —

-- ............i - ' - - - - - - - . . .

q^TTfqt q ^ q q jq v w f ftjT q q : M I^ H q q’ETq; II W II

^■'jtn,ar«rf s q f t r f t q r r e q ^ ^ q n r q q q q f t r * f t 1f^nft cTOT q^TTsfaql ^ ^eF’TT VT ?9T T f t q i 'g q f t II W a II

^ q ftq q ^ q q irq r^ q qTq; q k ftq jT q q rft: I

q ^ r g t q r^ f tg rq q fe r snzl q^T: q$r«ft q g q 11 II

qft w^htt ftftqtqq FiT??qftr iftnTsqiT qq ?nr 1\3

q ^ ire rm - sftqq ;: srrq^mrqsqT^RrqT srrfrrft 11 v v s n

— aiq JT cTTT: —

1. *TT *TT q r m qT sn r qT ITT

2. SIT qT ITT ITT TT TT TT ST

i q

3. SIT q t ITT TT TIT ITT qT ’qr

q l a g qri I

4. q7 q* a q t a a jfi a

q f t s q f t 55 w:

5. TIT ITT STT ft*Trv rs c\

qr qr a

q ft qs» f t cTT f t

6. ITT qT ITT q f t q m q r S T ST

q 3 q r i

7. ITT TPT qT q s i ITT S if t q r q r

q f t q: f t q % q

8. e *TT STT * rq q< <a STT STT

q> IT 55 f t *T

9. qT f t q ST s f t qT f t q ST ST

3T f t f t * qri f t

SANGITA SUDHA

10. STT 5TT S T JIT q f t q f t 5ft 5ft

ST q*q qr q

11. q T qr qr q R 5FT qr qr rr qr5? Rr k r

12. TTT m 5IT S T qr qT qr q R qq q R t 3T 5T *

13. ITT m »TT srr qr qT qr qr<TT r q

14. 5ft ?ft qr *TT ?ft 5TT qr qTJT or H T fa » R a

15. 5ft 5ft qr q T qr q T qrq * or 3 q q 3 q

16. *TT I T STT ST q T qr qr qT

q

— TftrfU —

q R q q R t - qR ^R ^qrfqqrjqp?

srf^rf^T^iT 7JT55 ftq q ; i

q f t ^RlT qrrR qqq^qqrq^R ftq

TTsrf TsT *nft<di^d JTOTffTfrr q R ta rq g q q sq q q ^ ii n

— q q T^iTT^mft 3JT%: —

qT T^TT^rr^«r q r f t r q r r f t ^ q ? t srsrorqq q r q f i

^t5tt f t% qqqqqqr*q r q q qqRcT JTF^ II V*A II

^ f q a ^ q q q q q N ^dJiT ^R qt: q f trR f ts f t ^r; i

g q tfq q iq ^ ^ T -Tr g ^ rtcRx# fo*r ^rRsrRr: ii ^ o h

i wtTf'tg P itm ^rq fqr?5 +}<?in *qn*. I

RrfW d: FTTRrTT^qrq ^qT^lf^rd RqqT R ^ H lId, II %%\ II

*J * lb fe b

lb lb lb lb lb lb lb £ "8

£ l * Q lb Id b

lb lb lb lb lb lb lb £ 'L

lb lb lb lb Q b lb lb lb ‘9

lb lb & lb b b lb y* lb -S

lb lb lb lb lb lb lb lb >

fe Id

lib bb, lb lb lb lb lb lb '£

b h *b b <a i !fe

lb lb lb lb lb lb IB IB ‘Z

£ lb b

& lb IB lb IB IB y* lb I

— tiiB —

II \\\ II :bat rni btab ^Bli^hrift^bb ^ i^ iiucc hm

i l a m ib ib R ja b jy ^ ii j|ie

ii v , ^ ii m is lb b h ia ^ lM titu a tM Jttam

I b IB R i JLblfelB b lb iitb :lD%fe E B ^ B & aE b

II II :b lb b b <bbjlb Ib b Jlb tB b l i i^ b

iltbibS^B'fej ii j $ r £ b \ b a m b ^B b b b^ r^ ih^ j ja&b

ii li :b iB m t e h s im tjb fejib B a a a * ^

i I ttem sm ^ i |u tB b a m :jb b b j m t b i m b

AW3 QV0V DISMV 3 H1 3 0 3 VN3 nOf 3 H1

SANGITA SUDHA

9. qr <tt qr qT qr m <tt qT

10. ITT *TT SIT 6 *TT *TT *TTsft fa q? *

11. tjx tjt qr qq qT faq qT qr

12 »TT qT ITT q faq ITT *TT ITT HT

105

— if tc T J^ —

q q T ^ q fa q ^ fa ^ ijq q fa iifa q ; Isrororfa qV^q^qrcfa^qvfaqrcq; ii %.%$ II

— am qjfarqft sn fa : —

dr^hfeishW^ui^h qqTq! ^qTT Iarsit faq^T qqm qT s t r a w q^q qq qrm: ii \ \ £ ll

qqT fqqrq^qq qqqf^^Tt m T ^ q rTT q q^Tfar g I fqqr^iTTmnq?q<qiTTy mrqT qqpqtqrqqiTofain ii ii

fqqqq qTg’qqtiq^ q ^qr^qqmT^qq^Tm WTXrl I arqqq lsm t qf^rt faqTq: qqgfq: q ^ f^ w q t: STTq; II ^\s° ll

qq^q.S$T qfa qrfqr^ qqqqmTq qqr q 5Tlq: Iarstf qqT qqqqrerqT m m q liq c q f tq q l^ m rq . II V sl II

mTTqzf^TTTgqqr qq dlw ^q T fa^Nrfqqg^qr^TTiTT I qqr q%^q^T55: q fqqqT^^mT qrqfqqTT q iftfa: II Vs* II

q^jqTq fqq^rr g iflfa: qqTfaqr qrfW qq mq: i q g ^ 5 T g q % q : mFTTTq^Tqt »jgqT q iftfq: II %\S)\ II

qrR qgqT f qr^^rq n fa q ^ m fqfqqnrq qrrq, i iTTmTiqr: q^qsrrr fqqiql m T qr^qqm T qqqT srrftqr: iiVshii

^TPEg qqrfa nqT^qqq faqqq qq q qqfar qrfqq i mTqrm q amqqT g ntfa: m T ^ j^ q r qq q Tf mTs T ii

T H E JOURNAL OF THE MUSIC ACADEMY

— 3TO srerTTC: —

1. ’TT n f a qr n f a ITT ITT ITT *TTV5T 55f I cT2. qT qT ITT fan f a n q r q r qT

q?T IT ?T 53. nT sft 5TT 5TT a ft a a

fa TsT IT fa 55T a4. 5TT 5TT 5TT 6 ITT ITT ITT nT

fa 55 q: 3 5T5. m nT sft nT ITT nT nT qT

*£ faf fa qT 556. ITTa 5tt n f a 5ft a a a

5tt IT fa IT7. ITT ft 5TT5TT nT nT ITT nT

3 qr IT <k8. ITT ITT ITT ITT f a n f a a a

3T 5T IT 5T z9. ITT ITT sft sft HT ITT ITT ITT

qr 5T10. ITT ITT sft sft f a n qT qr qr

K ft 3 iq *11. ITT nr ITT qr qT qr ITT ITT

sr OT ITT fa 5ft n12. TTT ITT ITT f a n f a a a nT

ST fa *r q

iftrTH _

fa55q;^ i|^faqT555ftqfaiTi^ I

Wf t § i f a srorflrfrr s f tn n fa a q u . II \\s% II

SANGITA SUDHA 107

— 3to tttRt: —

UT g ITT ^ ^^t?T Iwq: wc- qgq qq qiqf ^rarg^rsr qg^q^: iq ^ 11 \&a 11R55tqq: qT^qinr ^ RguirTrqf gqisTRrerT: i^ qrcriqq irqRcr iR Rql ?tot q^qsiqqf q II %$< 11

iqiqr irq?cqq- R qr^rR iqrlRqiq$iTq;iq qfq: iitt JT^mjrmvrcrT g crcqf irRfRqq H ^R q .r q- ittR: n

(snit qr55p) qsrqqr qR gqrqT RRqfrrq iTTPJTiiTnTt «TT*T 3^PT Tf ft T^TT frTt q rR IT W n q II

— arq y w i i : —

1. q T q R iff q f ITT T T ifT T T*s

£ T q ^ q

2. i f 6 UT IT T R l T ITT U TIT R qrf R q IT 55

3. q f i f f i f f q f i f f i f f i f f i f fIT

VIT 55 3 ^ 3

4. i f f sft q q ITT R q R q q r q T

$ 3 ^ R if

5. qT <TT IT i t a i f i f

IT T i f f q; i f i

6. ITT R q IT T T P T i f f i f f i f f i f fq 5 R s it qrf Rr

7. ITT »TT q f IT T q T q T ITT ITT

IT 5T T IT W R t

8. ITT q T it t f o r i f f q f IT T IT T

TT IT $ q

9. IT q T it t q R q r q r q r q r

S i t R r t j TT it Rr 55

10. ITT U T U T R i T q r n r q r q r

IT ITT 3T sr q %

108 T H E JOURNAL OF T H E MUSIC ACADEMY

11. ITT nr ITT *TT iff sft iff iff

* f t f t HT 512. ITT ’TT JI «rft*T ITT ITT ITT ITT

IT f t 5T *T

13. ITT ITT ITT ITT m f t * iff iff% if 3TT ?r IT t:

14. iff iff STT ITT f?m f t * *T *T

* IT «T if

15. a ITT m TT ITT f t * f t iff iffif * «rf q=q

16. r>.in1 iff STT »TT *T *T ITT ITTIT IT T * nr

- iftcTU

% ? ^ II %C\ II

— sm m roforf siTfcr: —

*»>r a t e f f 55%c u r g - « a f ^ .v m n H i t f t ^ i^ ^ ^ n r ^ n r s s i i

iTTmTisftsmmiTgfim: m i^ r-w rc ru n fite *riift«r i-e|fj^55: 3T^T Wld*hM5jm$ II \<% II

it t ^ w ^ p t t ^ t tt^ t T T « m ? T n m g ^ i « n ‘ Iq^HTf^ITT TJ sflPTTT ^rg’ff H im : JST: ^IflT «m 5TFITq;il^<2«ll

: ^ ,jnfcTT f fr^TQ’T^T •

— am s m n u —

i. * a # e a a a^ m i 5 *r f e ?r

SANGITA SUDHA 109

2. ST ITT ST ITT ST a ■ a aST ITT IT s S>

3. if t m a ITT ST ' l l ITT ITTIT fir

V

S 3T: IT S *

4. ITT s t ITT TT a a a as i SIT *rr fir

5. a ITT ST a a ITT a ITTST far IT fir s m

6. ITT a ST a si fir ST ITTS a f t 3 s ST IT

7. ST ST ST s f t s HT ITT ST ST* f i l S

8. a ITT SIT ITT ST ITT ITTf ir S S IT it 3 *

9. ST ST ITT i r f i s ITT ST ITT STS fir a S

10. SIT a ST ITT STT a ST ST* " 3 s ft a *

11. sft if f a a a a a a* S 3 a 3

12. ST ITT SIT a s f i i f i r SIT ST STfi* f s ST s a S

13. ST ST ST s f i s *TT ST ST ST

S f s a S14. a ST Slfil ITT ST ST ST

IT or ST f ir * S

15. ST a ITT ST a a a a?T a IT a a

16. 5ft a SIT STT ITT tt ITT «TT

S

l ib T H E JOURNAL OF TH E MUSIC ACADEMY

— iftcrq; —

ft ^sn^faTTroTW^TTrTfa^TSTTfaHTTfjrrTffa T rfarfaipT Tdfag^reTTm fifoH faar'sfafjfiTfasJTJrTii; i

M u g ^ fa ^ T^MEFTT ^gfafasrereft^irfaftT?Turinfa Mr TsaTT^tfajrn 11 n

— am TrTFyrnrgifT sn fa : —

T ^ f t^ T m S T : gir: T^IT TT SfTfq1; |w nsTfart: ^ n f a r 1? Mrr fa«r: sfanr ii 11rrsrfa^TTfa ^ itwitct f a r : ^j<< r r»A^a ^ n : 1

T g ^ o r e r s r e l ttsst ijM sfarrr faftfaT n ii

m j r « « n r a n r o g ^ r g » n ^ i R ^ ^ ^ tR uttstt i 3% ga^ l ^ t t it ^ t »tt% wtttt fa fa r ta ft ^ ir g n \<z<z II

5TT5YTTTT7T ?TTCT sMTfafttST^Tml' TSITTITTgiTl ^ I

— am srenr: —

tt ITT t t 5ft TT ITT TT iftT>T

*rfafa TT TT <TT TT TT TT TTft

TT sft STT m ITT ITT TT TTTT IT TT * 5T

5ft 5ft sft 5ft ft* 5ft- 5ftV

sr 5-rt 5T ITT 5T

5ft sft TT ITT fa r fa r TT TTt: IT 5T fa IT

tt TT 6 a a 5ft 5ft

T 5! 3 * fa IT

ITT ftiT m T T 5ft 5ft Tft 5ft

ft TT fa TT fa

sft *TT fa r 5ft a 5ft a

T IT 5Tt ST8.

Sangita sudha

9 . ift ITT ITT f t m IT T ift ift i f t5T IT I T 3T * 3

1 0 . ftr ITTf\

H I ITT 57T 5TT U T ITTi fft I T IT I IT IT

1 1 . 3TT <TT ITT 5TT f ft f ft ift ift■*N

5ft ¥ ST1 2 . ITT 5TT ITT s r fiiT ITT ITT ITT ITT

K 5ft ft ft13. =ft ift tTT SIT i f t ITT ITT ITT

ST OT ITT fir ft ft1 4 . 3ft ift' i f t f ft sft ift

»>H i ift

ft ? Ti

ST ft fft15. ITT ITT SIT f t l nfftfft SIT 37T ITT

cT fft 55T i r r f t 5516 . ITT 5TT ITT 5 rfiiT ITT U T ITT ITT

iT fft ftT ft

— iftrN^ —

?ETift

HOWT^r ftft ^srTftirfa^fft^TIT3rft55iTfftift3[II, II %&* II

— 3T»J STTisft STTfft: —

3 1 # ! ^ ^ T oriW^T 'gqT W T fiPTT ftlT’TiJIlTSJ | U T m K ^ S JT 5!! f l f t l fiPTr?: ITsNrT: ^ n f g T J T r g ^ T II \ \ o || STmTITtfHTguiftgTrTt ItTT^ITT^qT'^TrTT Im rm «nT«Tfir*^^5TT'yr iftf tT fm ^ iT f e * irw infft: n ^W r^z^rnr FT T ^r^r ^isncTsr u rn s ; i3% g ftft jtt^ w irrft s£?tftt fftf?ifttaft i u t ^ n 11«TF«nr^r f^T^r rctfftftt.s?TT «Tsr???TT?m^?T?ir srftifTr: i

— am stictti: —

i . m r< 6 ' i t 6 ' 3ft 3ft

5T * or I ^ ^ *T

TH E j o u r n a l o f t h e m u s i c a c a d e MV112

2. a ITT a nr a a a aqT R rT 5T i

3. a a m qT a a itt qTfq R q q ifY TT 5!

4. a *TT q fq a a a aq 3 a

5. a a a a q R q R qr qTq IT 3 q q q

6. ITT qT ITT R q qT qr ITT ITTq 3 R fq

7. a a *tt *r q m qr qr qrq R OTT R 3 R q

8. ITT qT ITT KIT qr itt itt ITT5T 55 3 s:

9. VTT a ITT a qr itt itt ITTar 3 q q q

10. <TT qr ITT R q ITT qT ITT qT3 <n t: R q

11. a a a a a a a aq q q R T R 5T R l

12. a a ITT a ht m a asq ^ q 3T 55 q q q

13. qT qr ITT R q qT qT qT qTIT IT q q 3

14. a a ITT qq itt qT qr qT5T * wr q 3TT R

15. qT ITT a a 5TT a qT qrq q R ? q R s

16. R q ITT ITT ITT qr itt qT itt

q

— —

R q s re R R q q a n f a ^ q W r p r q ; iq q T j jq q q ^ R f q qR orrR rjR q trey^cn n

3T rfq<M JpJTT R q qqqR'AR?TRi'J'':«<?W^<SH'H«iqHa»j5RHT sn rrR g q q R s r q R ^ q q : II W II

{Translation)(Continued from page 212).

SANGITA SUDHA.

Sadharana.

(346-7) The modulated (Sadharana) notes if used in actual singing, effect the differences in Raga and similarities in variety. Hence we proceed to show what the Sadharanas are with reference to Svara & Jati.

Svara-Sadharana.(348-50) Svara-Sadharana (modulation) is

the basis of differentiation of Ragas e.g., Ni takes two Srutis from Sa and becomes Ka- kali Ni, as also, Ga becomes Antara Ga with two Srutis taken from Ma. These two are called Sadharana or common because their position belongs to two Svaras—Ga and Ma, or Ni and Sa.

(351-2) When Ri takes one Sruti of Sa, it is Sadharana between Sa and Ri. The Svara is Shadja-Sadharana. This occurs in the Ma- dhyama Grama.

353. When Ga takes two Srutis of Ma, Ma takes one Sruti of Pa ; and then we have Madhyama Sadharana.

Jati-Sadharana.354. The common feature between two

Jatis of the same Grama is termed Jati-Sa­dharana by the musicians. Some say that they are different Ragas of the same Jati.

(355-60) W hat' Sadharana means—with reference to the use of Ni and Ga— and how the other Svaras are thereby affected, we have studied. There is neither discord nor Raga-deviation when Ni is Kakali as when you pronounce ^T -(ft) ^T. Some say that it is SIT ( f t) sn by way of explanation. As

a matter of fact, you pronounce OT, touch Kakali f t in the middle and pronounce *TT in the end. Then you see in this group it is Kakali Ni that occurs.

Similarly, you pronounce H I , touch *T

in the middle and pronounce in the end. Then you have Antara *T in the middle.

361. You pronounce ’ll touch the notes in the middle and pronounce f t in the end; then too, there is neither discord nor Raga- deviation.

The Varna.(362-5) We have done with Sadharana. Let us then describe what Varna is. Singing con. sists in the 1 Grouping of notes ’ or Varna, as it is called. It is of four kinds—Sthayi, Aro- hi, Avarohi, and Sanchari. If you repeat the"1 same note thrice and in the Vilamba-Kala (or slow time), it is styled Sthayi-Varna e.g.

or n r n r n r - Arohi-Vama is the re­gular ascent of notes in their natural order ; while Avarohi-Varna is the descent of the notes in their natural order. And Sanchari- Varna is the promiscuous mixture of Arohi and Avarohi Varnas for singing purposes.

Alankara.(366-7) Let us see what Alankara is, after

having known the nature of Varna. Even as a woman adds to her natural beauty by means of ornaments like Tatanka (ear-ring) and others, the act of singing becomes sweeter to hear with the 36 Alankaras (arrangement of Svaras) added thereto. Others say that there are 60 Alankaras.

TH E JOURNAL OF T H E MUSIC ACADEMY

The Sthayi-Alankaraa.

(368-70) Of the 36 Alankaras let us know about the Sthayi Alankaras first. If the first and the last note are the same, then it is called Sthayi Alankara. They are seven in number.

(371-3) In these Alankaras the following notation is used:—The Mandra (low) note has a dot on the head. The Tara (high) has a vertical stroke on the head. These seven Alankaras are as follow :—

(374-9) ( 0 STSTSTTft— HI STT SIT II I .

(2) srsrsn^T— SIT SIT STTII

(3) STSTSTRTPcT—SIT STT SIT I

/ x 1 • 1(4.) STSTSW T—STT STT SIT I

(5) ^ jftftrrT— STT f t SIT, SIT *T- TTSTT, SIT TOftsTT I

. I ((a) HSrTTT—STT TSSTT, STT *TJTSTT,

SIT TOftrSTT I

(7) TOT?—STT ftsiT, SIT TOTSTT,

sit roftrsiT i

The Arohi-Alankaras.

