Ifuthuswaffld Dikshitar Bi-Centenary Volume THE JOURNAL OF THE MUSIC ACADEMY MADRAS DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. XLVII 1976 Parts I-IV -** ‘— r* • M jn*. ■ ■ i TOTfa f r qtfagtf ^ i “I dwell not in Vaikunfha, nor in the hearts ofYoglns nor In the Saa ; (bat) where my bhaktas sing, there be 1, Narada 1 ” Edited by T. S. PARTHASARATHY 1979 The Music Academy Madras 306, Mowbray's Road, Madras - 600014 Annual Subscription-Inland - Rs.12 ; Foreign $ 3.00
Transcript
Ifuthuswaffld Dikshitar Bi-Centenary Volume
T H E JO U R N A LOF
T H E M USIC A C A D E M YMADRAS
DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC
Vol. XLVII 1976 Parts I-IV
-** ‘—r* • Mjn*. ■ ■
i TOTfa f r q t f a g t f ^ i
“I dwell not in Vaikunfha, nor in the hearts ofYoglns nor In the Saa ; (bat) where my bhaktas sing, there be 1, Narada 1 ”
Edited byT. S. PARTHASARATHY
1 9 7 9
The Music Academy Madras 306, Mowbray's Road, Madras - 600014
Tamil, 1971 6Some Rare and Unpublished Kirtanas of Mysore
Sadasiva Rao, Tamil, Ssuskrjt and English, 1970... 4Songs of Mysore Sadasiva Rao with Notation in Tamil.*. 4 Oarbhapuri Kirtanas with Notation .in Tamil, 1968 .» 4Mazhavai Chidambara Bharati’s songs Ai
with Notation in Tamil, 1965 ...y'i 4Kritis of Pallavi Seshayyar with Notation in Tamil 19681 12Four Rare Compositions of Veena Subbanna of Mysore'1
with Notation in Tamil, 1965 " v.. 4Abhinaya Navanita (Dance) Tamil, 1961 ...*« 2Abhinaya Sara Samputa (Dance) Tamil, 1961 ... 4Nottu Svara Sahityas of Sri Muttuswamy Dikshitar
with Sanskrit text and Notation in Tamil, 1977 ... 3Tyagaraja Album : Tamil & English, 1967 ... 1Index (in Tamil) of the Dikshitar Kritis Sung in the
Index of the Articles on Music and Dance in Souvenirs of the Academy’s Annual Conferences from the
beginning - English 2SYAMA SASTRI-Pictorial Album ..; 1
Journal of the Music Academy : Volumes available Vol. XXXin (1962) to XXXVIII (1967)
Vol. X Lin (1972), XLV (1974), XLVI (1975)
Souvenir for 1967, 1969 to 1975 and 1977, 1978 Rs. 2 each „ 1962 and 1965 with colour plates of
Bibliography 1
India Rs. 8/- each Foreign . $ 2 each
5 composers Rs. 3 each(Packing and forwarding extra)
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OURSELVES
From this Volume viz Vol. XLVII onwards, this Journal 'will be published as an Annual.
All correspondence should be address^ to SriT. S. Partha- ^arathy, Editor, Journal of the Music Acadeiny, Madras-600014.
Articles on subjects of music and dance 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 one side of the paper only) and should bd signed by the writer (giving his address in full).
The Editor of the Journal is not responsible for the views expressed by individual contributors.
All books, advertisement moneys and cheques due to and intended for the Journal should be sent to Sri T. S. Parthasarathy- Editor.
JOURNAL COMMITTEE OF THE MUSIC ACADEMY
1. Sri T. S. Parthasarathy — Editor2. Sri T. S. Rangarajan3. Prof. S. Ramanathan4. Sri Sandhyavandanam Srinivasa Raol ' 5r! o V Rajagopalan } Secretaries of the Music6. Sn R. Ranganathan 1 .7. Sri S. Natarajan i Academy - Ex-officio8. Sri S. Ramaswamy ••• Executive Trustee of the
Music Academy
Although, owing to unavoidable reasons, the publication of this Journal has fallen into arrears, the material required for its issues up to the Madras Music Conference of 1978 had been collected by Dr. V. Raghavan, the former Editor. Subsequent volumes o f this Journal will appear in the near future.