(380-2) These are twelve in number. Let us see what they are with their names and the Svaras used in singing.

(383-397)(1) Vistirna—STT tf*TT ITT HT STT sft STT I

(2) Nishkarsha (a) STST f t f t *T*T HIT TOstst f tftr i

or(b) STSTST, f t f t f t , etc.

or(c) STciti^, f t f t f t f t , etc,

~U4

Varnas (b) and (c) are also styled as Gatra Varnas.

Note:—The (b) variety is a repetition of No. 12, (where f t is omitted).

(3) Bindu—'STSTST f t , TOTO, T W Iftrftrfa.

I (4) Atyuccha—SHT, ftlT, TO, 3TO, tr f t .

(5) Hasita—ST, f t f t , *T*PT, THTTHT, ’TTT-t o , qsnroT O , ftrftftfftftrftftr.

(6) Prenkhita—STft, ft»T, TO, TO, TO,— (also called—Krama).

AJr r \ !(7) Akshipta—HST, IPT, 'TT f.

(8) Sandhi-Prahcchhadana—^ftlT , STTT'T,TOft.

(9) Udgitha—STSTST, SlftlT I TTTTTT, ITTO I

(10) Udvahita—STft f t f tn , *17 <TTO.

(11) Trivarna—STft *T*T*T, TO «PTO.

(12) Veni—STSTST, f t f t f t , UTO, ITTO, *T-TO, TO*T

In the last four Alankaras, Ni is not to j be sung. These are the Avarohi Alankaras.

(397) If the order of singing is reversed, i.e. Aroha is changed into Avaroha, we have

\ twelve Avarohi Alankaras. e.g.

Vistirna (Avarohi)—«f)', TT, ITT, TIT, *TT, St, STT answering to Vistirna (Arohi).

The Sanchari Alankaras.

(398-480) The twenty-five Sanchari Ala- karas are as follow:—

(1) Mandradi— *Tft, f<H*T, «iM*T, TOPT,TfTO.

(2) Mandra Madhya —*Tsrft, JrftiT, t o -tt, stto, faro .

(3) Mandrantima—f t TOT, TOrft, ITTOT,tott, srfro.

(4) Prasta’ra—TO, far, qq, TO, qftf-

(5) Prasada— - * l f T O , ftqft, *TJT *T , J T T f f ,qqq, qfTO.

(6) Vyavarta—qqftqq , ftqqqft, qq-qqq, qqqftrq.

(7) Skhalita—TOftq q ftqq , ftqTOqroft, qqqvi qqqq, qqqftr ftr- qro , qfthro TOftq.

(8) Parivarta—qTO, ft ITT, qqq, q*T-ftr, q fro .

c - r> j .f (9) Akshepaka—^ftq , ftqq, qqq, qq-

vr, qvrftr, sifter. r \

(10) Bindu—HTO ft*T, ftftft qft, q q qi qq, qq^ qq, qqq qq, vjvpq

ftrq, f t f t f t r *rft- A

(11) Udvahita—'qftqft, ftqqq, qqqq,qqqq, qqfro , qftrqft.

(12) Urmi—t o qq t o , ftq qq ftq, q qq q t o , q ft ftrft qftr, t o t o q*r.

(13) Sama—qftqq qqftq , fttlJN qq-qft, qqqq qqqq, q ro ft ftq - qq, ro ftw *rftqq.

(14) Prenkha—qftftq , ftqqft, qqqq,qqqq, qqqftr, q ftftq .

(15) Nishkujita—^rft^TTO, ftq ftq ft, q .qqqq, qqqqq, qsrq^r«q.

qqqftr, qrofro^r.

(17) Krama—n f t * lftq SlftTO, f tq ft-TO ftqqq, qq qqq qqTO, JTT qqq qqqftr, t o r o f t qq fro .

(18) Uddhaatita—Sift qroft, ftq qTO-q , t o ftrqqq q q srftrqq-

(19) Ranjita—TOft$T q f tq , f tq q f t *T-qft, qqqq qqq, qqqq qqq, qfroq ftrqq, qqftrq *rftq.

w (20) Sannivritta—Pravarttaka—ti^tTOft,f tq q r o , q f tq q q , ro ftrq q .

(21) Venu—t o f tq q , f t f t qqq , q t o

q q , q qq f t q , q t o s if t .

(22) Lalitasvara—Sift q f tq , f tq q q ft,t o vito, qq ftrqq, qq siqq.

(23) Humkara—Sfftsi Sift q fts i, S lftqq q f tq , sr ftq q q q q fts i, S lftqq- q q q ro ftsr , s r ftq q q q ftq q r o ft sr, sr ftq q q q fte ftq 'iq q ftsT .

(24) Hladamana—TO ftsi, ftTO ft, qq-q q , q q q q , qftrqq, q g ftrq .

(25) Avalokita—HTO qf^SI, f tq q Jjqft,7 *tto ftiftr, TOftr' ftrqq, qftsr

j TOq. r.v

These are Arohi Saiichari Alankaras. Wise men could easily form for themselves the corresponding twenty-five Avarohi Saii­chari Alankaras by reading these notes in the inverse order-^-vtz., changing the Aroha into Avaroha.

s a K g i t a s u d h a 115

(16) Syena—Hftqq^q, ftqqqftq, qq-

(To be continued).

* f HE SUPER-VEENA.Invented by

P rof. S. M. J ayaraj Pil l u , Vellore. (All Rights Reserved).

“ And this is he for whom the world could find no fitter business than guaging ale barrels,” so wrote Carlyle while estimating the genius of Robert Burns. It is almost a truism that men with ideas suffer in their own days for want of timely help and succour. Somewhere in the last decade, Mr. Fox Strangways remarked that Indian music followed the time-honoured methods, the science of music remained where it was for several generations, and that the Indians were apt to follow the classic musicians with blind faith, and carry on the vocation from generation to generation, either preserving the spirit of the masters, or jealously guarding any of the secrets which they, imparted to them. The criticism levelled against the musicians was either exaggerated or made without reference to the conditions of the country where talents of a high order were either not recognised, or could not be recog­nised by the patrons of music for obvious reasons.

Feelings such as these, are bound to vanish when one steps into the studio of one Prof. S. M. Jayaraj, a music teacher of the old and historic town of Vellore, to have a look into the superb Super-Veena, lying majestically in a finely varnished wooden box, velvet cushioned and measuring 54" x 13" x 12", The Super- Veena, as it is called, is a big improvement on the old time-honoured Veena, on modern scien­tific principles. One should be a bold man to alter the Veena in shape and principles, espe­cially in a conservative, and orthodox-ridden musical world. The Veena is held in high esteem, and is patronised by the Goddess Saraswati, the Queen of all musical instru­ *

ments, and the stringed instruments in particular. Veena playing is certainly a difficult art, and one that has mastered it can give infinite pleasure to the hearers.

The Veena does not produce that richness of sound which is necessary for a big or an overflow audience. The low tonal effects, and the subtleties of the art, could be appre­ciated only by the musically inclined few, and as such the big audience have but a careless, and indifferent appreciation of the merits of the Veena. The Super-Veena seeks to obviate this handicap. The Veena is constructed on the principle of sympathetic vibrations.

Illustration No. 1, gives a clear idea of the instrument invented by Mr. Jayaraj. This instrument is made from a single piece of finely seasoned and scientifically tested tough jack wood. The selection of the wood was made after elaborate experiments. The wood was preferred because of its toughness, flexibility, and durability. The modern Veena has ivory borders duly ornamented. But ivory, on account of its hardness was known to interfere with high musical effects. In this Super Veena, the ivory was abandoned, and the ornamental work is done in the wood itself.

The ordinary Veena has only seven strings while this new Veena has 23 strings. The form of the Veena is kept in tact, and the seven major svaras are held as usual in the seven strings. Four of the strings run on the top of the bridge, while three run on the side. Underneath the frets are the 16 addi­tional wires. The design leaves nothing to be desired. It is artistically worked out, and

*Described with illustrations by Mr. N. Ramabhadran, B. A.

T h e S u p e r -V e e n a .

Illustration No. 1

T he Super-V eena.

Illustration No. 2.

Illustration No. 3.

THE SUPER-VeENA

■will compare with any of the best factory productions (of the musical instruments) of western countries. In the sound box, (the kudam) are the two presiding deities Saraswati, and Gaja Lakshmi, beautifully carved. The borders are ornamentally deco­rated with a floral design of the parrot, flower, and leaves. On the sides are carved the Masi-patram, vine stems, and flags. The crown of the kudam, or the sound box has a kodi billai. The gourd shell is dispensed with, and a finely shaped wooden substitute is screwed to the shaft of the instrument. This could be removed from the Veena, and the gourd shell may be substituted quite easily whenever desired.

The Yali, or the face of the new Veena, as will be seen in the illustration, is turned upwards as if it is there to listen to the music emanating from the instrument. It rises from a graceful curve out of the main body of the instrument, and the sparkling eyes tell a great lesson, which is otherwise absent in the ordinary type of the Veena, where the face of the Yali looks down. In the bend are two small boxes fancifully concealed for the musician to keep the ghee, strings, and spare parts. The peacock, the bull, the goat, the paddy bird, the Kuil (@i9ev), the horse, the elephant and the prime beings that are supposed to be controlling the seven notes are finely chiselled round the neck of the Yali. The shaft portion of the Yali accom­modates eight of the bigger screws for tigh­tening the strings.

Below the seven major strings and con­cealed under the Melmn with suitable air escapes, is the second set of 16 wires, which impart sympathetic vibrations to the mother strings. The wires are of varying lengths, and are controlled by side screws. When a noteisstruck, the corresponding lower strings •automatically respond, ~ keeping the sound

continuing for some time, even though the mother string ceases to vibrate.

Illustration 2. The Mela is opened by a simple contrivance after releasing the four major upper strings, running above the frets. The wires are self-tuned accord­ing to the Prakriti, and the Vikriti svaras of the parent strings. The 16 strings are intended to amplify and enrich the Madhyama, and the Tara Sthayis by producing the harmonics of each parent note. Each of the 16 wires represents the Suddha and Shatsruti Rishaba, the Sadha- rana, and the Antara Gandhara, the Suddha and the Pratimadhyma, the Suddha and the Shatsruti Dhaivata, the Kaisiki, and Kakali Nishada of the Madhyama Sthayi, and the Suddha, and Shatsruti Rishabha, the Suddha, and the Antara Gandhara, the Suddha, and Prati Madhyama of the Tara Sthayi or the higher octave respective­ly. The different notes of the scale produced by the vibrations of the main strings resonate through these minor strings for some time.

The Langar, or the head arrangement (illustration 3) is a vast improvement over the ordinary type of the instrument. Instead of the usual beads for maintaining the proper tension there are 23 minor screws made of rolled gold and brass suitably blended to impart tightness, rigidity, and stability. The top bridge accommodates the four major strings, while the lower bridge supports the 16 lower strings. On the side runs the three other wires. All these wires are attached to the fine and delicate 23 screws in four rows. While the big screws on the shaft of the Super Veena adjust the wires to their proper position, the screws at the Langar are used for tuning, and keeping the wires in the required tension while playing on the instru­ment. Each of the screws has capacity for about seven windings before the final limit of

T H E JOURNAL OF T H E MUSIC ACADEMY

endurance of the wire is reached, and each winding raises the pitch by one higher note. The elaborate arrangement at the Langar is to adjust the tune of the several strings by a mere turn of the screw. Listeners of music are often irritated at the adjustment of the beads by the musicians to get the proper tune, and sometimes the tunes are not to the satisfaction of the player for several minutes and even hours. The beads often slip and the tunes once set require further adjustment at the beginning of every new song, and the patience of the audience is tried to its utmost limit. The mechanical contrivance, which stands on a par with the finest factory produc­tion, has the final word on the proper tunes, and it is but just a fraction of a minute for the practised Veena player to have the instru­ment set to the proper pitch.

The Super Veena is from every point of view an improvement on the time-honoured, never changing Indian Veena. It belies the charge against the Indians that they are not inventive. The instrument when played gives a richer and more sonorous note than the

118

old one. In the hands of a practised player the instrument is bound to give such rich modulations of the human voice as to raise Saint Manickavachakar from his grave once more, to sing in praise of the Supreme Being as seen dwelling in the sweet strains of that queen of the musical instruments, the Super Veena. ( ‘: Jg)6OT6afla« * sffSswraSei) ^esnFiiCSfinear

arame.”) — “ Inttisai Veettayil Isaindon kanga."

Mr. Jayaraj is arranging to give a demons­tration of his Super-Veena before the Music Academy, Madras. He is sanguine of success, and wishes to invite an encouraging criticism of his effort. He is also spending his time perfecting and making Veenas on a large scale. He has by his own unaided efforts made some sound boxes for the gramaphone, and has many other schemes on the anvil. It is only a question of time as to when the rising wave of national enthusiasm will come to his aid.

“ Full many a gem of purest ray serene, ” still lies untarnished beneath the unfathomed deep, only to be picked up and raised to their proper places.

Correspondence.

Studentenheim ,58, Turkenstrasse,

Munich. Germany. 19th May '31.

Dear Sir,I reached Munich safely on the 2nd of

May after a pleasant voyage and I have commenced my studies in right earnest here.

The Music Academies here are huge orga­nisations. with several professors and Asst. Professors for the several branches of the theory and practice of music and students flock to them for instruction. I hope one day our Academy also will become one such. At what stage is the Training College Scheme? Please let me have a copy of the first number of the Journal of this year. Kindly convey my respects to the members of the Academy.

CORRESPONDENCE 119

If any of our friends are passing through Munich please let me know. I shall very gladly meet them.

Yours sincerely,(Sd.) P. SAMBAMURTY.

* * # *

Studentenheim ,58. Turkenstrasse,

Munich, Germany.15th July '31.

Dear Sir,Thank you very much for your kind letter

of the 24th June. I am very glad to hear of the further progress made re : ‘ TheTraining College of Music ’. I am herewith sending a message for the opening function, but I am afraid it may be too late. I shall send you a detailed article later on, on the Musical education in Europe, for publication in the Journal. Music professors here evince

keen interest in Indian music, for they have been ignorant of the same till now. At their request I am writing, in staff notation, some of the simple Kritis of Sri Tyagaraja and other composers and they delight in playing them. I would request you to send one or two numbers of our Journal to Dr. E. M. V. Hornbostel, University Professor. Berlin University and Prof. E. J. Dent, Music Pro­fessor, Cambridge University. They are both much interested in Oriental Music. I shall later on write to you about other professors and institutions to whom the Academy’s Journal might be sent with profit to us. Thank you for all your good wishes. -Have you received a copy of my book on the musical instruments from the Superinten­dent of the Madras Government Museum for review in the Journal ?

Yours sincerely,(Sd.) P. SAMBAMURTY.

THE KATAPAYADI CHAKRAM AND THE MELAKARTA RAGAS.

Some inconsistencies.

Dear Sir,The famous Katapayadi formula which is a

device to find out the serial number of any given Melakarta raga, has been in existence and usage from the time of Venkatamakhi down to our day. Some opine that it was being used even before the time of Venkata­makhi. Anyhow it has become a very popular formula to-day, known and under­stood by one and all of the musicians and music-lovers. There is not at present a single music book which does not treat about it.

The Katapayadi formula which explains itself as Kadi-nava Tadi-nava

Padi-pancha (’TT^TIT) and Yady- ashta is generally applied only to thefirst two letters of any Mela-raga, for finding out their respective numbers. The numbers so found, if reversed, give the rank for the Mela-raga. Now the difficulty lies when we apply the formula to a Mela-raga in whose name, a Samyuktakshara (fcgrfTTSrc) or conjunct consonant occurs in the first two letters or anywhere between them. There are some inconsistencies here, and I shall point out below, such ragas of the 72, which are all alike subject to the Katapayadi appli­cation.

120 T H E JOURNAL OF T H E MUSIC ACADEMY

SerialNo. Name. Mela

No. First two letters. Pronunciation as adjusted.1

1 Ratnangi 2 Ra - t - na |f t - * - * ) J

Rat-nan-gi.

*2 Chakra vakam 16 Cha - k - ra j

f t ' S * ) JChak-ka-ra vakam.

3 Suryakantam 17 Su - t - ya )f t ' * ' * ) j

Sur-ya-kantam.

4 Jhankaradhvani 19 Jha - n - ka |0? - ^ - ^T) j

Jhan-ka-ra dhvani.

5 Gangeya-bushani 33 Ga - n - gey j (*TT - ^ - *t) j

Gan-ge-ya bhushani.

6 Shadvidha Margini 46 Sh - d - vi |f t - ^ - f^r) 1

Sha-dvi-dha margini.

* 7 Divyamani 48 Di - v - ya 1

( f t - ? - * ) 1Di-vi-ya mani.

*8 Visvambhari 54 Vi - s - va )

( f t - 5T - <*) JVi-su-vam bhari.

*g Syamalangi 55 S - ya - ma j f t ' - IT) j

Sa ma-langi.

10 Shanmukhapriya.

56 Sha - n - mu 1

f t ' °l - 3 ) JShan-mukha-priya

*11 Si mhendramadhyama 57 Si - m - he j( f t - ^ - %) j

Si-mhen-dra-madhyama.

12 Dharmavati 59 Dha - r - ma 1

f t " * ' |Dhar-ma-vati.

13 Kantamani 61 Ka - n - ta j f tT -* -? T T ) }

Kan-ta-mani.

*14 Chitrambari 66 Chi - t - ra jj

Chit-ta-ram-bari.

*15 Jyotisvaroopini 68 j - yo - ti f t - f t ) (

Jo-ti-svaroopini.

In the above list of 15 ragas, those that are marked with asterisks (*) are one set and the remaining are another. In the former, the formula applies to the first sounding letter of the conjunct consonant, whereas in the latter, to the second of that.

CORRESPONDENCE 121

Examples.

Former set-—Chakravakam ^ ^ ^ (Cha-k-ra)—Cha ( ^ ) is 6, and k (^ ) is 1. 61 reversed gives 16. Here, in the conjunct consonant kra (5 K = ^ + ^ ) * or thefirst letter only is taken into considera­tion. This application holds good to all the rest of the first group.

Latter set—Dharmavati - r - JT (Dha-r-ma) Dha («r) is 9, and Ma (*) is 5. 95 reversed gives 59. Here, in the conjunctconsonant rma ( * = ?+ *) *T or the second letter only is taken into conside­ration. The same application is to the rest of the second group.

This sort of applying the formula one way to some ragas and another way to some others is quite against rule and principle. We must stick to only one principle. As such we have now either to change the names of ragas so as to suit the traditional formula, or take away the formula itself from usuage.

The names of the ragas of the first set, as adjusted to the formula of Katapayadi, which

run as ( l) (8) (3)f lrs jW ft (*) (6) ferTCfaftand (6) never occur as suchin Sanskrit language. Besides, Natcibhair- avi , Jhalavarali (srnjssrcifas) andsome such names are also improbable. (In one of the prominent music-books of to-day, I was very much surprised to see the name of Mechakalyani being converted in to Mesha (ita) Kalyani. Why can it not turn even as Sesha ($r*) Kalyani, sometime hence, so long as the number is not disturbed ?) Tradi­tion has it, that the names for all the Melakar- ta ragas were carefully given by Gqvinda Dikshitar, a profound scholar of Sanskrit and the father of the illustrious Venkatatamakhi. He would not have gone wrong. There must have been another set of names for the 72 Melas, I am sure. Under the above circum­stances, one has to suspect a foul play in the affair. Will the Vidvat-Goshti or the Expert- Committee of the Music Academy take this matter into consideration, and clear the way ?

T. R. V lSW A N A T H A SA ST R I,

Sangeeta Vidwan.

[Note :—There are two systems of mnemonic mathematical method of computation ^TTO^s?JT*T and The former method is the one used in Melakartanomenclature. In the latter system, »T 'j JJOT «IT,n’ etc., denote the numerals2, 3, 4, 5 etc.

Again another principle is also observed i.e. in Sanskrit syllabification, the consonant immediately preceding the vowel is the important letter. Hence the objection raised against 1, 3, 4, 5, 6, 10, 12 and 13 cannot stand.

The irregularities in 2, 7, 8, 9, 11, 14 and 15 are indeed valid. But out of respect for time-honoured usage and sanction by the Parampara school of musicians—who knew this irregularity and have kept it on—the nomenclature need not be interfered with.]—Editor.

#Qff6Bi2soi ouii&j a6orrff(T?50 61Pihj ^ i5'irs(urEjafaa>6iP65r ii?Lp Cldul Guujitljli.

lS*. CTen). 6n)_Djl iiix) ^ ujujit ajajSidr, 0>g.Jirsy,if'.

I. eflii

Jt£iuli$.a(J6tT, aairaJiTOTTaGen,.s/rgajt—® e r O / B S p p a n p u u p f i 1 t S j t e t o i i S i s

6fOIKl£j£ f f ^ (6 B )a f f lL <ST®STgplLCi & B P > p p $ p ( S )

j ) j G t e t i r m u > G u i r s s h e Q i U P s S i u i r s s i l l s r f i g ^ i B n f j i ;

Q & a n f j m e r O f r e v a e d i r a i r S s d j i f f i a i . T / f l a s h @ } f i p Q i ( i r } T $ & T . j > j f i e d ‘ etlPiiafflyuiTCUlT ’ sp06U/r. e t o i s p t r u u i n . g i / e S p p p p ( & ) e r a t r e n i h p a i r p a n p ^ j s w r ( t p s e d a n s d i e d t3awsu0 ti a t G e d i r a p a n p

Q p i f l e Q p ^ s s Q s i r a r ^ @ G p a i r . i t i r e b r u n ( S u > e i ( i g p > l j i f i i p s B i U T a S i u i r e u r p ^ e e n G p t t r s m p a n p

Q p i r L ^ d o ( o l ^ i U L J e d a s r e d e d . Q & a r r p 35 e u n ^ & p i B Q & ' T G t i e B i L i & T G f r n ' i r ,agja^CeU)^) e - U T p r e m i a Q p i t i J S e d Q & i u p

sugar. srsir sgstatot—itj (gjamt— Q m n t B a e & e o

u s n e S i a h - i — p ^ i e d e n > i k 3 p t i G u t f i l u u a n p <ssu < s $ p g i e u i i p p p u - e o r , s 9 p s u r s k s s n i B L ^ p ^ t u

s & G & i f i s c l s t r s G & lL G l t , jysu/raerr svDtitSn p r i u

i n i t s & e p t u r r & $ > n } 3 , ( & j e t D / k S p e S p a n p a n t u

Q u t r f f i a Q L n Q u n j p ^ j e d n & e r r Q p e m p s s n u e ~ p j p j

STT*T5WT ^TcT «T wtyui/e^: RHl

^ ^ r ^ ^ T T ^ n f tv i f ^ ^ T J r f ^ ^ T f T tc r T : i

*TPT 5J7R JTRTt g q : IIJ i j p a i r j > j i r p p t h d 3 s B r a i ( n j L t > i r j t i — , e t D i B $ p

'Tzisretopiiaieir @0ausa)®£ji_/®6UT'. (SjQfjQps c e i i e n B p g n t n , & i r & 6 t n , r Q ^ t u ^ u i e n i i G p s i i r . i n t r a e r t n s i Q p p a n p j t j u i S u j e i r S I p j p & t r a v e l b i b b ;

“ e t e i k Q p e S p a n p i B s k e - t u r r i k p i n i r f f i i f ) e r j p i ?

b - l u / r i s p i B S s d i S e S ^ i i p i Q s i — i r u > e d u f l u i r $ &

0 i i euans ersman ? J>jpp(p) ^irerd^Bikseifl^pih

(Bjsmi—iu eBmurpsmpiLjUi gpsoti fijani—ihp (Sj/rsartr, •fST) T sot l i a r m u p i r (8 jL h .

is & i J ) jp a s r

^ r e s s r e ro k S p

edatyso& 6 t u e i ! e u S l g > u i > (Science) ^ p t r u m a e t r e-awi—zr?” e m p a n p i n i L ^ u n a p j p i e i r e i r e i i i r m s i r S e d T . u t l L

sresrjpi e B & i r i f lp p p u i e n ik ^ Q ^ a Q G p a n . ^ a G e u ,

Q p i r L $ e d Q & tij iu n p ctDi b S p j y i9 in it 6nfi

u9t_ti s r a n e a r e r ^ i r U D i r i r a a e d / r G L n i r ^ j e u e n

e t r G e u < $ j t i p i S j r & O i B & i B s e i f l e d a i r e s s r & s J d

Q u n a n j p i e u s s t s r m a i i b i r i L i Q & t r e d ^ & Q a i r e i T ^ Q

Q p a e i ] a n B a n t u even / i & s i r i t e d e S & p i u p

a n p Q m m r a Q & i r e a e o u u { ( 8 ) Q e d a i r .

oJei lULQ.< ^ d r j p i , e r d t e i S p e Q p s o r a s s e t t & r & o f i S l n gpso

L n n i L j t i s , j i j g i i i u e u Q p e d L t s i r i L j t i f e t d t k i S p e t t p a n p

srsm u j p @sir6ar& psfcjpi jydSuiShnriuuuG }

& i a n p Q & i r i d s d u G u i T & G p s s r .

& n i— U L J i t ( 3 i i jyu/JJiu/rsiflU) L n i U S i i e_srrsi r e u i r

s s t r Q e d i r . ^ & G e u @sui f & S s t r so msaarti j t j f f i p i p e d i T , e d O n f i i U l l ^ > j { $ P i p e u i r m a s T j n @0 e u a n m i U T t s e u f j S j u G u i T i n . < § )< £ ! s d sOcJs saarii u > i l . ® L n j S l i p e n G j r r sn)Ei S p « S e p i L i r B S , 3 s t r

e m p i r m i n i r a i S l u e M p m S i s Q p s s r e n ( i ^ e d p l e d S s d .

edobfltuih LnL-(Bii> jp]f$ihpedGjnr &r&t>£slji$>jjiTeBrui j t j a n t — i i ^ ! , j y p s m u t p G u a n h e t O L t i B n p i r

tuii Q p t f h u r p s u j n r p e d r r e d j y e n j j £ 0 G u & a r e t o i i

G p m i n s e d i i p p r s e t j L n e f O a n u i G s i r e m t p p p s n n l .

e_srrefr p i r s e > j t l ^@)so 6nPiii6imy,utT60n' sOc^iL/ii, ediSm^6saru> <^jremiq.tppu>

G p r & S ) j > j e s ) L — i 5 p e w r ^ p e d t r i o ^ B e r n a n t — o ^ t i t

* Translation by Mr. P. S. Sundaram Aiyar, Tanjore, of the Lecture delivered by him under the auspices of the University of Madras.

123etui s u p

erOLLsmeuiULh Q&iupp siQgppusDic, ^sG suptjsuirjgi j)jiSlui9innuu> jy/rPiGj/r s r p s jB p & a

fS T ^ ii s .’

erDirinsiresriii Q&iuiLjus Qpstnpsnius Q&n edgaus ir&fD jjLLiriLjsbetr IE(T35, #65)($4>uSA) @aup «pil

u f - Q i u i 9 e k su0 ti & G e o i r a n x > & i r s a 5 r u u ( & Q p j p ,

ktsst 5 <3r\csUffaipffiobr 3>Q^psmpi sissr

Ldssr^eo @0^5^, stdibS p sB p su irm astr eYCikSp

sopipessrin ^ssrssrQ psirjiii QpirsHjpsusmp, &ireti) ^jrpestpiLfLh erou^ranMiLfUi jij^uusupseipiL ftii

GLDpQ&irsmGi— ^p ir ffiksdsiriLjiA & ir lL uf. STQg poQeusir.

&.pup$.Kirin «psii2 su/T0 miriet^Lh Gmsirsisr erOikSpui

srskjp) j ) j i B @ 3 r f l G a i L ® etstk($j£ir6$u,J'gi

Loras e_6trerr^7f Q ppSeti sriiuiq. u-essri—iriSlpjpi

srssrjpi u t jQ p s s f is u ir itr iL i^ iu Pirs/offinp^Bsisr

35-sugfl j>] pp>iu it tuppysi) i9s3rsu0ib arGeorsiBssiTj eti 0 pifldjpjpisireiririr.

s irc ta ffo cflirT TT ^ n :r: I

^■?fr & & :^ rrK ta jm rrlrg fs r im m -: n

j)jpsrr Qu .tq &t— ‘msS pgpistni—iu j?tr finp fill eB(ii)ihgp Q ppiii Qppeo stowS pti> i3p iip ,ga ,

pijgp e-6wranmu9sb etoufSstOeuniumeiT &teu(WjLj

inirssr jbi, jijssipG iu i3p(Sj pirQ^uuuiMirstr

eS&msr> (LppeBiU suit pmikiseffleo ^j^pisroiPip^i

S U K ®0^/Td!6TT SI Ml l-J^Pt

G m ^ itn , ggjjGimJ ^ffoTSSriua^ lso i9sirsu0iii

eu&min &rr6BsruLj(i)&p3P.

3TO^f«qq t^fr eftoTT qqfrT I

ITTg^t #t0TT q q f t I— a TRo q - ^W M )

q r^ fln rr sr g; tot qR ^rf^ rg i

*rrf*nfft q rq q ta r ^ ii

\ - \ - W )

jqpsnr Q uit qfjGir*— * a ir pneBBssst t «*y preu gp

insnP psar gp &irtfjnh, p ir0 eff&ar} .ay^rmig n

LDjrpptreo Q & iup sSSsssr ((LppeSiu suirpiuia

asri) @j6wr®iii jijapiueupfix&o mirearuuGi

Ssiirpsur. etOiTinsirsimji sirpneB&ssnBsir

Gfiu&ouj/r0 tb. «g«Gai gtjpsbr sdpmpsssrpesip

6iQgpuL-i(3)Q6i>ek ’— snbrupirti>.

eri>Kpiruups^su Kirin (3jj8&>mGskisikirisp

iLijp spsbrgi. &irfi!jTpp'reoe-esijri-ir(9jij>ljiipireiigp

LDssPgrsiiPiar Qpspp*shr ueti , gijiasiaserPei

iBji^peuesfliLiL^.m' s;ei)K^isu0ua srtiib&ppffisisr

«SVifi0 , Q&iupstj>3; suitp^iLiKi&etflei e_sosri_/r0 uipeueSsmaj «fft_ GmsoiTssr piTf^ilt srsir& pG p,

/ s m ie a a rp e B ip i0 a ir6 m G i— ^ i r d e ^ j r & ir&

sbi& i& si) & h /Fm QeuSsi'&clsriG iu (ipaG shum ira i ^ 0 ^

J i/ssip eBeuiPpjp <srQ$$, tBpCgj suit

Q& tueif>33?lsfr jijpsisr {LpeMn (©ilt_UL/®^^j6uesip kium uirir pjpsu(V)&iG(n?u>.

eOJ(BJ a5 09 611(165 601 Gud^J 6ua^.655rii.

\jij USJ3) (Lp6of'6U[T amuxssflssr sdtXfionrpsmp

Q<&3>(V)LnGutr g i t9ssreu(j^Lt> mGeoir&psnp

an sm G uir ih.

WMIdT'y fsR R 3>*h<*2 |

S T R l^ S R ^ W T I r^5T15R^rRJTT^ ||

jijpssr jijirp& th— * suiiiuljuitlL(B j>\G>si>jp

j f n I r m n ( B p i u s v s S & m e i s a r j p i Q & i r s d e O L } u G ) i b .

jy p s a r g ] t 9 0 f i i S i b u L n ^ Q i u m e n f f p ^ s c

Q & t u i U L J U L _ t — e S S s m r j t f p s s r Q & i u s m m s m i i j j t j s p i

e v c f i p g l G e u B s o Q ^ i u S p p i r ^ i b ’ s r e s r u p i r i b .

J > jp M t O/_/.706Tr----1 UeH SUIT jglU lk& Ssll 3

ssisiunQtb Qpesipsmtu jp fjSK ^nb , su irS laxp

Q p fiih g n h , Q p iS iu in ir ii sff&aianiu Kg&qrfiui

esisiuiTL-pOpifiKpeuGm, ^ 60611601, jijpirsu^i s iru a s ir ersbrjpi Q&ireveiuutBsuiieit ’ srsiru g p y

124 T H E JOURNAL OF TH E MUSIC ACADEMY

Q x T ^ x m r e n P ' i L i O u s a r x e i T u i r i — e o i r l a b e r e b r j p i H lBlTcSyiJlT X B / F p p e t a p i L j t A L a p p ( S j e s a r i h i

«j?0 e r O x G p x i h d S p a o p B u p f i j e P a i i h f i q f j i j x S s n i L j t A u p f S p p t A _ p i ‘ 6tUia ’ e r e i r

u p i r & i , X P o r o f U l B J > j i 3 u i 3 i r i r i u i i > e fO L t t g p i t h S p x p p ^ e O e r e s r s a r Q x / r e P g j p & q i f i - s r e i r j p i

u i i p i A P t u Q j s k s s r Q p s a r j p ) Q p i f l l i g p Q x t r 6 0 u i r i r u G u i r i i . i S s p e p q ^ i A i r j p . —

4 0 f e p u M i j us?* aftgw g f ly -Q x i r e d ^ p e p p p e p g s ( x t r t f p iS p & O p p u p ^ e i )— |

^T $w r^ :fer^T ^r^«+ R ^> ?p iT ^rT 51 iH brrafaft q g s r a ^ i f a m m nsn^or g ^ m rR T c ^ f to r r »t r g- q ru jm T f^-

»iresrfirfa: ii i

^ftorr 4-fcM|tW^C: g°TT ^Tdfeld'N I ^ ,TT?R ^ ^

g : ^ftnrr q r^ n p r t ggfar g »trjt^ -TTTcTT

e f t fW F fgSTgT-^ ^ I

arvgrcnn^rnr g

f TTSrgT JT w f^r^F9T T 5»T ^T t l^ d T-fo lF T II

j > lp s h Q u ir q f js B -^ x T tu x s m g p x p IFp l h la (2^3)x

^ l d p il/la , x u p q_ x x i t p e m tA ^ L p x i i L i iA ^ q ^ x x

Q e u e s m ® ir . Q t A g p u S p iA ^ m s > iQ u u g t u > Q puj-t i

u p p u s eretflfislsti p s s r 6P X la t3 BProsstsBTLArrxx

X^Uf.63T6P^)LjLL, &O6U0LA, X q T jf i i , l&efls&T

gLjensmsp j^ j$ d p e p ^ )\ jq L A } etOirspiQ x i u p S d ) y r

6asri\S^T'ssnh e_srren'oUg)iLjLDl ^ 3 0 ^ 1 ^ , L A p tu iA ,

d is t r i i id }p i i> , e r s i r p q p s s rjp>sp<u l a s a x tu rr i ~ x x^.iy_

6Bf£Pg0)U-]u>, lA s a r p ^ s o x r e i u i9 p l a p sasr p6B> p

p i f l x x x x ^ u f-s s T s p ^ iL ju r , u p Q laQ u p g p Q x l L

(S u .T ir lA ss rss tp a ;gu irj* .^c jraug)iL ^u)t

($euakr®u>.— atf js^ a a s r ija s rr 60)ifiJ^^6(U[TffL£i

STStftgpiLn S p i i p p ^ 6 1) O pP fB e tlT IL I G T q g p U U lL lS f-

® f i 6® Q5 & ®'y“ g tf^ iu ^ e p a s a p q - iu g p , q ^ x S p ^ i . ( ‘ erCikSI p ukOt p i a ’ u £ G$p\UT\BSGBl\ii

erspresr ? ib l a j b x n e f0 w B iB X 6 m e ti e r o p lr e B p . . .~ _ _ L ^ tg lU P P P i ®7(lf /-// tl— t— g l . j > j ip p w p n p iA

e w 6 s r& e n e rV ie iS p eO d o S ip e m iu p u u d i t u e jS p g p t A . . _ _ .r t " 1 ~ f5Lfl*0 J L jX U U t— P p ( J u i r ^ g f i l L A J L f lf p S p K

K m iB S C B fk d ra ^ u u it ia . s r o i i G p r a i d e m p 0 <?ajdfla • ^ n • . »w w ~ <- <- r- p p f ie i * Q f ) f i j p i m r p tA i r s s r u T m iB s e ir ‘ elUlBaffidHU 6i}P5 S}(7fi 3> &nr?(Ti5>STT ST63TU^/TLfi• « « • ^ • • q » » •^ ^ ^ 6ft)"^^n 6T& irg )iLD r & n m ( J i u p

& ir t fp eBa£tuLAir& U ff^ 0 tf0 t j iQ p x ir e o iA Q x i r e p x e t r i r x d s ira s s ru u Q S s irp s a r . ) $ d p kscsc

& p lrB ii& T 'S jq r jiA ShsmL—i & i r g p . Q pssr gjs k n A p

^ R ^ l lrcrs ft *r fl ^ T R t m i

^pesr jLjirppLA— **?© •S'rujasir iBqrjjjpepir ILjlAy lAgpPIArtLjlA, XPXPULf ^GiedlTIAgplA eTD~°X

LAiregrgptA, i9 f i tu s plait ear gp lap iLjsrretr msssn—iA

( & r tr p la ) 6Piriuikpspqs)i3(T^xx(cepaaTGLA.

Q u ir ^ a iir iu a v ^ l f x e S d r se m t—LD u ,t lL © «0

e-jbppirq$tA> Ljq^spirx&r xiri—xp fijle i 1uplL iula

€TsipgptiA QeuSsCsniu Q & iutup pq^rhp (&jpei

6pfiuihpspirxsnirepir. erojsifx&r $±jpeo>xt$ei)

fisoev QffffO e-errerrsp/rxerr. Lj(^6^irxGetrir QeuSsi

OxiuiLjua x n If it la epn'ijnpepirx&r.

® P P (3 lAirqyx M ^ l f x ^ x ( ^ QenSso QxiuiLjiA

&nl?0(LpiAf L^0«^'r«gja0 ero^^xp^PQpLtiS so QpuSsirxetfld) <$(V}ljljp ir x x xirem&QqffiA.

aoepuireuiAeiei). j^uu is).iS (i^dppeo $ m p

S?© ^ l^ ilX T P L A T xd sP X 0 p (? SU «BT 0 li)’ ---

e r s ip u x p .

(Qo3i fppntfl3\) tjulitpj6rrerr ptoie x p xp'otoffipx^^nitssr

enUeiii p a9ps<p 125

p t e i eflp i u i r u t S s p i r s e r i i i Q s i i i p p i r jjyii p e u u

Q u ( i r j a n i i i i u i r j s j u t b u m c S s u g p i a n i — t u u s f i $ u 3 { s r )

j ju ii J i f s u i r j y 0 6 ir ^Lpeduunu jijemi—usd itGlu e j > L $ t u e r e u e Q p Q p m L ® j d j u i S i u r e r O p p r _gjytxi ey o t i r u i r f i i s s s s > . u j . t u p e d e d ’ — s r e a t u p i r ( a j i h ,

GO)n5j J ^ a 0 IT6Bni ^ 6OT63rG £ 6BnJig.

erOwSpi^rsnrih < Q^eUoS>suu®iii.— sporjpi6iugT6\>a0H6Brii, u>pQ(n}ssrj)> sir&o^/fiu sru~° a i^ in a 0 n 6 a r i i . mn lir erci&S p eSpempifieir Giasst Sdiasdiu e-pGp&pgiiiA jrjemp ufiur*8s(3jiA

G m r r s s p ^ U — S P U A § ) s i r j p ) e f ) s r i f l s s e r p u L L i s p

0 /JL/ [ir0l) i o Tj T S B T j ' S S ) J B

eQlL®, {q)ff6sm—ireujp Qsiremsur L^iesmsireiV^lfiu en>~°diflu> ^reor soDpGiu seuenflss GgussstQia. i&tyedsrdgfled *53renrth e-sherr QuirgiggsBriBS^njiA

tfiftsmp ^n irued^i (ippeSiu uedrGeipiuiBseifled wti

Qpi—3fr seem jp Qsrrorqmjih erom pir uuiksSstr sBed&s(ipu)-Uirpprred jajsmpuupjfiiLiiA G s/r^SLA SBT.