CONTENTS
Page
The XLIXth Annual Conference of the Music Academy, M adras: Official Report ... 1
.A Comparative Study of the Raga Forms portrayed in the Kritis of Dikshitar and Tyagaraja: *
S. R. Janakiramart ... 56
Dikshitar and Karnataka and Hindustani Paddhatis :
Sandhyavandanam Srinivasa Rao ... 66
Muthuswami Dikshitar and Kerala ;Dr. S. Venkitasubramonia Iyer ... 72
A Broad Account of the Spread of Dikshitar’s Kirtanas in Karnataka Desa :
Vidwan N. Chennakesavayya ... 77
Raga-mudras in Dikshitar’s Compositions :S. Seshadri ... 82
Tala Set Up in Dikshitar’s Compositions (Tamil):K. C. Tyagarajan ... 88
Sri Muthuswami Dikshitar and Other Sanskrit Composers (Tamil):
K. V. Srikanthan ... 95
The Four Vivadi Dosha Svara Couplets and How Dikshitar deals with Them :
Dr. T. S. Ramakrishnan ... 105
CONTENTS
Bagp-
Muthuswamy Dikfiflitar and Venkatamakhin’s Tradition :
Dr. Sita 116-
Dr. V. Raghavan : His Scholarship & Services :K. Chandrasekharan IS t
Obituary : Dr. V, Raghavan : by T. S. Parthusarathy 156
Supplement:A Comparative Study of the Ragatattvavibodha of Srinivasa and the Sangita Parijata of Ahobala by Dr. D. B. KshirasagarM. A. Ph. D. Sangit Parvin, Jodhpur ... 37-38
Noth : The name Shri P. L. Deshmukh, Vice-President of the S. N. Akademi, appearing on page 3 should read as Shri P. L. Deshpande.
SRI MUTHUSWAM1 DIKSHITAR (1775—1835)
* sr | m w ^ F r ^ r a g f q q t i
THE MEMORIAL MANDAPA AT THE SITE WHERE DIKSHITAR’S HOUSE
STOOD IN VADAMBOKKI STREET AT TIRUVARUR
LORD TYAGARAJA THE DEITY AT TIRUVARUR
one of the main inspirations of Muthuswami Dikshitar
MUTHUSWAMI DIKSH1TAR SAMADHI MANDAPAM AT ETTAYAPURAM
D r. V. RAGHAVAN, M.A, Ph.D,( 1 9 0 8 — 19 7 9 )
SECRETARY, MADRAS MUSIC ACADEMY. MANAGING EDITOR OF THIS JOURNAL
FROM 1934 TO 1940.JOINT EDITOR FROM 1940 - 1958.SOLE EDITOR FROM 1958 - 1979.
THE XLIXth MADRAS MtlSlC CONFERENCE OFFICIAL REPORT
Tfae Opening Day 2 \s t December, 1975
jr
The XLIXth Annual Conference of the Music Academy,. Madras, was held in the T. T. Krishnamachari Auditorium in the- premises of the Academy, 306, Mowbray’s Road, Madras-14, from 21st December 1975 to 1st January 1976. In accordance with a resolution passed by the Executive Committee* the Conference, which was held in honour of the Birth Bi-centenary of Sri Muthuswami Dikshitar, was conducted without electing a President as was done on the occasion Of the Tyagaraja Bi-centenary and Tyagaraja Samadhi Centenary Conferences.
The Conference was inaugurated by Dr. Kalaignar Karuna- nidhi, Chief Minister of Tamil Nadu. On his arrival at the premises of the Academy, Dr. Kalaignar Karunanidhi was recei- ved by Sri T. S. Rajam, President of the Academy and the Secretaries and was introduced to the members of the Executive and Experts’ Committees of the Academy. There was then a group photo with him, the President and Members of the Executive and Experts’ Committees. The distinguished guest was then taken to- the auditorium of the Academy where the inaugural function began with singing of prayer by Smt. Mani Krishnaswami.
Messages
Sri T. V. Rajagopalan, Secretary, then read the following messages received for the success of the XLIXth Conference.
The President of India , sent his best wishes for the success o f the Conference and continued progress of the Music Academy.
The Vice-President of India sent his best wishes.
The Prime Minister of India sent her good wishes for the success of the XLIXth Conference of the Music Academy, Madras.
The following Governors of States sent messages:
Sri. K. K. Shah, Governor of Tamil Nadu\
The Governor of Karnataka, Sri Sukhadia, said :
“For nearly SO years the Academy has been the premier institution for Music and Dance in the South and the foremost institution in the country representing the Karnataka tradition. Upholding the correct, classical standards, bringing together leading experts all over the country and abroad for discussions, seminars and scholarly discourses and encouraging young artistes and in many ways the Music Academy has performed services of inestimable value for the preservation of Indian culture.”