@ ® 0 ® ^ p &o&nied ^ tsstla Qedsrr&s a air 6D/To3T■5555*0 QaAI—pfijll— eTpU®LA (W S ^ iu U lB

aebrr s s u s b R u G u ^ i a . j q s m e u , e r v s t n u s < n r s s G a i f l

s e n ( i ,s65Iju u/r©LD e r o i i p i u u i k s e i f i e d e i D i k S p

e S o p i u p s m p { E e u e & u u g s s p e s r j p . u r s e u

p r a m s p i r i 9 j j e t v i B s i A Q s t u i L j i A G u / r ^ j . g i j e u i r a o r

u i r ® t i > u i r t l . ® s s e i f l e d s t e s v i i A e t O i k S p p s n p s

s e u e s f i l j u p i < § j f f s k r t — T e u ^ i . Q p r i f i l e d t r e i f i &

(65ti s 8 G ^ f f ) p p f i l p a i r s s p s & r j p i G s i r m p e u s

s t e t ^ i A s i P , u @0su0ti m r i — s G i A s m i — s S s i r

6 T p u ® j & f i ) J > l f i x e d jysu/r u i t Q ia u i r i l . ® s s S s t r

G s l L ® j >I p a r ( t p e d i A e r O t & S p p e r n p j y / f i m p

e u Q ^ s u p ( t p s r r Q t f e u p ^ 0 ti. < § j f i h e d Q p p e d i r e u p

Q s i r e d e S t L j s i r e r r s s G s S e r o m p i r u u i k s e S e d , u i r t —

s i r m a r p i r t A s i r e f o f i Z H t L n h e r & s r j p i e ~ e m i f l i p e n p G i u

u s ® la e a t p s s u a ^ Q i j m p G u i r f i$ p i la , G e d e i r S s i f

s a r p a t p i G s i l - ® e 8 ® 3 u p i r e d lalL ® i a e r d i s i S p

s s e r v

( L p u j - t u i r p e r e s r u p i a l p e r i l m p e t i e i p u i A . p i a s e i r

«piL/ay G s j n a s e S e C s s G s i f l s ( 8 j 6 U Q f j s u p e r ,

Q s s ^ G t s h ia s e u e S u u p i l , § } p t r (JsuSso Q p n i s p n e u n e d m ® s B e e e r Q ^ m ^ q ^ m p Q u i r e u p i i ,

@ ) p f i > i u i r j 3 s i r v e s t s m s e n s e d G u > p u u j _ ^ r e s s r

siravfiIflus^rearlci G&LLufi}(SB)ei)u>iU&U)e m s a i L . ® a i ^ t e r o i r f i f i j l t u L B e c d s O ' j ^ & G e u e r d i k S s

«*uiSevQ^fi^ QsiLtuuLj(ffjei]pp(S) pehjpieo(SjTsurii e p f i ^ r e n s O s i u i u G u i r j p Q u i s a r j p i -

Q s s e d e v p p ( S f f y t — L f l e d S s o . i 9 p ( 8 j s i r e o G o ^ u i B

s e n m i— f i n e s t s u 9 e d e r O i e S s n i i e p Q r j s d i r j p i e_£J G i u i t s u u l L ® f ip r r g h r e U 0 © / D ^ \

e r O i k S p «fl f i e > i i r e 3 T S & T u n ® t i i M i i e u i r i b s e r o t M

u e s r s s r e r O i i o S / S i i i j i j i k G s e v s ^ t — i B e e S s o . ^ s G e u

s i r e d G s s ^ L J i E J s e f B e 9 ( T ^ m ^ i O e c i e n B s i f s o r e r e i i i

S i o p i f i l & a e r d f k i S p isT ) i r e s r < j s e r o t k S p e_iijir«nsu m n G m i r s s Q p e n e r r e v i T s ^ s . ( S ) i 9 n G u J i r ^ e s t u

u i — i r g d , ( L p s s T q r j s i i f E r m s Q s i r s a r s i r r m r i — s

erv.iiQpiii mLt>s(3j erV'QcKfit-D ^sijTsiripenpp pn ^ j t — L S e d S i d ^ e r s h r j p i Q s i r e e e e i r m G e d e S ’e n i E J ( S ) t b .

< § f r t k p e t D i h p i r u u p p l e d u i b u i T i u u n G p s p f i l e d

Sirpfih 6d,TiLimp &61HTIU diu^jeuaifm O^/rsieS i j e h e t r e w r i f p s m p s & r r m i r i l ^ f e u B i u i i s o t e s f l & s

G e v e K i r ® u i . j i j o d i f s e n p p s t r e d p f i l e d e r o i ) & p

^ B i f t i u i r s e n e r v i i S p i h G u n ^ u u s s t p i ( a j j f l p g s

Q s t r e d £ p i i > G u . i @1u p s e t s j ^ i p ( S j

Q u i r q ^ m ^ l i S i d e d i r u i e d B i L i — r e u i r s u i r l . tiu e s n r e m u u i l . ® e u Q ^ s u p r e d e r o i i S p p f i S s b r j ) f [ f i ( 8 j

( § e s > p m g i s i i ( i F ) e i ] p i r s s Q s i r e d g p Q q r f i r , m m — S

s u Q u e S s e S e d u n ® G e d i n f e Q o p u L D i n u , i H d r

6U0LC s ® e s > L D i u s e 3 r e d i r i r p e n p s B s i r i L j t h e . u

Q u j t r Q p j p G t r e i T i r r r , Q u ^ t i u i r g p i i s u i t s sir e r D i B & p p & i s ( 9 j ^ j n i u j > j L n 9 i u i r e u S l s e n i r s @ 0 ®

Q / v j i f s e i r , j y e u i i s e r r e r d m O , p p e m p u s e u s Q s i u

B G ( j r ? t h , e r e b r j p i Q s n e c $ s Q s i r e n e u & i t J i j m p

e Q p e m p s u i u u i f l p r o e u S l u u ^ i i G i j s e d < § } < T f j s Q p j p .

j r i r s f t p i h j r e r O Q p u i e p p j p s u n G e u s s s r ® L t } e r s n B p

Q p s S i U G m i r s s t h j y s u i f s e r r L L s e r j p s f S j m r i L ® B p

126 T H E JOURNAL OF T H E MUSIC ACADEMY

$Bed8sd. <§juuuf- nnaaetti Gtduumpu <§J<kedrp

u tlL® G&lL l-.it£v, Q&iLGurqfj&(aj

nsdGd eniaSp ^iremiL eipuL-Geu ^)< iRnrp i.

GpQf) QuQfjLo ji\BomrGLinUBS®Qppi Quitp lu ,

^ 0 enOiaSp pjui9iureiiBi iSpQ^esii—iu G m r ia p

pASessriha erdiiSppenpa Q&Q&& (tpm euqr)

•mip>, JDjtkp eSpempB Qbiuil/iL «p0 Quifhu

j>jpiTusLDir(S)Lc. nr&sjerdGtsuuispu, Qur^njikfijl

u9q^uupiprda B-LureuTesr GfOtsSpp^arr jTjesit—

luireiru', et6iB$ps8fkswrair 6reiigpnti § )f ip Gm rs

a pern p emseBL-Gdr&r p i ershrjpi GJQ-g^hLjmeiTrr.

^aG eu (5/ri_i®sfflrf?6S0/5=gD Sesu—p p GfCtkSp

(65 .T6W (Lpadura Qsdm&sir&fnr en>.w3p e_iu i

(!uw 50 eppprema Qaiuiu •5(0)^ e-eiiGfr

suitaeir iced gt s iru p Ope/fley.

^ ^ p i t h m u p QtitimQair setr GuGed

Q&irssTSur gpssrjpi GiiL^hurpiLh StesiL—p p eh) an

ed^n gut pss> p a Qan6sm®y erobSp pjtStsiJQ^p

f3&(&) iGih(ipi—G3r a ed iip p r^ n GsuSsd Q a ii ip

6i/0 ®(V>?/raetr. eroiiSp Gd<3b$±Jp^lp!iui edadipstsar p

f ip l i i i GpnaSS(t^mpnQedTL$ltu p jikp e8 pen p

antu uifluneQaa 6jpun®ssii OaiuiLjtii f i p

ef)Lr>6nuu pjodiRt—Ui arsm ^ u l BscSso GTesiqrf

pn u t Sled QedGfr&ar aar p j6dM nura sroikSip

arastnaiBed ffQ ulL® , piiaatw^aat—iu p ji9 u i9 irr

1u ib s Ssit Osueifhi9®Giip GiitpiaLDnt3(TTja&tDp.

emirajfilanuLTsr jsypreup eurirpeiDpaGir ( ‘i_c/rp ’

Grehrjpi &/Tertian u p u j eBepiuuuriLi jijeuirseir

GuaSdqrfiram, pjuuisf. ^ n u iS a ^ u G u r pah-L-

erdikS p ar& o^n Q n ns pib affair m L G a ir p p

steuesfi pfi$(W)ik p i ed tuedura ^ n ^ a ^ Q u ^ r p

Q&ireded tgji—QpesM®. ^ re m erdii&p etB-Q&ifiLt>

tGjjremfa GuriuiipsuiraGniT J>jppQ$ ejppsviaeir.

QsdsnSaira^r Qjfilsd a e d u u p iSturiULneded,

OGdeirSairaetc se d u u ^ ^ s d GtOisiSp pjSedQ^p

j§ a ; 0 Sled pern—a ^ i c arenruuQ S^n pern,

PjGlUTaGfT K U p t5TLLuf.69T t$3odu9ed Q&edallT&,(&)

B-etretrsuirsetriru9(iTjuupred, Gto.bSppsnp pii>

«srr 0 ssi p i i p @rsar p f i > l p ( 3 j $ r p u a - p p

f 8 p i u t n 9 i n r e s n B e d e d T L L e d e r V [ Q <3i <3i fiW a < 3 h $ u i S j r f f i a a n f ) e S e ^ i U L b T B a a n . i — ^ a S e B i L

i— r i r a e i r , @sbj p e r e d e d i r i h S - p G p S p p r S d

e r t n k S p Q p S s i G s i s T p p £ $ > p ( 0 ) G e d B s d Q & i u i u & a i L t y . i u

e u i r B 6 T T 0 0 u m i u s i n i r Q f i e s i p i u r e d e u i h p e r o i k i S p

«n)'9 tffiiaLDa:.0 /r6srii m i i r i u i h p e u i r a G e t r o i e h r j p j m i r u >

f i i L t — u , t r s & Q & i r e d e d s d i r t h ,

6 t o i u £ i B 0 $ m unasiBasir.

e n ) b t t p t i § ) j r e m ® u i r a i b a & r j i j e s i u n p p t r u

G(UiTai6’ iuiL i j e d e d p i 6uniT t G G ) 5 ) s r e i s r u p i e p s o r j j i .

^ ) j p i 1 Lousy ’ ®Tsi s t j B i Q & i j e d e d u u Q u . j ^ t h p

e w n r p s s i p e r i i p L j i r e m e p . t u t r u S l i W j i h p G u i r f i S l g p i i i

^ > j p l € t6 i b 3 p p ^ D0 @&sjra«uuLL£y.0 ®0 Lr.p e to ik & p p m p ‘ ^rrg) ’ 6Tsir jw Q&tred^peunir

s e t r . ^ j p a ( g ) n s e a t t — t r G i i p i u T a u i r ^ t i , L i n i r g i ’ c g i f e d s d p n e t O i r s m S p i u i ^ T G i s n i , l p t r p i > j y s d e d g n

e r o i b S p i ^ i r e a r p G s i p e S i — «p0 susar ^ ] u i 9 i u r e i S $ l

i s G r i ) ~ O G d u u > i T G & p i s t r e s r . j j u u u j . i S ' W j i i j p i T ' G p u ,

e r d i E i S p e n u i u m p u n i i G f O T p j i Q p & t u / i . e r r e a r t h

< g £ ) ( T f ) i & G G i ! 6 m i q - i u o p e s i p e m t u uf^ it O p e S e u r t u

i S l s n a u Q ^ L t i m - G e d T s i p G f h e d G T Q - g f i y u 9 ( V } s S i l ( r i p r .

5rfe?rr vpsrspfmr: i

j ) j p m Q u r ^ e r —‘ e t d r p M I p i u u Q & i u i u u u Q u i

G i i r i r p e r n p x & r e S i u r s n e t s a r i h & e m p s e s t n i — G iiiT

u i L ( $ i h j t l < $ j j i a t - i i j . i u j p u i , E S f i f l & t & j u G u r p i

S h n n u p j j & a ^ u j - t U ' p J L D r G t n 6 u r n p e n p a e n r i u

g)0 «a«(fi.t_/r^j. g)«O0 su/riu t 3 p i r j t i f f l i L j t h

u i s j . i ( & ) u p i i i S n G i u r S i s u L - G e t i G s i s i ^ L t i , j i j i i p

u r ^ l i f l ‘ u r p i i L j p p a s t ! p p l e d ^ t L j p u p f l p p

G p Q T js d s z fT - l u r a s S i B s o i u Q a t u r n p i G u r ^ p t h ^ «p0 e r O e S e a R i u r S p e s s T L S u s s s n — p u t a i i — e k p r e i s S !

iL j t— e a r e n i i p r e d G u r £ f i u h ^ ^ m j p a Q a r o r j f i

127

ertnhufi ptesiean p ptjerothureQpteresr Gardens tuniud anestn uu'Sth, Gin spun tprpp ’ ersbrgpith erOihSp urspenptntKBth erQgfijl SpnpprineP '‘tnrpp’ stem uenpu u f epq pesfl eSetpumns anaenaQaiu q uusnp fitnpp etodiSp 8s fiproa> eSec eBaVprptnnsd an esn earth, ‘paps' ersBrujp firth un(BthGur t ear n penpGtnd) @8sssr p ppenen etdtktS p pen p (SjrfldSppp. jpear n pan p jt/ecea ; J)fjp e/osasq uth.nr a eanuth, ueaeae9t uGqa)n p&Cea stamen, @enea ereasarth ‘prpp’ eresiuu®us. anetsru netnefbmefippih ero.wmtkmetfl pstlih, erDtaS peB pea rain aqnjth, QeaenSm eto/aSp jtjdiltereiiflx ih, GtnGeaOa/rearesr pnppsBeir thenar pen puLjte pijen enaatLju upfttQtu ern renters eBeaeuoif]ppp su0 8(njiraen. ptjpoGea Gun ppQtesnpu Sehrnpjp @ E 70 erssr p>fanpuupj£l jB/reffl© Qaniaeau Gun eaeaSsa.

&omi£l£ lJ ^ ib^ sn63rU).— j y p n ea$gtnnda&r Gan fig) fiant—Qujpih uniLQ3. §) !ea * uea ear piutamen, eteaearjs @ 0 «a:C3’si/6Mr®ti? Qeaeaans untU&aen, qpneapp ppdat—ttaas!r eroj&isir&j gnsth e_uGtun8dassnth P Qjensas enrea erDiaSpih (tpssiGefrppment—iuetfCn Omt—rtn q^dSpppqrjih 6i)L$ e_6Kir£_/r ? ’ eresrpp g)®jf1

eBartfluGurth.

ppmreapfijlea mtT(sa)t—a etenaS p p f ie a 0 0

Qpatnniu ^fut3iurerDth Q aiu jp adGatftmen fit—p

jp in erOthtSlapiriup^ea Sentsaqffth effepiuiaaaratnetssTt ju Q S e ir p ear.

( 1 ) /5L£y®0 (LpenrpSsPQpenpaetfleti e - f i lp

ppenen Qutfhu ear dGaujatn pnaen fite i(ffj

Q snG ippqijetfhu O uifhu erona/iQpSiuiBaSstr

at p p u n i—ten tit fijqfj p p n teea u n ® eapnQ th .

eQpearebramr p tjeanaen^i LO[t |aneunyu>, jinstf

enaaiLjth e-enen 7 e_ene<Ti.Wf.mGa u n tsj-eaqrfQftrjn

sear, ^ jpqnfea up^iflentssanuSearm etjih eroi&Sp

e r a t a a i a a e S e a $m(Lp t h eff&piJJiBmetfleSIq^fipith

G t h p . f i q r j p $ u u n ® p e a a n e s r S p e r o t k S p a i L t —

Q p s n p e n t u s - e a e a a m e s r i h Q a i u e a p p ( ^ d m r e a p f f i e a

j t j i s f - d m t s f . G f i i B ( S e a p r s Q p r f h u e a q / j S p p i , (§)u u u f . f & q t j p p p s a p , 7, u n Q G e a r t r p t n p t ' n l a r f i p i s

^ r e s r p e n p Q e a e $ d a n i L u f - d Q m n s n e n G s a eratsr

i 8 8 s n p p p j>iuuuf. f i t — p f i t ^ S f p p uh, p t f p p efi p

e a r e s r s e n n e a e t D t h u t ^ d m e t j t h O s a ^ i n r e u P d m e t j t e

u Q S p ^ e a S s a . p t f u u L L i — i n r m t n r q t j p i u n ( S

e a p p p n sir d ) p e w T S S T S e r r Q a i u a r t i B r e a e i / i Q d as,

e r O i k S p p e n p m t h Q m t — i r ^ , u i r g p a ; i r d a ; p p ( a j f i p

eDtfi erssrj)i sSpeuneBis&r i8airGi3i> u&iisnuP u 6 T p S ( t r f i T s e n .

( 2 ) etoneu/iptutka.'fisn eptLuf. erostiDUs u j ( S e u ^

jjatij strain utr®eiiffijipuif erotr pi/2 piutkaiSsn

^su tS d t^u i ^Teutnkm stra^eotrupfihfpLn, j^a; § )fip qpsst J)je9p etCikSp Q a tu esifiu S ^ib ,

ntratSdstii QaiUiutrLneBq^uu^i &irgs)t—& erotkiSppf&m ^iue{L j. ^gyuuuf. uirQeuempGiu

e8paiireiraeSek UiTtUBd sd G a S se ifle i) fititis

^ s s r f iG p n js ih anrststsreotni. s t &lB&sus Q&ii

eugs e&peap 0 anpai. ® 0 jtfsn i—iLirefiii,

‘ fftia ^L .L U U $^W ’ tsre itSp G fird a p sm p .i

etnadGlfiir esart a,tr<sst usssteiv

a/snjtb, fiestt—Q u j^ tiiG u irp p eUsiip/oifUaLUjGieP

ppib, ^n tT iu d Q Q ftu sa g n h ® d p n r a iBar-sr

e f f e t p i u G l d .

(3) sra ^ go.t up filed ‘ preanit ’ urdpei) oratr gjnt'n aifpiapssi p di psnfi ear sen OaiutL/in a&G&tfttfiee firth aresmeorth. 4 pretsTth ’ m ® su pp erdareopjS pptis eQ pear err sen urtsf-Giu suff(©0«ffl0>/r«sfr. (^© so (^uQutq^ ^ i ptfL r earnr 8dQainem(9sp(if}@p jp eaq fipppr,a&>.)

(4) oipeanetmssr eimtpsstsrpenp ptj ea n

ueoeaeS u n ® te G pna^en iudQ anesss® tenth

128 T H E JOURNAL OF T H E MUSIC ACADEMY

fu . J>!&> jyau®0B)!—iu fifthse u p o o p Q e u e S s s m L ( B L j a Q p m & i U L r , r r a r r g)£_ti.u s d e d e B i S p s u s d Q & i u e n & u h , p r e n p g p i ( 8 j

e p p p u u f - ® ( T f ) p p j i p u > , e 3 p e n i r ^ p i s m i — i u p ^ i r e t i r p

a n p i L j i i , G u t e d i r a r r e r d i k S p e S p u m ^ a n t u i L f u ,

s i Q p ^ m m i r d - Q e i i p i T t ^ i } ' . u s d e d e B u j Q a n m ' j Q e d

G & L - G u i r i r LTsarzi m e i w u i J i — iT j p t u s t r i m s u L ^

67pt-U_t_/r 6d, jijetieapeutTesr erbmiwp (uan

j i j e m — i u i r p s t i 7 s r a r r u p r 3 0 Q p m & t u j y p p t r & a f i ^ 0 ii, S p a r e d u e d e d s Q

a9s3r o p s Q i L n u T e s r u r r s t i . p i r m u n e n u t affsn) p i f l m m u u G e t i J f P i i , p i t 6 t t p p p t — e s r ^ S s a s r u u ^ i i h

e B p e w r ^ u a n i — i u a n m e n & p f i t e b ^ ( t ^ i S f p p a

e r m u ^ i u e d s d s B u r r Q s n s i S s d p r s t i r m d r r q t f i u

Q e u s S e u Q ^ w . u i t i L . ® m ( 8 j p r a r u t j r j e n Q i u

u t r e s r ^ i p i r a r r e r a r r ^ ^ p u t , p i r e i r L D u r r i L a n t —

Q t p u Q p f i j j r j s m p .gjsrar® J t j a n p G u G e d ^ t b

m i r u t e d i t f - m m m s d - i — t r gp. @ R p e d e p a j u t efip e n 7 s i n

m e t r r r e d e r u G u r g p u t m e n a S i m u L u L ® e u i i ^ Q ^ m

S p g r . e 8 p 6 t i p p e d u /t l L ® i9 s p r e c u r s o r g i ,

preiriit ap0 gt/bsiit ^/rajrf <si sk jpt c t t h b S p eSp 6 t i t r e k s 6 k O m r e o e n g p e r i m i g u i .

(5) S s c e d a n p u r r i L Q k m ^ n j u t , g i m m i — i r m

«lefljiii, e r D m f f i p e Q p 6 u r r j g u & n i — (L l

m m G & i f l m s t f l e d u t r i— u u Q S h p f i e b d e b . s 8 p e n t r e k

m e n s t o i b s ! p p { S o a r G u s k a n u i i L j u t Q s e r r n e t i p a n p

i L j t i i e ^ p G p S p g r p i b x g n j a i u — i u @ to r r p s s t p ,

S e d e d a n j r u r i L \ B m a r u t t Q s u f O l e o e - u G i u i t S p g i ,

p i b m e b e t o b & p jy® p e r s o n p p p a s u f l p g p m

O m i r a r ^ S p ^ e o S s i . @ ) p > S e t p u u t i r t u j r j e w r m

g i t & K t— p a n p s a i i u ^ G ^ P ^ i B - S m a i i r e n g i , ( f f j s m p

a k . p e n r e n g p e t D i b & p p f i l s k g > / i 9 e t i ( n j p f i i i a n i u

(2®r.s0 u) «rai0 <s0 ii> i S i u i r i L i u i r m t r g i .

( 6 ) mrr(SB)L—m etPibSpmmmGmiflmeifled umm

e t h r p ^ i u t b m e k u 7 ® G e m r q ^ m ^ 6^0 g j g p s ^ e d

m i r e t r g r / g p e n y p S e s m u T f s ^ u t . j ^ s n i r m ^ m Q f p p

prranmiuirmaijiii t s p Q f j G u i r g n i t <§}ani—t u r n e d

67 p u l ) p prrui jji/ti <§)(Vjm@sk parr. GmiLGuir0 3 0 jya»au«6rrg/30Oii)ff'iLjii erotb&p fa s t is pu t g tj^m iflm ^ ti, (tpi& iu GenSsdQmiuSpenir

3 ^ 5 «0 t i e-perdu s p a n p ssniU Sti.eSetpuJuu tu u n p n fisiriLtq-iumir&Bfijtjrpfisti iSqtf p tb m p a n p u ijp rfl G u fL L Q uirjp i9sir6U(Bjuiirj)i er(Lgffi&t7f)a&(n}ir.

TftcT^t Jjftnrir^: i

^ # tc T $ n fn w t VT%|nr: ||

(gftpsk QutT(jfjsn— ‘iB/Ttjpsimiii em rSuueni a nsf mired, .jtjiSietuut, QjskarrQpskjpi Qpifiii gptit, etBibSpppleisr uirmiiom&r (g^ssranQpskjy

Qpiflikjptii euir&ppT6d, eredevn (^assrmimiei^ut OL//T0/5^i9030ti &>ir3ut-l fJSStmQmT&TStredrut’ sTsstupp. erbeasretir piUiam&ntu

u p fliL ju t iSlsketjqTjuirjpi GTQggpSiqifir.

fsrfasr %6r ^rr€r TftrTfrf T ' I

55*Tn I fn<rt'?T^T¥TI^4i VT xTx T |

9T^%?nftrTT^ m ix xT^r II

Jtjpstr Ou/r0 str— ‘ a 0 erbstiu etiTpiuiit ero-kSppemp .fijSPisroSp^i <^Q^mmGedessr®Lri.

•&l&> (Lpzkjpi eusmmuuQiit. ^geutii, ^|6B)I

Stcbli, 6^5U), STasrugp. ppStiUt eteirujip eoaju>t piretrii, u p u t , suit smut, tufi}, jtjg ifiB ii, §)aosu mdsrr eSeupuiitm Qsneifl u u ® p ^ uiriU B uG ur ed

6uir§)uupir(3jut. M6g)ia3i Quart u pp aririuu uinLanu- jtjgpisrDifl p g ) j y ppGutred f}p£P ew tQ uujpi «g 0 ti. g^aib steku_gj artmGended

^7eto^iunLjuif jpQfjpmiredut tBQijfip S p u

i3jrGiuirmiamGeirir®uf uirLL®m(gj etOiluespiBed edirp Geudsbm^i—gpiu ew tQ m auuQ ped ir^u ',

ew ASp eSpaip 129

8omi$i£ (Lponpanuj^ 6uiB$<5a<§iL $eouCjff25OTra56(T.

Q aT^& isTetTTB S e c erOikS pTiSm TeaBsar

kldjp a t ^ f i s e ro m S p p fiic S ec S irfiiqrjp

p i i s e n Q & tugj « yanp u uecuu® ppG ece& t® tii

erearju SSssrpga S e c e9e>piuiks3srr Glaskl—

&eifle9(Bjii&i Q s .T e c e S e u ^ S ^ T s s r . eDpeureir

s G s t t eroiAi*} f p T iu p e n p lavpjp ieug i S ojitiu

meceoQaisirjpiu)f s t m ^Bf erOiiiLApiSiiBsd eresr

j j i t i , a irfihpgp euQfjSfflir*sen, & tr 3(iFjpp£

s t f t s &t jijswr lastt e c isieOeceisrem p g iL —esr

O s T a r ^ )£ p ii i Qpuf.eBec jtjjgs erchSppgF & Q

Q aQ ^eatiu e8$stre8s(ajii> eresrjpi eBpeuTesrseir

it s o/r t

jr j f i ic QppeCTevgi uQ iruSsm , eurflik gp&o.mirafi

U T ® a i^ ic e..eirerr S ec eSe^aJiBS&r

erOisS ptA u i ( B i i e c tp k sp fB ie Q sTem® ecF

Gsi]am®LA eresru g i. §}isp jj\ iS uiS f tiu si

& ^ 5 & G & , s i r ^ ) i s eto.wSpx&TFT&dr

^esariksT p p p s r s , jtfojirs&r d iq-euirpssTF ir

■®6rr, s T e c p g js (S ) ejppsu/r jpi LATjppgp&Qf)

g)i_/i Q sir® ssT p sc ir se T , Jtji9eu(if)&f3 G is t s

<slc pev/raen , erearjpt upueCLAT

G p ra p iA e^rfieaqjjSoyTseT . £j,$T)se erOmSp

e-tuireBeb tB e p iu p sn p s ir s e n s Q & iipTeo

fBpsiiTsirseiBeir ^ ii9 ui9 ftiu u > SiUTULATear

Q pesrG p eSerriB(^u>. s i r ^ ) i—s etCmQpp

fisbr etCLA&F pTU jpfib ic, f t s ^ si) ir u ii, prennA u T ® p ec} erBaiFtluT® pec^ eroiA&F

pTiiiLATSU ueceeeB u ir® p ic J ^ffliu @)isp

euipa&ut Gecjpt e r isp etothi9jrpraj erotksSpp

(3 jpiiit (gfteOeCT gp ^ ^ soldlLOld e-erren g i

erearu g lUtrevQ^sijtfjiA Q p iB isp edeptuiA.lisgerO sT esB erO ikSg iS ic seaBiUTem j it s

^ e C T u i l , p Tennis u t ® pec @eue8jrasir®iA is la

erotiiiUjpTiuuuuf- Sesst—iu T g . ^ g ) | i i i i i 3 )(J5GUU u t ®usG u t g s p G p p a le s t p iu is la g etOLA&p p T U p s n p p(tgeB esiQ^esJgGuTic sre m ru

u ® 8 p g . Glajjyii j^ecrser un ®ia jjtsS oc

p T f pessp seuesBppTec istiQ-ps&t—iu aoetiF

i^TesrpesspaQaTesm® gjesiTa&r un®us f t &us

tgBesrenrQpenrjii tSir6ssri3sa sp(VjeuTjpj @iug^u i.

f t s l Bsf l a e rsn u em p jsjssirrsan Qu(jrjiAUTgjiiiis

G pTepQussirjpi &(irjg8p£3ec?ls», p t shtla

UT®e c g @®0 lat^ iB etOLAi9jrpTiuLAirt3icflso.

G iA erpT a ikam , tgsiriujiT&ikxsir, a Term

^{eiiGBTeuDsSsnAui g)«»aJ*&r {bIlL i latij

erQgfSiu &n&of§ijj nerdp&iB&GT jjja iT seS i—us

(§)icecTp@gij)ic, ;jtljiATsk utr aafciGi— (Mr. Bhatkande) JUjeuTasfr (gfiispi 085>peniu M s s

s i r ^ A - s eroikS p sT ero ^a t-j^npmMisSairs

Q&Te&r® Gp(i£iEi(9ju®P'gisuGp evrilis jperiipTsnB

etcibS p p S i c stL.® u tlL ss>l- 6 rp u ® p g iu )

srmjp SecrSut-igiL—eiir, ‘ 6\)a^aj 6(UiEj^ ii’, ‘ fyiJiBjgsrfi fTSBP 6W)ihj ^ eTsbr&vti§)jre£r® jpTecsflsir isthQ tsrs& uuuf- ei(L^^liLjerr

effTir, ^ fs Q e c <sp(Lp£>(9j u Q p g j s c p p ^ p/iQis sierc

pTesB M ,B $ p p $ $ q F )iS'Pi isrth erQp&iQ&T&reir

Geue&ity-iujp ejieir jjilB sc sC tsrsarjpi Qpis^e^

QsiuiuecTLA.

'gfrgyic e n s p s s T Fetor pan p sQ sT sssr® islala

but o/i9 is siaCpTesBeny’KiSp JiSeSlLTBis on S ec

e9esp’U!BsSsrr er® p^iiQ sT& renG euem ® QtAskjpi

«Becm/r)iBss QpBFecm^i(i^mS(irfTseT er esr JF

u t t u Qu t ia . @aJ/rasrr isicec s-irMFQpsneT sqjti3

seiBi—iB(TT)iS'gii sQ ^^ecuiATesr S ec f &£} f t s ib

sstBecuTuf-tLi U TiLeoii^i GslL® i^ is p p u u i 9 u

FTajpemp pij&err eSnisun r F p S ic b- u G iutSU

fli©(»?/f«6rr QuTgpLA, p/rQispj&t)pT6iiB e ro k S p p

£3eC SeCFT&iBserrpTesr f s /bI f t s i b s s t . LAp

j )ila Sec f t s i b x &t erv.r pTFessr f t s ib x s t iSLApn e n ) ,B ^ p p ^ ^ i iA jtju u ^ -Q ± i. uir®@pecir serr <§)isp FTm G upiksSsir j ^ S utlasc u ,t® eufigs)se Q sceu& si <§)isp ufgblla e jpulL® , o/rflis siero ftsbB emmfs &LA sir (5T)i—&pernp

«0<_ QtAeCTssr g>i erebrSp puQ uenrem LA

GiAecTuf. ecisp^esrQLAsc jtfeuirseir &irfi>(ji}p

p p e n p u p f S u G u s ^FLAt9pp>eSLLi^Tiiseir.

130 T H E JOURNAL OF T H E MUSIC ACADEMY

e B p e w r e a r s G e r r e m r r i v p e n u >

p r e v Q e O e r r B s i r a ^ n j a n i — a j e n r p p a n p s a s a r u j - u u

j p i — a s r @ i r f i ( n } p p p f i p ( 3 j @i_ti Qa/r©aa/r u > e v i 9 t q . e n r p L c n r i i i e w h j p r i r e r r r i r s r i r . ^ s G e n

a a Q i h ane?i)gTfflifl en>/i > @ p p f i t $ Q f j i i £ p i s l d j p e r o i k S

p p e s i p e - t u r p p e r r i i e S e p t U Q - p i n B s m i — i u i r & i

eT6BTUj£S

j b t B p p i r p G u r e o g)sarO@)0 s a b j l & a i r j r r

a sir, (§)«5rQg90 @ ) i — p f d S r r r j i h j p B i r ^ Q ^ p p i b

K i — p Q l B t — e i i r u i e r e a r j p t S S s s r a Q q y i r . f g G j n r u

B i u i r s r i r u t r ® u > e r v i i i 3 j r p r i u p £ 8 e B ( T r j i k & i S e n

a/fg)(_« e r V i a B p p ^ e i e - r i n ^ x t l . u f . )

p p t h Q & t u p i r e v t e e v u .i e r e a r j v x q t j p i B

( t t f r s r i r . < Q ) g D f 8 ® - p , i u p s s ) p i s i r t i t j r j e n / r x ^

a n t_t u rssoso e r s t a r a s s r p a n p e_p G p B p p n jyar/fa ^ i — r i r r s e o i i j j $ & i r & s t na Q & i u t u G e n a k t u / - t u p p

jyaiBaJUiirSp'gi.

a/f,«3)i_a e r D i i o S p p f i e a r j > j ^ . u u a n t — t u s e s r

p i r u n i i GldguI L (Melody), J ^ p r e n p i r i s e n n t h

s S s t r Q p i r ^ f f i s e t r i r s o_aaifla0 u)(?L//r<£7 e - e s s r

t—r g i i l r i v e n u r r u r s B x e r o - o x t h ’ e r e s r j p i Q & i r r i )

e o u u Q t i , j r j u u i y . e-aa/flagtii r i c e n a r a x e t f l r i )

s p e a r j p i & Q s / r e a r j p i e - r i r r e r r j j e i r e ^ s r O t b u i s p t i , x i r r i o

p } i n k & e $ g a i n s s t e r v B e a r e i i S j g i t h (Science) f f i i r a s s r

> & & f s u u L - ® e n 6 < r j p . ^(Ktjso gg Q j r r r u i 9 t u

e n ) i b Q p u n gpgsu/f p e d h u i r t u u t r ® s n g p s r s a r u

a n p G t u p B t r p p i , e t t u n x i r e o p p S i e d @/rswr®a0 G m a n u L - i — r i v e n j n i a s S s i r e_af f l u u p i r e o e - e s s r

i_/rgii em~os sb> j r j t s f - C i u a n t — t u r r i n

G s r r s s s r i — p i . r i v e n j r i k x S s t r j y Q p p Q p j p

p . & & f i u u p t r e i e - e s s r t— t q l L e r v ~ ° x p a n p p p Q g

e 8 t u h i t s e r v i n t H i r p t n u r n Q p x S h u m e s e o . j r i r x i h

a/f a)t_a e r O i k S p p ^ e v e r n T e m u s e a r G u p i k s t e r ^

I— e a r e n e m r k j p e p i k S B Q j j & B p p ) . < § ) s t n p a x e wr® QmeimirL-i—trir&rir jy f f i& B p p n h enikfBq^&B

q t f i r s r i r . 72 G m e i r x i r p p i r s x r i r t s u i B t — t i

£p/E7&ii90<s<s, ^ i j s n i r s e S i — u i ^ r r e s s r G t — a s m x

srir GuoggiT(?i£>iul (Major Mode), 6roins5riT Gininl, (Minor Mode), sprang) sihauin LHraSBTlh, . aff«ffLJiP6D)aJ, ®iip ©jsabr® j/ra® a sir ptr air jtjgpiripi—iresr pfglei) e-rirerrpr. «gig)so erv tkS p p a n p j) ji9 r ii(^ p ^ t Q<?tutuGenessnq-

j,£rTJ7 6(U6iJffumpipeo ereirgpiih iLji ffianturi

aessr®i9uLpptrirsrir. ©p r sflaaoj/Lcra uihuiroJggL-g) J'efPGLGgBrL-CTb j p a n n p j e n i r x r i r

(Mr. Clements) «70i)iu90a0ii ljr io p x p o n p

L/iy.a0iiL/iy_a0 jtji9uiira^xSsrrx Garl®aQ a T e r r ^ Q G p a r r .

G L D g a u s j > j e n i r & i r g s ) i — s e r O i k S p p s s r p j j j S i u

jr jp ireng i v irsG u p iB B S strss irem , Gmri) istrtLi—tr

g a g erVirLDireariULnss erorpa juu t—irQprirrjviM

Q&irevgpQqtfrr, j>\gre>\UirirrjS ntrm Guptk&dstr

i8ireasru9aa s ir ^ ) i—s ervikSppfillri) ULpBkjrirer

©a^tfj/rasfr «li_, ertxrLbireartuLDira; entrtLiikp

en its err it s jj^gaaa *_®ti eTearuss>piLjili eroiiGp

QiQ(rtjir, Q jfip envibpirup^gleo e rv i£ u p ^ev

L_aai_rr (Sir Rabindranath Tagore) jyaJ/rag jag ii e - e o a p f f i e v aiu/r©Q u p p , uS60T6iuu2.65r (Prof. Einstein) sr«ir/DerVOJsarsn) e S p e u T j g p i i ^ i i i m i — i k p e f B L b u i r e ^ c k m r

uQear erDTjrirti&pssrp Kirin aaisaflaa(?fiuajsr®ii. <§jie^iu erVikSpus, GmiviesL-® &(Tf)fillunrppen

ersarusatp pnJrpprireS jr irsu ire n p a n p i

Qsiressr® lei—ik g s sugar^argii, a/r^r)£_a ariiaS ppfidri) ulqS ear sn it i (3 j GmeoisirLUB

erois$pin ‘ Ouiftiu & p p p o » p & Q&ili& i

irtr& panp aarsaflaa qjsisj-UiTLLev Gsil-Uenann

^en$3$£~Q&iLigtl e9G)Qp'Pi,> ersarupv J esuit

j>jt9ui9jrrtLiu}. ^ s G e n ^ G m r u B iu ere ib

SppfieSQ Fjisgg isinp i eroikS p B itfd fv jp

p p $ p ( § ersstpiLjui G&t &s (tpi^iuirQpsarjg^

Q & I T 6 6 £ p t i > e Q p e n r r e s r a e i f l s i r j r j d S u d i j r i r a J i h j r / i a S

& i f ) £ x p p £ s g i . - ^ x G e n § ) i h p B i r ^ Q ^ p p f i p i h

e r v i r p ^ i U L D p p p i r ( & ) t i i . r e i r d s t r e r V B & p p f i e i r

& i f l p f i l j r u r a p a n p ^ i i r i u G e n i r i b ,

Qsij,ii]&t—Lijl$i£l6ir sfictsmiuiTa rru'jd^l

■JQOTDff USOT 19. ^ S. *Ul9irU>68BfldJ fftrsfb^

f i i n g j ero iiSp $girme9dr (Journal of the Music Academy) Qpesr en)p$@eo>xu9ed & £ \r psasiuj-u t9jrsrSlea>&u9ear&> Q ppedredgt

e S ^ ) u t3 ir s ir soar p ^ h u 135 a G ear amixBsrr

6(uibj#^ efumrnLfl Q u s s a r g o i i l s @ ) e a > & j p r e S p

a e A r i — u i p G i u Q e u e r f h B L - t s j - f r ^ i m i s r e a a r e d r i n ,

j L j s n e u e m — Q u t t r y $ l u i R s n G ( r r j r a & d r j £ l m p p s d i r s

(6ija0 tj u a i d r u i — r e a t m u p j S j L j e n p p S e s r p r p

L J i f l i L i p e a t p < $ u G u r j p p i B i f l e d e u s t n j i i h p $ & r

G e r r d r . J t j g P e u Q ^ u t r j p i :—“ ^ e o iS iu u i fS i i ^ i G p ir iip S p iS iu re o

i$£<xuljlL l-G p r /r eS^saatSdr (LppeQjrem® i9 p

pSsirp p ik^xerfied lukpn&ptl.^pss)p]L\LL uukpjr

u^^L opsm p iL jti), m p p gJjaOT® 8-0 *0 ,■* pie

^ IxeS ed u ip^iuepLLsgpsnpiL jtli Lnpfi$tuuipj3

aJLDpsmpiLjLh JtjeaiLnppd) Gstieaar®d. eQedruL]

ppffigpi'SfretT gpsarjpi e-Q ^x(^ppie^aSsrnL ju t S ir

uDLumiip p tres^Llggiii m p ^ iu u ^ a u i ih m pfiliu apLL^ih <sreargDiLBeup[Sldr ep$Qup& Q&tiipeoQp&stpmrLts, ^/li^psiretopiLjti &(Tfjfi(3aJ5arjpiti>

tk-jpiaiir,

“ g) «sfl G L D Q ^ s m s m u Q p ^ i i Q sm m nLi

Q illUB&x Ssit ierear(aj p i e ^ s ^ s r ^ L A Q uitppstirx

sns>]p^(t>GevrLb, j>fidpjpimr Qppsd p ie ^u S d r

seaar (LpunpGiU ( l ) x -p p S e ip u tit (2 ) m p p s r ie

p r a m (3) etorprjreaarsTieprjrm (4) jiftkptr

x n e p r n m (5) -sr p p m p ,® uJ m m (6 ) a ir r eifl us p

ffil<umm ersorsBi^satsdlLjmf (jj^sstmri—r&ipp p:hp}

uSdrxeaar ( 1 ) or p p e n peu p u t (2 ) a r p p S e p r p m

(3) a n x S & S a p r p m (4) x r x S S e t p r p m (5)tcp^BhuapL-S’iii (6 ) a rp p fie tp u m er d r g$nB eaten

iLjm, (tpshr(rtj>£iipp &ie£lt3dr seSar ( l) x -p p fle tp

u m (Q) m p p s n e p r j r m (3) erorpr peaarsnepr

jrii (4) jtjiep rrarieprjrm (5) x p p m p ^ i u m m

(6) e t i p r e S m p p l i u m m ersargpiLB eatsiiiLjm, lerdr

xretipp p ie fit f id r se d r (I") e v a r e S m p ^ tu m m (2 ) upr,xm m (3) &p p a n p e n p u r (4) a r p p S e ^ r p u t

(5) eotx§l&ifiep.rpin (6 ) x r x S iS & p r p d erdr

gpiLBeatetiiLjm jtjsetmped erpLjsati—p p r m . @}snp

pvdr tererrmrengi pisphfipperreir srxeG iS& pr

pppp£(& )ifhj 'QQTfsugi Qmtl.(Si(VjLn3eareerr • erppstirjp i 6TQ£ Q m tU SixSsrrjtjeatm pped Getisur

®<i>. Jtjsupjii/srr pirnopt-Igg ifletpu a rasprjrm s

(®5 «0 (flaJ (Lppsd (ipohrjpl Q m ild ^ X X ^ m

e S ^ ) p e A n —p ^ ld n E ^ > iSerrmrxetjm, m p fiiiJ

ujs^& ld e n p su p iSetprpw&^nji(8)iflm Ltpsmpaj

M«ir0 Q lalLQ s x ^ ia eS 63) petari— p f i d r

t& p ssrm im u Q u p p i$t~.p@led (^LLem—iuiriLjui

^ Q ^ p p e d GsuestorQu). ^ s t ip jS d r aem —Sl

u9sd jt i f f ip T jre p iL isp jp iQ ssB r ge-f 0 lL«dl. iu it ear 0 lcl1®ui GeueAri—Uu(Btis. Qjatjb

jusrr ^Q tjupp% 1168* 1—<redpirSitu j t j @1 p r jr

eipL-tgpanp gjso i &juqp staririiGprit j r i ^ s n iu

GensAruf. e rQ p ^ is O s r s r r Q ^ T x s r r . grppGmsir

Qt-Dsargpim ^deS8smrii9eiir asm t—Qu #tlL® Q m tL .( ^ s s ^ d r eftiL&'kxefiassart—gpt&Qjjtii

m p igj]x(3j(ipderr Q m tU Sxxerr ao^snoriL/arefrear.

iflep u x n k p r j r ldp o ta to estpstip S & p r p iix

(srrjigjtfhu m p ss tp jj fQikgi Q u n U B is ^ G m *

J>jiip jq ik p i r r a G u p i B s ^ i ( ^ e jp p a ir jp

^ i —Eixfeir LdTpf& m rpp fl ettsuxsuu(Bu>. eroded*

eup snpj_jm G & irpguu UTtr£(8juiGLJirgp iSeir

mresr QmiL(8£m&r epdruggm (&)LLe9u—ill rear

Q utiU Ssse ir £Qihgpunr&iarpsai. §}uu i^ .iS (j^u

Ujp 6T3>rnTaGLOofTffS3535r ^Sesrp&i.“ ^BfflsonBsirpSx s r x S £ e ip r p p ^ ix ( ^ iB iU

O ldlL Q x ^ u l9 d r ear it a t-pp afl® 0 p&osuinBx'Ssrr

Gedeaari^-iLfiii ^j^lprsreip idM psaLp Geusaariq-iLjiit

e S ^ )p e A r i—p ^ s a n S ^ Qjik&i Serrmrsai Q ill1 ®<* scbrru-jLA, i^t—p ^ d n S p i ^iL&ni—iurear ertlj$

132 T H E JOURNAL OF T H E MUSIC ACADEMY

Ot£tl©aa3srriLjLo e s t e n p p s e o e r e o e o s i i t G s i r i g

/ S e m i — Q m i i J S i & a r u f i Q ^ m g i i t , ( ^ i L e a t i —

Q m i i . ( $ a x & r e n l S B m s S a n p s s r . < g } i ' j u t q . u u i i .

l— g 6fUIT6UI7IT«Gmen622s3OT ^ f i a n p g . m

ssrti @ 0 a U 6 B )«tl'L/il/_ ar^^(eUiSITGfi2s55Tu96Bra) < § ) e o x x s a a r i i t e - a n i r i s u u t l - i — g ,

“ @*,i® e S S s a a r i S G e o G i u ( t p s i r g r i o p s a n i k x & n

i L j i i u p f i i u ^ ( T f j u p Q p s q t ) e r O e n m n x g r ^ a i Q

( L p s n e n < ^ i — i ) x d s n e S e n i f l u u r i i ,\— ^ ® 0 m i p s

e t p i i - f g ' 3 m m g ) ) i i i ( i p p s o p i f i t Q e i u t ^ s m u t

Q p p ^ i u s a r G p s a n j p t e n e s r e n s t B g x m , e t p . i l gg i f l e p . u a s i s p s j r m p f i t u m i n s e n m s p f i s G m

e r ( B p g & Q & s e n e n u u ( S 8 o n p e a r ; m i p n u ^ s m

Q m s k g B t i t § } a e a n i — s e n g p i f i u 9 e o m p f i i u

s^tlggii ( i p p e B u s s r G p s a n g Q m e a B g u m ,

u j i h j & L D a r t p a l p S e p t p i i m e n m s p f i p G m

0 x s a s e n u u ( B 8 m p s s r ; ^ a G e n m i p n e r o p s e s r p

f i i u e r o u p e r C e u n t k a ^ L c t a t s t h — u u t l u - e s r .

u t p f i o j e t p l g g O m s i r g i i m f y t m q r j e n g p i s f i u 9 e o

m p f i i L ) m p f i i u m i i t Q p p S i U s s r Q a s t t — U

i 9 g m i e i p t - L g ; i f l e t p u x s i p s n i h x e n s S t u § } i i

Q f i s i r j p i G m Q x s e n e n u u ® 8 a n p s s r ; m p f i a ) m p

f i i u m Q m s i r g i i m i s s a n x s e n g p i f i u 9 jjyii m p f i i u

U flt ly& m O t ip S i lp 1$ Gtp.T IS p S S x Q s n SBT £ p m IBS adf(d)

e t O s n j n k & G s n Q s s m e n u u ( B i i t ; @u/-/iy_ m p f i u e r o

p s e s r p f i u e r o u p o o s n m b s g n j t i X T i l t — u u t h r e a t .

j n j i p i s s a r r x s e n g p i f i u 9 G e i > G i u m p f i u i B e t p r

p p g s x u u s g l a r e s p t r j r e p . i l . f g u i Q p p e S u e r o u

p a o s n m b s g r ^ m 6T®p g i Q x s e n e n u u m . G s n m i p

j n i t Q p p S u Q p d r j j i e t O p s s s r i k x g t ^ i i Q Q p f i i u

( § ) ' W ) U p Q p r tiF ) e r O s n a n x i g r ^ m 8 a n i — s 8 s n p s s r .

$ ) s i ' i 8 ± i ( L f t e s a r r i G p r s j t / f i p t r n s p i i - r g p s s t p ' L j i i t

n i f i i x s x n j p u s j r . r t Q s s i s ,

“ n s n s s n i t e r o p T s s r n s S o r u u p f i u G u s i i t

G u s g g j g m i p a e t p i l ^ j Q m a n g n i i Q p p e o p i f i

u 9 e o j > j j p u i i i p i r e p i L . f g u i i f l e p u i i s n i p s a m m p

f i u m Q m a n g u m I B S 5 s r ( 8 j e r O e n a i B x g f ^ m , j t j g m i

p a u g ^ s m ' S m s i r g u i i ) < § ) i r s s s n ^ s s u g p i f i u 9 e o

j t j g i m i p n u f s ^ & i n t i t e s t p a n p u t S e p r p Q m a n g u m

Qpssrjji erOsuniBxienjm Sssti—s s G e u g jjrn m ip a st*

psesr p f i d s eroupdoaiBthsgf^m 8 esti—p g s 8 i l

i—6arQ enangm t m ip a e tp ilfg Q m sirg a m g-panqrf

eugi p i f i t S e o u tispnepiL fg iflepu s it is p tr ji in s

gnjiMt m ip a m p f iu m Q m a n g u m isssarxsenjp p i

f i tS e i m i p a m p f i a in u g ^ s m est pen p S e p rp m i

se n 8 ani—p p ss rQ e n d rg m t ^ s G e n m ip a e ro p s

i s p f i u eroup&Osnaikxier^iit 8 soil- p g s B i l i —esr

Qenssrjptii uiuaiTff ffruaiT LotT£$dJiT a s .g 8 ssrqf}s.

ftp sir (rr? eng) tit is ran siren g m s s s r pisfijseifleo uns

ptrerO presrpgis 0 /fliu erouperoemrinsdsirs s ir ii.

ipiuiSeiresrir g jen p ■£p ( 3} Gmgpeaen etoupaoen

m hsgr^ ii in p fitueiopiresr p dtuesrenr ptr jr stops

ispfiiliuesreur, eranjpi e8 ^)s tfsn irsg r^ i(^ m pfB iu

etopnesr p^iussrQ ensnqtfso p r n stops s s rp g )k (§

enssts ah.p n p u f- iu rm p G u trS p g ). p trneroprisp

fisiesrQeneir&Geos' mpf&tuerOptrasriBmr[8 p ssaO

p se srp a n p i(a j[ 8 u u g ) e-'-iis u/siBasrjS eB snrsm

Q s tiis n jp G u s 0ds(&)ii, ^ s G s n jt/enir ah.pjp)

i S p p p s i s S m p j p . isn ii ah. j f iu G p (tparrjpi erops

is.nsBstriLjm ( S ) tS u u p p G s p p p s ( s ^ m . tQikmssriit

@)so&8 iL)panp jt j jp s ro fip g i S tp p GLD6fTeS3s35T ij9sir § }sossesarpastpx ah.j& Q puf-pG psm ,

“ @«5»f) ID3,$\D GlOSIT cfi355ST\lS6BT

e a s t p e s t p a h - j p i G e n r i i ;—Q p p e o p i s f i } j t j j p m i e p p u ^ s m p G p s ® m ,

G f i n e i s r u . a e n j p m i s p n e p i i - f & p G p s ® i i , g p s i r q r ?

e n g m i p s u g j j & m p Q p s Q i i , r s s o n s T e n g

m p 8 i u s p i i - t g p Q p r ® i i , e S e o r u L j p p e i

S r p p G m s r r p j S i u s s t s u G u s e i n p p i s f i x

G e n s Q i i a h - U f - i u p s i S d r U t p f i d i Gm6tTeS3S5!it iL(/r0 'j', g j j p m i s p s u g i ) & m O m a n g u m Q p p e o

p t s f i & s s r Q m i U B x x a r g o i t S s m m s i u

( l ) s p p s s t p a i p u t (2) s p p i S e t p s p i i i (3) e s t m

8 x t B e t p r p m (4) x s x e S i f f e t p r p i i t (5) m i p s

e t p t l - t g m ( 6) s p p i f l e t p u t i e r a s g u m e r O s n j r i n

s g r f i i , m i s p s r « t p . i l - f g Q m s i r g a m e a s t l ~ s e n g

p / s f i u 9 e o ( l ) x p p f i e t p u i h (2 ) s p p s s m p s m i t

(3 ) g i o t p r n e s s r s s i p s m i t (4) j t j i s p s s n i p s

Qaikai—ioQuleir egHsaanuirarujrS i3 3

j»ti(5) » p p LDjgfijuJLDii (6) aurreifl utpfiiumiit e r e b r g p i L D e r d s v j r i E i s i e ^ i i t ^ m i p s u g j t & u i Q u i s a r

g j a u > f y t s k q r f s d j g t p i f i » u 9 e o (1 ) » p p e a t p e n p u t

( 2 ) a e p p i S a p r p i l (It) e a t x & l x i S e t p r p i i t (4) & T & S r S e p r p t l i (5) u t p f i j h u e p d s z d ( 6) x - p p

f i o p u d e r s a r g p i d s r o s d B i k x ^ u t , u t p ^ i u e t p d g g

Q u t s i r g p i i i i r s r s i r s r e d j p p i p j i & i n) ( l ) x p p

f f i e p u u t (2 ) x p p x r i p r B t i t (3) e r o r p r a e s a r

s r i p r a u t (4) j i j i p a a r i p r a d (5)utpfijliuuid (6) edarerfluip^iLiuid eraa jgad e k s v / T existed 3san -.3an psar. 16 r s i t s it s t i gt p i ^ u 9 ^ p s j r s i r & i n t r e f i h L p @ t i u i s > p s i & ( & ) U d i s k

s a r i r s a t s n x a u u ® d ( t p a s t j z a Q u t d . ® x a e S s o 3 B u t

u t r i i i u ^ a u t s a t p e n p H e i p r p k x k r S s a t i — a q r j d .

j t j p p t & f S u i G a p r B S t p d & p j p x ( § i ^ s i r u n r s a r e p r

Q u > d ® d , i f l s p u d ( i p p S u u t p s a t p u t y j p e f v s u

a k x i w j x q r j d d J t — p f & s t i j a 0 (-L«dl_ O l l u J B s

a & d , j ) { s i i p j S s s r l9 s i r s a r i j i j ^ p r a e p d - ^ g p ^ i i

s i r s e r ( f i r e d p r s a t gsf 0 <-!«»(_ Qu>d.®d eat sox

s u u ' B t l , Q m Q ^ f a j i s u u T e O e j j f i T s d p r i L j s i r o n

u ^ x i & p f f i s a r Q u t d ® i — s i r u i H s a r s n q i j

e d s a r u ^ Q < & ) s i r ( r r ? 3 s a r p s a r . $ s a j b j p i d p a n

s^ilggii, ^ j ^ p r a e p d ' s g d , u t p f i j h u u ^ s L D i l f

p r a u ^ a m d e r e k s B & s u p f i a n Q u > d ® x x s r r

K r e i r ( 3 j d i S S s O Q u p p s a r s o r d . u t p s a t p u 6 j ( L p

Q u t d . ® x s ^ r r j d j t \ i p j i j i p a r x p & i x q f y e r p p

u u f . L L i r p j f i l u r p f d e a t s o x x u u ® d , $ s u e £ 8 s a a r x ( 3 j

M e a u r t — Q u t d . ® x x s r r u p p u l , ( B j d e a >t_ Q i n d Q x

a e r r G j q g u t r Q s a r p s a r , ( § } & > G J & t t t t a i CpLOSfTeS%55r u/r0 iii> 6 S t G a s ) p e s 3 r i ^ p j & 6 0 S b i a i u t x l j u s i r e a f l

i t s i n ® f t e s a r i — Q i a d ® i a 8 s t r i L j d < 3 i— p f i } s o

0 l1swl_ Q l d d . ® a s e r r u f i i l Q ^ B ) > i r s a t p i j d

e r e o e o r m p i r n i k s ^ s ( ^ ( y a f \ i u e r e o e o a & v s t i n k

a S n r i L f d Q e d e s a r i i f - s b i s t i p ^ d i — r k 6IUIT6U jrnsCLOGflffSSOTTlLirTgjl-D. Q j p s i r s s m L? t— p f f i JJJ5TTSTTQ u t d . ® a s q m j s r r s a t x 3 x S o p r p p p g s ( & ) @i— i B s i r j f l @ p p ( ^ > d i u S e o r s s a r a e S S e t p r p p s a t p

s a t a i s a a f l s i r s e a r e a r S a S s k p s a r / r , u t p j p i d 3 e 0 i r

i 3 u . p p $ s o s a t x 3 x i 8 e i p T p p p i x ( S j d «p/f Q u i d . ®

s e t s u p g i i Q s r e a r e d t i t s s i r . ^ f s d i x k m p p f i l e o

d J i — p j S G e o u s i r e S rear® Q u t d ® a a ^ k e a s a r .

$ k < B s a r d \ n p 0 u CmsfTsS&JBTiljLii $ q ^ 6 d s a t s

iL j i — o r e r ® p g a x s s - p u u d t — p i , $ 1 6 p e £ 8 s a a r

u 9 ' S p l i t s p p Q i n s t r s E d s s a r t Q p ' j u r e o Q s t i u u i p e r i l

Q j t p e Q u sru p r s a r i k s S s n & Q s r e r r e t r Q e t i 6 S 5 r ® u i .

u t p f B i u G u t s i r e B S s a a r i f i s a r & i Q f i p s n p i f i t j a j p i

u t i p j r u ^ s u t u t r p e o r e o I 6 u > g i y a s a r j a e r o p r s a n k

s S s r r s ( S j f i s s L n i p n e p d ^ u t Q p p S u Q p s i r j a

p i p l s 6 r f d ? s i ' } i u $ ( V j u p Q p r ( n j a O s m r i k s ? e i r i L j u t

s r i i t Q s r e r r e r r Q s t i s t a r ® l i t . ^ ® 0 u > i s p r r a p i - L t g

( y t i r e r $ i r s s a n — r s i i p > p i ^ u S s c e t p d t g i f l s p u

S T i s p r r r u > p ^ i u u i k & G e r i L i s i r < $ u g ^ & i p s a t p s n p

Q p p s & j j s a r Q e u s s a n — u u t — r , u t m p j r u g fuQ i n a h r s p i u i ( L p s i r ^ s u g s p i f i t S s t i u ^ s u t

s a i p a i p t S s i p r p k s s r Q e u s a a r Q G u i i l i s i r ® p i ’ gg S s p u s n i p T j r ( L p p S n s a r Q a i s a a r i — u u t — r ,

$ a i s S p i i t u t i p j r e r D p r e a r p p h u & v s u r i k s n r s r d

i— u u d . t - . m . u t p ^ i u e p d ^ Q p m e i r s r s i r s r

e t i j p p « ^ a9 e i u t p f i j h u & O p r s a r p p i s / Q i l h u

6j(Zf e r o m i n k s ^ i h Q s r k r s r u u ® u t . e f i t s a a )

p a o r i — p ^ l s i r s s a t l - 3 ii9 f a i r e r Q u i d . ® q p p i n

3 t— p f i l g i i s r s t r 0 lL«b)l_ Q m d J D s a e r f l s o p m

e t p d & u t ( i p p e S i u g j ( L £ e r o s n n t k x s r Q x r e t r e r p p a

s s a r . $ u u t s ) - q p d r j a e r O p r s a r k s s t f l j j j j i l @0 u p Q p r q f j M s n i i i k s s r Q s r ® i s i . j u d t — s a r . $ a i p

j S i s r r u > i 6 p r a p d & p p i i q i j i S y t u u d i k t a t s u

jtjjputipfferosairiis^ili pmrsrOsuiriks^i(^ Q u t p u d t — s a t e d p r n e r d s a n k s i g n , m r l d .

i<$sue8L-p£Bjjput eroprsardieip'Upfiio, qppso p i ^ i j > f p i u t i p B U ^ T ) 3 : u t y a L i t l $ B e s r r i ~ r a i g i

LttipBepd.^Qput) qpsnqrfsd^i rarhpr u^s-utqput is r sir & rea ga unipBepdgg'ipuiruSqijudisir j i ju Q u rjp u>p fidi GldsitsSSswsT lit(wfotutsir jp 6 0 suf X* jp’sttpn Qu r q ^ i s p r e j Qs a r s a f l s t i 16 rear &j pis fSas^njiii 3 b utiitr tu spskeatpaSt— epskjp e - t J i r i p i e - i u i r i 6 £ i 6 p $ i x Q 6 d s a a r u ) - i Q q ^ a s ,

$B6aari—redpp ptsfijeatiuuQureo isTsarsretijpi p i fSeBtiLHLjut in i pBetpd&ixtr&Qai eatsduu^i

134 T H E JOURNAL OF T t tE MUSIC ACADEMY

Qurq iiprQp^rump um-t irextapnt\rfl6iirGsarQiU6srU£i. . xGeii itrtb ak.fi tu mrirx xGlb Uipfi\U GUJStTG5255BT«@flilJ Qpssrusnp Jijfi^r jtjfisnrarx.

“ fitrui ak.fi ujeurjv Qpssrjv eropresreix^rrjx (SjQpifliu @ 0 u ^ 3 fiTqij ercedntBx^njsr suitests (6 5 ( i, xriuxrx^njib , xpstr pssaru/-u9ssrxesar gtjd xp p x xss iss ufiQesiQipajr(-9jti. erQsurmfjrfei @)xxreopfiiLi ear p x r x s r er enG sor (t im ibpfiiusro prear p fi tu eTQg erosumBsSstriLjtl, p r asrvprssrp f i tu sr(L§ sfOeaaikx^srriLjLb, j>j f i p irn (Slot sir

enpiLjih untpjrsfaprgsrpfiiLi eaipsnp iSeprpik xefcrriLjLbrxu ufiGssrQf erOsuaiBxcfeir eu rp fi tupfiev enr&iQsisr pssrr. @ jd eaiaisasBxirxerrres xp i9 xxu u il.L — erorjresttfLbrirxxLbr(3jib. eror nss^tbr rx x p fie i) x pur passnsj. eirSIpfipp p (9 j L bp fiiu& oprssrp fiiu & npsupi& spritp ias

<er$srr epssrjpi e r p x u i j(Bsupireo Q uq^ llu .t^ pua

u f i& f* P srosusiissn ^ 8 s i r pssrQeussRgpnbt

1u©sO efli_/EJiSerflffi) e rp xu u (B 8 ssr p s a iL b iu r e s u f i

GssrQg stosuaiBxQsrrssiuuLLi—ssr. x it iu x ir

xGerrr LbXpnsroprsrrpfitu sj(Lg &DsuaiBx3oirsLjija,

Lbpfitueroprssr p f i u 6TQ£ eiro &i n rk x cferr

1L jih p ir jr s p L L s g p s s > p iL fL £ if p i j p i L b i i p a etopr

ear p f i t u sa ipsup iSepr pwx^oirtLjui £faxu l i f i GesTQf MemriasSsiriLfur s j p j t x xpair pessnsf.

x re s rp s s ip ered'ceiirrqrjiA uir(S8sarpsarir. erorjr

633? LDIT It XX p oO> p X X T T It p i SOlpSUp

^5 err e p s s r j p i s L p u t i l L l— p ; 8 p i

p j s n e u u S a e s a r Q i b e u Q f j s m m p G i t r x S u u f i G s s r Q g

& d s t i s i B x Q s a e s r x a k - p u u i l - t — p i , t g ^ s n p f i p ( X j

G u r G e d i L j u i S G t p i L j ( i p s r r s r r e / D a i n i B x ' t f e i r x - 8 e o S p i B

x s r f l jjjjlo i 9 a u i p i i x e S p p t b G > x r p f i q r j u u p r

x p Q p i f h u e u ( i f j £ > p lp i . ^ j s n p s m p e r O t b i S j r p r i u

Q p e a s r i r i i p Q u i f l G i u r r s x p S d r Q ^ i f i e o S s S ,

‘‘ issuedpuirtiissr x p i f petferi^-'iSles L b p fiu

Q Lb eargfinh p r nQibssrpiiib & o p rea tilxeS p assart—

s r o a i n s i x ^ s t r x Q x r e a s r G t — & ( W } e u r x L b r ( S j i b G u r p i

L b l i p a s h ) p r s a r t i t e B t s a s j S s s r p Q p Q u s s r j p i S S s s r p

G p u n t p n Q i b s i r p a t h e r d p r e s n i e r o u e o i b r u x e u N p

f i p p f f e c G i b s p O a r e a r Q e a i s i i s s S x r x s r u x x e i D r

UO Odfl LbTITXXpSOlpX QbXxG^XTbotil I SSITm l—IX

xererrjrssaft Lbrir xx Q tb ssru p i u rQ p u sfle ), x p p

GustreS(feast&ec LJxxerOrjrsaafhbTiTxxpfieO e B x p

ijlditx S T p x u u 'S i i s/Oeti a ib x bst x ak.jptGsiirii>i— tbm pjrehoprsarpfiu aOetiaiBxZfeirx xessflxtWjiBXireo

u ^ x l c i em psup S sp irp iB xG siriu srr^ spiLgg S e p u xiriipirjr Q p p S n s s r ejpxuuQ sdfiieD & s.

uxxeroirsessfl in ir irxxp^G sO T j y i s p (g) assart—t

edgp plight9ga)si uapfStu s fO pxssrpS tu x p p m p

^ tu Lb ife sua ireS ibp^L iib ii) u ^x ib Q ib is r^ p iib

g)a»su (Lpsarjuib e d s p u ib r iu s ip su u Q Q ib ssr jp i

x t tb ^TLbiTeSx8ssiG(n}Lb, x p p GibeirtSSsasr

u9 sa x star u x x srOTaeatffLbTirxxp^eo uni p a

sioprssrp $3li erO upM sturiB X ^tb Lbp^iUeropr

earp f & o j s i O u p s i o s u a i B X ^ L b p r s r e p L - & y i L b T x u

upt&Mib e/oedDiBxQsrnuTLb.

“ g)safl LO jfdJ GLDSfleS&5Wu9s37-<S6wr u x x

ctBTisas? ib T T x x p p T ts a 8 x p i9 x x u u Q im erosawB

x S s r r x X l- j / i G b i t i l : — u n i p a e t o p r e a r p p l a j s j Q - g

d c e u a i B x c f e t r x x e s s f l x ( 8 j t i > G u r & i Q p p e i p i h f i i L i r e d

e r p x u u ^ L b srDsuj®7S6tr e p L - f g iB g l l u x r i i p r j r

t S e p r p i B x Q s r r s s r g p i i b i t r s i r G x i u s a r { & J ) j i a ( ^ p

G p t s s r j p i t f e u ^ X L b i b Q p p e S u o s r jtfioes. u x

x e r o r a s s t s f l L b r i r x x p f i G e O T j i j s n a i e 8 x p u L b t i u

s r p x u u Q S l s a p s s r . ^ x G s n u i x e t O r a e s S L b r i r x

x p j & e o L b i i p a a o s n a i B X B T s T Q g u a L b p ^ t u e r o s u n i i

x s r r s T ^ f t b p r a e p i L ^ Q u a r s i r j p i t b j > j j B L b i i p a

s a > p s n p i S e i p r p i B X e & a s s s r Q i b ^ , x u u p l G c s r ( i g

bosujubxbt 67 p x u u ® Qssr p s s r . p r s o r t ) p r s s r p f i j i t u

i f l s p i - i x r i i p r j r ( i p p e S h u s u p s a i p x i r i t r t — x t y x f d i r

j p q t j s p x r f i i u p B X s S G e n x r i u x r x m e - L i G m r

S x S s a p s a u r , ( ^ • B i r s s s r i b x r e s r p f i g p u i e a r p e a r p

f i g liiJi g)(ju p Q p r ( j f j e f e s i i j r r B x s r P s i r t B s o B G i u r

sui diaujrLbrijx <*_puuiLt— jpxrssrrx?'

<^0^ jfijessnuih;

6(Uihj aS aiiTOTr m-m-nT-uf, e.6B)imj[T6irL|iru> eiu6iJiTi5n;ir .shiuujit ST(Lg>s»rf,(rrjn'-

®/roir 6T6srgpisB>L-iu 16, 17 aimfiedy Lead6S)6U£j?UJ(6S)c5 cPqJ63T J E S U I T X e t f l l— p f i e i ) , 0 0 0 aV)6U/r«rfiLD u s a r e s S , e r D i a S p p ^ ^ u s m i — i u e n a t y

e t a r i B x S s t r t L f i h ^ <9=0 e S m i f l s n a x S s f i i L j t h Q p i f l m j p

Q x r m e u p p x i r x u G u r t i i a G & i r i i p p Q a i r e & r

G t - d r . j ^ m p i x n e o p ^ e o , LO-irT-.1T-ui|. 6MCU aOJliJIT, ULpl£HT(365rfP 60>6UITu9[l)fT£lLmj|T,Q j e w r s & r g)0 su0 ii «®/6i/0 i 0 § ) ® p t u i r x e i r r t u

@0 « (!®/r/ra ott. m r e i r s a u — e B s t i srowaifli— ^a'«5ysU0 i 0 ut9/F iu/rsarj5) e j p u i L t — g p . ^ g t / G p i r

®ti, m t r e i r p . r e i r j t j e t i r s m x a G a i f l x ^ u

GuT^thGuirQpsogiiTth, i9ssrG^a)® Quiretijp e u t p & x t h , 6T63r<a0ij u i r i — t i i Q & i r e o e & s Q & i r ( S u

U g j l L S s e t j L D J l j s f l p ! . j q U U l S j j Q ' T ^ i k g p U i , s p e u

Oa)/T0 CTOuiiufflaafla), s r m S s s r m x ^ u i S l L G ) #

Q & i r s n e S s Q & i r t B u U ' g ) a i i p s x i h . j t f o p i r ( B t h

j t j Q i i r apauOfflJ/T0 x a G a i f h S ^ p t h u r ( B 8 p b i t s

x p u S s s r x S s i r i L j t h , & 0 s t i B x p u d s s r x 8 s a i L \ i h , u e i

e t i s B u r < S 8 p e S p i B 3 & i r i L j t h l G x l L G j t j ^ £ p a r 6 r r

t O e ^ i u i B s S s t r e r m g p i s n i — i u & 0 6 U i u L j p ^ i t 3 ^ ) e i

Q s i r s a G a i s i s r . j t / G p i r C B i i , e i S i i G p x t h

6 j p u i L i — i r s v , Q x t U S p Q p i f i m g i Q a r & r s u & i u a

tt_a9T®.

J t j i k p i a n r e b p p j i G e t i G u «^0 erOunutr,22 X Q ^ ^ x d s i r u u p f f l A G x t L u ^ ^ s S G p s s r ,

J e s u i t u f i j e o Q a i r e i r e s r p i r e u g i : —

“ 0u<s0 <5jpuL-i—gi 12 j 0 i©(jS/rejr. B i r a e t O t § T ) & r n & Q i r U i f f i s e & e i i , u i t a t p j g i & 0fflilty., «ri)a)j®<*(®5«a)i_iu e j p p m x t h i B i f i g p e i ,

22 s = ( £ $ i i f l £ p i ° n t — u M p i r e s n e x s i r e r o e t i u i r a i

i & i r x G e u G u x - i h . J ^ m p e f O p i r e s r i m a t l s i r

m i r t h S i r s u m f i p Q a r r s h e t r Q p i y _ a j i r j g i ” e r e & r j p i

?ir. jtjGpirQth

j y a x t r e o p f i l G e o G t u uL-i—assrii auiJ'iTiA65ariU liUJJIT J ^ S U T 3 ^ l h f § ) t i p 12 X Q ^ ^ U iS b x T

jr(?ui u r q . a G 3 i L i q - ( B j i 8 G p s i r . aJirairiTgJ 6fU€UITLfi S i r p p s s r t B X i e n j i h , J > I P P ( 9 ) ( L p s b r g B )

€ & Q f ) B p gDJjG SUIT ( t p p e O T e v r L n s i r s s r s ^ i h ,

® n p 1 2 i=0 (®iji9jr«/rj(2LD J t i p i a p u f - p p i

a i m ^ d ^ i S ^ i r m Q e i r d r u s n p I g j u j e t f t h , ^ j s t i i r x

(65 s t n i — i u u t n h u s m c r u S s o , Gael® a J Q ^ S G ^ t r ,

§ ) p g ) e > \ ®uii0 12 j :0 (®l(ST i■ S i r s t m r i u h

s r s m j p i s j p u < S 8 p p i .

<§)mp 1 2 i :0 (S«0rf?6S0(s>7, 72 a n p p r

B i r a i k x e a r x , Q p s s r G ^ r a s i r t 9 i f l p ^ ^ i S q r f i r

«6»r. jqsm p u u p f l f mrrair ,$611601 ^jmrrsSstr

G m i f l e t i G s t L i — G u r p ^ ‘ @sirg)/rt r e e Q a i u u u

utLt—p eresrjpi QpifhueBgiScH ’ ersirjpi Ox/reaeS jtleuTmeSt— p^leSfT^iip « p 0 « g j(J j/rao jt/ai

G b i t p m i S i n t i i B x S s f r e B s u B L D i r a j B T ( L ^ ^ u 9 ( i ^ i i p

ap0 Ljp p s p s t n g i e r s i i r & ( j £ j t o T ( L £ f i > A Q s t r e a ^ i n j t h

u t s ^ n j r r x s Q x i r ® ^ p i r i r x e i T . j t \ U L \ p p & t h L j j p s

GairtLemu- etOthaOpiretBp^eif ^>0 eBpaiirgs)so p o ara0 Q x i r Q m s u u L . . L ^ p i r x ^ Q & i r s i r ^ i r ,

GiApQ&reirsiir LjggtaGsn l! ss)l_ eQpstir^ q/ 3 0

^0®®a)3aJ69j9a) <P0 Q u r f h u a t J B i r e i ) Q m / r G i a

x u u i h L — p r r s p Q p f i 8 p g s . j t j t h p L f p p

s p f i e i , @ ) L ' Q u i r ( L g g ) 6ULC®fflaj0 Lo, ‘ sear a i t i b S , B p ^ B y k S f Q p p e o i r s s r 72 s i r p p i r e s s

^Bjth, jtjsmaitB^njsiBi—iu fgdriu B ’r s i & x ^ s f B j

^ G b t o s ) j f a t G b i t s u d s S s n n i B X ^ i h , g)0 a 8 p & ) . < § ftp « B i9 b x t b G u > yj !iu[Ta0a3SftJsutTu9 G trp p sn h speuQeuiresrjpith, jtjssHASxuLJLLi^Q^a

S p Q p s a j B Q p f i i u s t i n ^ S p g t . G u s p u t s f . g ) m &

0gSfU6Utru9 S i r p p a i r t B s e f f i G s o G i u . a t - p p s i r m

piTBth, o p tL a q r)^ iflepuiht m p p tSetprpih^

eyLLl^0 ^ on p o t p u t , ® i*p 6tUa/jrroa(?6tr/r®

136 T H E JOURNAL OF T H E MUSIC ACADEMY

S3.uf.1u , sir p p T sse S ^ jilu i, ffioiriu jnrsiwseifi jpith, j ijG ifs Sir ppeanksar Q sii& i, jqjpeip

i—rear ■£ fiStS QFiih&i auQ^&ppP. e-pTBaaruiTs

fitTiL-ani—tSei', “ gga^treoriB^ a iu ra ” , ‘‘(fjOTTGOT ug>n> ” , sg/B«/rb p a isP S sc “ usosPu^am i? ”

a i n i r e S i Q i n ‘'a65ra6Br<j5#0iT” “ ififfa^insosfl ” Qppstiirarr Sir ppssimis^sTiLfui, jijG issui O siu i®0«ffi(7y/fffstr. jy G p r ® u , Loan enbu^^iu

ffilT£ #&I6ST j i j e u i r s ^ u , 7 2 G ui& rsirppTss s r w f i j i_i e S ) i l i B T S L L T e S s s i s t L j i h Q s i u ^ Q i j s

Sqtfir, < ^p ^ )e i G utpQ sT^rear 72 s i r p p T

BTsiisZsiriLjui, jy f is o erpuiLuf-Trjs&p &sbnu u r s i B s S s i l i L j u i ^ g r Q s s s u T s o p a , u i i p p s w r e u j j> >

fLpaf.iuirQpekues>p tS&nuLnrtus Qsireieiecirii># g j S 3 i i U B T s i B S e $ e B , a p r i — a i , e p s i r

t — 6 i i i S a u i t B S e $ ( 5 5 ) 3 $ j y G e s r s b r s i a s e r j t f j B Q p

L - u e m p ^ p c p ) e u i f p o Q s T a k r i ^ - ( j ^ s S s T p s i i r . ( S u > p

Q&T&reur fg&nUBTsiBseir, <§)tfp& s T p p T a i r

G e o G t u p T s i r g g e i r i u Q u i s S i j p . G i —

e i Q s f i e t o s u p & i j >j j p a p t — T e a r p f £ e o a i i f ^ Q ^ s

& p j p , j i j s s i p p p p s T e o p ^ e o S e o G u i r s a r e i o i f l

u j t r r f l a t i S s d Q t u s B r j p i i i f u n r p p e m r u i T e r s s r j p i u i ,

^ G suitS s & t y i r f e ir . ^ js u ir s a r § > 0

(Sj/SuiQiLi— sirppT tSeo ggainuSi/>»rjpi si(, emeu p fijq ffu u pgnsasii—UJ sir Besrrpssi p ifTuifienssLDirs j^fSiuG euosrfBG uip^ii, jpjsnsii sSsir 6Ui7 fQ-i&QsDfr £Isjf 6k/$&&Q6iifr ali—/r^3.

p p p sB ir , jijG ifs BTsiios^njs(8j, ^ Gjriraro, :ajaiG nirpm s&BLCiiksGK&r&i spiLt-iru>iot erOtgj&T

£S&Bu>iBSeif)Gei>G±i jrr suireuii) e s s r t—irS p jijigoeusSsiriLjiM ep(Vj Lnir s 1$ IT toobi

aSssetfili (ipuf-iuirgi. spGs B T s p ^ e i tpGn ftDoi

B p fig p isn t—iu aepireaiLnirm sio^ s t b s S b

u>p£§ &)£>>■, B irsu ireu p en p 6ptLuf. LDirjpiSpsnp

ertrQtSSfiLDuirs jaioflagiBSfw jy/tfiu tLju), jyempG iu isitud iS ir sm ifis s - Qptq.iurrp

sT eop jSe ti, ggeortu b t s ib s <Ss t <spQTj s ir p p tr fB

mpQQPQrj sirppir&i&(Bj u>irpp Qfiisf.

iLlir ££, g) ss)6U seitl ear eurjpiui, if Tin

QsiroiG<iGeiiekrts)-iu&) tunQ pe& ei, Quifhuewrs suitec erpuQ ppuuLLisLQ fjs& p si'^pemiksSsir, JUJBopuj-SsQ oleum u)-tugp, peSu , G u p Q sir earenrsmeiiseSeO aoifG psui expuu-i—Tei, eiBieiS p tBpeureirseSeo ssarQysp G pirifpairs& ir spasrjp «L iluf.s e it i fG p sp a a p p QpifleBp&i Sir enriQpjp&Glsrreirsireiiirui. g)(J pirQs^i— a r m s

g u Quifiiueuirsetrirgii Sani—pffiqrjs& p L jp p s p

fSGenGiu 7 2 s i r p p i r s s ^ u i , ^yeneua^esit—iu gg:ssnujnrsiBseirirSiu 10 00pg>&(9) Gu>pQstremt— B irsik s^em i—iu ^G jrneuo jijeu

Gnirpms S m o ik s ^ L n , 3 O O « 0 G inpuiLi— bits Gi><&fiemr £ p i k s ^ t h , ^ jQ ^sS p sm p s (ajf$ui9i—p p s s g t . ^jsmsvs^sirGu Q eoG uirsm , jy&Qeti i9ea>ipsQernr(B Qeuefiuu($pfiu9QF)S&(n?irseir, jyismp iftui (?iruG)p£8 emsupjpisQsTeir6irGai6sarty-iu&i jijeuQiUuiir(S)ijr>,

u?ij ^iL iffa^geiueu^Lfla^eroL-uj, Gifir S a plUirsetiTSjr, asmuitUTerrLjBui S^e^GSSf U0a6U^|T,

6A)~Dllj90 UiraQJ^lT (LppaiTssraiirs'siffi—p ^ i i i ifTgBiii, orear punusar d'^e^OTruJlJJ^Uin'a, j jG i f s SirpperriksSsiriiLjui, UTi—iip su i Q&iu&i,er(iffii 6s>6i>pfi}(VjuuGp’i(9, jqG m sui Gu t s

^#0 ii> UTi—TiTpBtM Q sii^en e iip ^ l^sSG(ir?u>-

A a e s r a fiix ir& iii,

atnussruQ, S ifp p ssu G ), mF. eft)/r«r»6U^ uitoj.

(Qp/rt—i d S — 57-u. u d a t i . )

jtjmpd^em p jijeuiseifli— i §}(gmppirtu

g;s3r&ia(6njd(&j gt uQuiTQpjp eruuiq. iSifessnu

unrSpfo>pdsqTfent aaiiraPuJlT eneti&Opiresrp^in

upmr apSHiriuu i3nsirSp^idQarredru^(T^iip C?U)tT IT Si. it rrnUlSIB^irUIT6UIT GT&ssSPti u it sen

G p rp p u n r §)pirGudeujr tuirpf&nird S ulalatiu

§ }m pu n d s t i end jp p ^ s u SLfofl en piiiS

<51UAIT<9o$ unu96IUn(»gUDU QppeSiuesifseSosr

t9 h n if ppSssnur en t-neurur nnap.il-a uiresepoBen

jtfGm sii eyritPi sesips&ir gtu Q u a g p Qsiu

pirGm r, j>fil/3uiT(Lp gp prr&s U IT6U IT J>jours

giBcst semp e p ^u p p ^iS e B ^u u p ire n (jf/Ssn

lahgkQ pearjpiti u>ppaasu Graisneiraj eBepiu

Qpsaen pm3<Tfjmpirgpii Sir ppe tsup p lS @en

enir ppiren etteuirnerniupesip pqfj&pfifentkn tsrssr

jpni SdsiULATiuu Ljif!ihgpeBiLi—. gp. emrempesp

fien ep0 setapesnud G&il-i— Ten ertiiuip

QqfjdaGenggpiii ? mirti ejpireugp «p0 m iris p

P(S)LiQ uit (SB)en j y ® 0 jrirmirfi GsnspiksSoir p

piflp&dQ&neuruf-Qfjd(Bjii> e-pptA mt— ss

j))i3emt&d(9)Ui t8ep.iuiBsSsn mirti senesrunr tir

i iirifpjpdQaeArG) eiiQfjtiQuirQgjfB, emr &ur

Biases)penii GrshTjpiti, jijaissr bitla Geusip,

pir ifl Grarj)iift jy .® 0 u (B p r . eSt^uiJiLu/ 0 «

S p & i 67shrjpjiht mTti> m irisia uiritd@G(rr?ii

GTsatuanpGiu la pm gp, J>f&) jifGiur p^esnu,

Jfesem ercirttfiirp jnrutfBT, mrti jf is ire o p f i

'Gpiensn Gmflen u/r ird(Ojii LAenfl p i s eh ersirgpiii uirenpGpitQ w ' f a gpdsiasSar -a/gpii mBuGutr

lAeneoaiir ? jjULitif. seapu9gfiti peer laidlaittit

nerDptrps p titu ti e-sart— iraQ fliamn.fi. j ) ju

uuf-ppirda iriUflffiB^jrunailT jifaitfse^ehr seap18'

<§}(jijmpgi. iS^uessLAirengp jy mpmp jysuu

6U®S(W5*0 erpuiLi— ^unisw)^^siiir_§itiM enemfi}B[BseiTir jjju i jtjenm sifldsuuL-L- 6^0s / f n p ^ p ^ p ^reniuunresr^i. eTuQuirQppi iS ^ u e s s p e a p s If plaits aosnp^tsSl-G u. itGinn t jifu G u ir jp SfnjtjGSsrpfidr j f m p m p jifeuiueniB sSerr au(Ssjtfiin (gjanpppgpiiBeoedirt-Aei jtfeniasT

B/r^sGetrirQ ejpu(Bp^ldQ sirsis(BG uir^)en jt/en eoenir msi(nj>u3(TTjd(&jLn. S ^u essr a-If s p ^ s s r pSsn, sireo, etas, soar, s tr jp , g /J a 0 ( ip p S tu jtjeiiiu suiksetBen, s r g p , g /5 « 0 Q p p S u §jBSStaQi—ir(V) jtfeniueudis&ti u irsesp if parr £(nji9d(8jLA

erDirmif p fifiuppirei iSmiLAiredri—LAtriud Q&hjg) S tL t—iren, jyuQ uirQ gpi S ^ u e ssr a If m i «^0 Q ufiiu i9&ir&tiGuire060ei>3iiir auresaruiJSii.

^anmiuirei uirmospif § )iip Ji/iiapgmpGiu ji/£gi> enV/ipiresrii Q&iupp fgirdSpanpiurtu rS^nj'Qda- G s u g g u i . s6uh6 lUit, y,(CT), uiiuiTiu ( i p p s S d j

g)i_EtseSeP S irppstp iS n u ip S p & irsG si) Jiffs aiG70 uiru-anckoaeir erpuL-tq-Q^dSsapstn . is70srr(rrrau/f£(6njL£> unennui (ippin jrfsstpG u

«^>0 dSpm piu irs jtfLJtBiueiiSIp^i, jy ® 0

67pu® ppuuu-uf-(njd(ajii uHsn^paeifien Q -p$ ness if aetrh ffl, iS/D0 jfg& uespfip((fycLAS0 p s s

pear fi}pes>u>d(9)p p i s u u f . ^IT^^6BT (Jssoilf1,

^ it ^6dt aS*ffnjr , .Sit 60t g)*ir, ^iif^(6C) ffuiiruj, iir^^asru® Q p p e S i u t3 0 « /*<ajaiAd ptj t9p(&) pifssr pirffTetUAiriu *7® giii

iSsai—etsu uQ p p i sun iserr. mii Q p&pfiGenr

jtfuuiq- GpQTjtSp eror LAdiPesnuiLfii SmujJit&i.

g ) iD 0 ppa, t enii eunifl sanp Q^iuSpeuifaOeird)

enirti (gfippQ&ebiGp tQepiu em aSnpm ti Q&tugt

138 T H E JOURNAL OF T H E MUSIC ACADEMY

Q sn a kr® , utsoiuia Qppeo $ G p OptL^lsOTiu

j t ju iS iu r e u ^ p p e ii is a T ty(Wja>(Tr?eugi &ani—a.irjp .

u T ts jn r s G e n r , sT& o^ir& riLjpudnstrffTsG aiT,

Ouetr bb sa ils b t s G sot, e_ p ^ G i u t s s r O p

s t s G so t , so sS s o t sQ sot , isi—s b t s G&it

e jG p t u e o p a n p ^ p t bust i t s

O s ta k i® s p s i s s n n u O s o s S e o f^ S ^ is a r .

s j Q p t sostisu9s0 O p t l$ spur isi—d S lp g i ,

^tj,^T)sO Sfffjuessr &&$£ u s t p f i n u j s j p G p s p

p t i s S s n u G u T s o &0e o ^ u p G p T ® iS s s iu u sT ili

i9 f fs n 8 u u ^ e o S s o . ^ s s iG u n f ig p u s itiriii S ip

Q p H tS p p u a n tp u u r s so p i s Sstr s

striLty. jpni> ^ s s t s o p ^ i u u r s e u p is s i f l t—us

Q s t ^ su s tBG sepusffstr S u m p S o ei/nifl S i p

pastier i 9 j r s T 8 s 8 p ^ i . jq p p (8 ) p ^ & ir s y i

£$€$6881 LKTa6U£IT J tfso isen pirssr Q p iS iu

s t Bean us. js jeo i p te in § ) p Q p s p ^ e i

strsffU spatip ^ f fu n Q p p e u i , jsj so stiff

s p f i l iu S i p p s t r s & ffu> pfip& ) pysso i-Kpjopi

eretrjff S s s a j u s t i i s Qs.rsOsosOTu,. js jso i

strsous Q ssrr jff s u i i r i 28 su0 « .®®srr prrpt)

iQ(tf)Uuprrso, inir0 puuriii j i js o i s e t ip

Q s iu p sBuufletisetnu uso pu.sm eose£so G slL®

ujietisis& riT iu j> /pski9p(a j u>pp s ss ip sr lsn s

G s i L s t u s G so ssisubt s 8 iu p G p ir ® s it so us

s t f l s & f f urpsoT tB G e o S ssr sr so so sir G s o t @0 * S q r jis a r . peSffeijus £$€$61581 urTS6U£iT jy a u /r

sstrrreopffshr t§)iip sp ireB (n jp fiS lsG s §)eOooerres]

Qserrnsuits s j p u u t j g s . <§)&i iutq^ us e jiuu js

Q s ff& re irp p s sG p . J tfp P rS £ p i sem is p p

sir sous jifsQffirerostrus eop/iQsisus is us u ir s

s v p i jsp iisftsrrG iu Q st s o sOsotld. < §)pG psp

filleo (7/isir <§)eoeiirf£(Tf)tkp S i p p s t r u p p ^ e t n u

U[T361J£IT JljsoissiT s r u u ip 6 jp or sir 0 9 0 , ^ j p p e ^ s s ir it

esariis «^a/0 «ni_iu u fp ^ tR a sr lsrO~°<ffs^uiuipTsii> ersirqif £pus, uspQ(0(nj s tr BearQpus so sot us soGuTseQeOetso. j f p i r a i j p tsTib S ip Q p £ e B p p uitaJIT ^ijesiiseiflsir senpesiiu g)ai/r jy^}

u t so ili us Qjspeo pT&ffus <§}uutpQtu s o u p

QsiuiuGeo gspius v rssrS p p n p u ih u p Q p n d l

pangpissii—iu e-ppususTetr Sasunetst ssfitU TsO

j i j u u ip ji ju u ip G iu S hssj/3 p p i. ^ f l i p a®tmSp

Qpus ussvqt nTGpL-BUtranspt&so i^Beosssrqjsie

Gssosous esii—Q p & p ptr i sprt)S(5) unrp fill bus

(Vj&sffusTt3(V)S<gusTpsOTso, jsjansosSsn j s ju u ip

J l j U U l p G l U S l Q p J p i Q S T S T S T T Us GO, JtfSSIQ^SSIl— IU

u ip T sm ssiu sT p ^ B U r jijjgiietOifl p g > , u s p p u ip

erOiEiS psrOT a /£ p iu ia s& ir stsosotus § ) p G p s p

p t i s a n G s l L u p p s ^ f f S i s o u s t i j usirp /fl, Qjspso

Q ppso usssfQTffirespL-B G p s p p t i Q silijl/us a^L . a IT 611 6yg!T6B0rm, 6U^6(U61)II &6\S\lJlT6S5rU> Q p p S iU

&iflp!3ff!Eis8sif & \snisBrr uir® us p n p i3 G so G iu

sTszrusQ & tu jp i, 'j> p^i3eoerp ireu^i§ jffakrG )i—T (0

pt-Btp u-QFfUutpssiT, yrfj ^ ' i i i r a i i i T g 6ni6un L fia6TT

Q ppsBiu Q u i f iG iu r i s s S s t r S ip p S a rrse n r (LppeShu

stieusdsiru u ir ip pL8L$soj*l< i;pG pTff8sR srjjTsG w

i9 ffsosstrus Q s t i j j p i i , zgxrriBsdsrr js j p u t sari

ppG pir(Bti> u f fu s p G p tQ u s G s L- 0 us u uf.

Q&tij'Pj, j s j ^ s i r dSptpj @ )ibps 8 busp ^ iG so G iu

Gssueous p iB y s , Q p ^ n h ^ G p s i k s p t ^ s ( ^ s Q s i r n

p u s ts tr (BI6^65T ITITUl^tT6(b

QppeSiustieiisSgrr lS sssjus js ftp sT s tr a iia a rQ u siL

ipso e jp u ® p ^ l s O s T a k r ® jq s tiso sd sn s s n ip s

s i m s s Q stL igp , j i f e i s s u s s i e iv f i f f s p T j ir s p p

ssH—iLissju, j s j i i p i i p u t e p t i p ^ T o £ s p p s s i i—

lussjil e -p sS iu T so jnrm irajeBsr, uitji p , u iT S 6u

3,8§} LfBTsssr s s s ip s S s n H ^ u e t s n B s s n T s p iu r

£ p & ) , j^ sn su sd s ir <§)ppi-8ip G p s u s y i r / r a f t i

s s t i p i u T s s Q s iu g p , j t j l i p u r s s o G p T p p u s

0 « 0 StQUsTStrUS ST SO pB IL lp fi^pus tU irQTjli

s n i p so an s tS g ii is <§)so8so srasrp us&roppTstr

S i pfijasnu riopnSpppeQiJLi—T i , j y a i 0 ai)L-iu

s a a p a Q s s ir G p e rp u tL i— s ir a j i/sihusul-I s t i f f u s , S ip s s n k s G s n T , b t s G ust, ssjflifierO pT eaflGiur, p t i p G iu t , 8 sosOstiffuuTiLGi—r } fdso sOT(&i)Gei]T srsm p u u T ip ^ g p iD , s n i p u rs tse p iUT^t)£0 ih, j i j i ip i ip «n)ai0 i_ip a n p Q a isifiu u ® p

fith

p/fp<

$6orii>

9 pJO

ireuu

ireuu

>9 ujr

eu&e

nr uw

etbs&

fr ujr

&oip

uifriu

jyG

msLo

iJirL-<

svth,

@a»

a/«&

rr

ersir&

vant—

ij ^&

nhui

r jrtT

irppm

aar

£<ras

$XLn

rrsQe

u^gg

nii.

140 T H E JOURNAL OF T H E MUSIC ACADEMY

^ f^W rT: if i r a ^ r f l r a n I ” jqt—iTi—ir @)sui afffljsBi—iuxraxiipir& r sTssresriM^uriii I ^suirmenireo Q&treveduuGith xGenirxiBxa&ear a-xxirBaor u r i—sautpirot erstsur jy*p0 I xtrssr p fia a m r giiitUQpiA xG suit x iixo h sir upetixsv(ipti> l< frT-

xsaired S q i9 xxu lLl- iriTLQiTjjeosrs6)n^ s ru QuirQfGpir Rt—pfijqijik pGuir £pu> @)uQu/r (Lggi BLti(ipant—JU xoarQessrfisifleo ist—ihpjpGuir evstisosuir Q&ihgs x b i xen ' ermjpi LDSVQirefixaf avQpTpfijlBUi QxiLt^Q^x£(n/p x&f. mwitoreifixeir j^uuuf. ^ e ie o r ^ ^ i ip G u ir ^ ^ u ih ^n ^m p p rtu jtit&r/su&iusBLbrtu rnGpirp^Bt* Qxiiiaiirirxetrir p ^ a i ir x ^ s n t—iu eurxQso stop,; lupm tpp p& n (JaJ0 ejpirsj&i <ai0 ic/r? jysrop tupaop 6p(njxxJ jjjtliii Q&.t eCGdLET lLu- 1 it a sit.Q ppxirxpp irsir JJJpTt VTO‘«Tr T5yT5 eraajB eQGxepssurui. (?u>j )Ulo jyai/rasrr jyuuuf-ppn sir u.Ttsf-^syTXsn, jyuuu)-(£iuprsjr dSpeuxssr ipiiiQxtijpirirx&T, eSsAr aoGprrp^Btc,s>ec. ^ a u x ajirevprsi) ST5T5T ^ i era n ^r sud6V)if ii1. UTxsupfisir x pir iS^uaar jS j BjU usf.ppsrax @0 i« (< 5UfflgMLD. j fuuuf-Giu pretR <Tj)*p&> pgjrPJfQr Sfaep.sBsr unaau^iia6tf'65r $(QuearQpLc\, g) u u &f ll j y u G u i uuiL i_

LtipjpT an xen @ffOsOTLC60«i'§so. (g ^lp r wti siriLia #4(11/^653? jtjeuBxaT g)0 «ffl(jy/f, a< ja asssrie.

F6UIT ® 0 « f i0 > / f . iir^ (0 ffiT iP a.,iT ®0*© (»?T* §)(Vjmpr £pii> (gjeusustrexf affsiopTBUPreir G p x f i

&P(5 §)uuisf. g)ir«BrO/_/r0aj/r t9psrBuu&i Gur^iuiir ? ^uuu f. GiUirxSiupanpiLjaTenjt/Gifx u r x o ip i xot e_ Q ixQ e u @§»Lbrr^r)Xi

§ jx p LDpmiretDanuaniuu'Sursit ^tkstriB(&y

etosxuxBstr c jp u Q p fg , uiiutuL £iTj$££6)€\)iu££

e fl0 « ^ i if Sirppstni* ” aran-jgm.r inr p u u p p $

Ssnx Q o i e S t u r e u Q u i r e t i pxxGmtrxujaap

iLjoireirsiiiTX^sfrx QxrdtrG} upfiiflss>x±itrxGaiir

uf&OpxinrxG&iT QximRu3 iL® t p x x G iuitA iu

mpiLjsbeirsuirxSAr uireomii> QpppQxireAr® p/ptfl

xsf>pxQxskGp j>jpp(p)p p(S)Kp sn)i)3 s ew)reuflpurr Qx(2sirir(d p u ir iR p jp euihprsD g) sir a m i SU0E7 x irso p ‘Stylus § jx p p/piRxpir euQf)pp$ lUToorgi t§)ikjguuu83fsp , eh)su(nji-ip'2prQu i9 b

xi3p& > , j>i£BgB)k ^Gsarxih xGBirpQij Sgsar b <ssir xani—pQp(7^thuuf_‘ijiru9(r^x(^Lr, etatjpi ersir gpi&ai—iLi @)ihp ^ tS u B ir tu p a a p § jx p etcu/rp lUdm^ffsnirxter^ani—’UGijih LnpjpifXpsnsn en)3xrpn

eti)Gxirp$xigr/a»t—e>]ii> &D*pxpfiei> iS bitit pp(&) ^ULniTiup Q p S a B p ^ ix Qsiranr® (§)pg)t—f£r e-UiiSiuirerOpsnpiLjLti ( ip u f-p ^ ii Q xirenghS

Qpssr, e r lp ir erOirmirdpiULtiirsar (§ jip «fliuir etopaap ^ p p e y i s b r GxiL l— xu>&> jfxSBir& o

xirfBufij ^jewrxgrfX(VfLh u>pjBQpoieir erouurrx g5< s0 ii srsarjjpi&iL-U insstLi yieuxinirsiir rninstO x irp p a n p Q p f l td p & x Q x ir e h i^ S lp A r .