Sri. M. Chenna Reddi, Governor of Uttar Pradesh, said :
“ The verdict of Indian culture is to propound the gospel of ’“ Satyam, givam, Sundaram” and right from the age of Bharata music was employed to disseminate spiritual knowledge. Whenever Arts and Artistes succumbed to personal and material gains, moral degradation of the whole society follows. Let our Artistes therefore keep within the framework of our cultural heritage.”
The Governor o f Haryana and the LL Governor of Pondi- -chery had sent messages.
2 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [Vol. XLVII
Prof. Nurul Hasan, Minister for Education, New Delhi, said : -“It is gratifying to note that the 49th Conference will be dedicated to Sri Muthuswami Dikshitar, the Bi-centenary o f whose birth is being celebrated this year and whose outstanding contributions to Indian Classical Music are universally acknowledged. What gives me great pleasure is to know that competitions will be held and efforts will be made to discover new talent among our junior musicians with a view to giving them encouragement. The Conference is thus a national event.”
The Honourable Sri. C. Subramaniam said in bis message that ire was glad to note that the Conference was celebrated as the- Birth Bi-centenary of Sri Mtrthuswami Dikshitar.
The Hon’ble Sri T. A. Pai said : “ It is proper that the Academy celebrates the Bi-centenary of the famous composer Sri M uthvsiuni Dikshitar. The Music Academy is doing useful service in arranging for competitions and encouraging young musicians, besides being the forum for exchange of thoughts and ideas, among Experts in Music” .
Messages bad been received from Hon’ble Dr. Karan Singh and the Chief Ministers of Kerala and Gujarat. Sri K. P. S. Menon, President, Central Sangeet Natak Akademi said that the Academy’s Conference was always the event of the year in the world of Music and Drama and that this year it will have a special significance because it synchronised with the Bi-centenary of Sri Muthuswami Dikshitar and the programmes are elaborate and wellthought out.
Shri P. L. Deshmukh, Vice-President of the S. N. Akademi,. wished the Conference every success. Prof. R. C. Mehta of the Indian Musicological Society referred to the pioneering work of the Academy which deserved the praise of all music-lovers.
The Rajasthan Sangeet Nataka Akademi had sent a message. Dr. Narayana Menon, Director, the National Centre for Performing Arts, Bombay, - said that the ‘ programme of the Academy was exciting, educative and informative’. The Andhra Pradesh Sangeet Nataka Akademi and the Karnataka Gana Kala Parishad, Bangalore, sent their good wishes.
Dr. and Mrs. M. V. Naidu of South Africa sent their cordial greetings.
Vidwan Titte Krishna Iyengar, Mysore, Member of the Experts’ Committee of the Music Academy, Valayapatti Sri Subramanian and Anayampatti Sri Ganesan sent their best wishes.
Thakur Jaidev Singh, Banaras, President of the U. P. Sangeet Natak Akademi and noted musicologist said : “ this year’s Conference gains greater importance because of the celeb-
P tS . I - I V ] THE XLIXth MADRAS MUSIC CONFERENCE 3
4 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [ VoL XLVH) . r . I, r
ration of pikshitgr Birth ^i-centenary. The Cqnference organised by the Music Academy, Madras, is the only one in the real -sense of the word. It also organises discussions and seminars on important musical topics.”
Sri M. Anantanarayanan, former Chief Justice o f Madras wrote: ** To every true lover of classical South -Indian Music, it must be a matter of deep gratification that the current Conference of the Music Academy is dedicated to the Birth Bi-centenary or Sri Muthuswami Dikshitar. Dikshitar was more than being one of the greatest composers of classical South Indian Music. He was the embodiment of that classicism itself, related to the classical tradition in Music, as Milton was to English or Virgil to Latin Literature. His musical architecture has never been -surpassed. I wish the Conference all success and hope that it will be the forerunner of both the preservation and the renaissance of classical Karnatic Music.”
Further Messages conveying good wishes to the Academy’s ■Conference were received from :—
The Governor of Bombay,The Chief Minister of Jammu & Kashmir,K. Rajaram, Minister, Tamil Nadu,The Sahitya Akademi, Delhi,The Secretary, Andhra Pradesh Sangita Nataka Academy Mr. Robert Simon, Department of Music, California State Polytechnic University at Pomona.
The President of the Academy Sri T. S. Rajam, then welcomed the distinguished guests and members cf the Academy and the public. In his Address, Sri Rajam said :
Ladies and Gentlemen,
It gives me great pleasure, as President of the Music Academy, to welcome you all, members o f the Academy, musicians of the Experts’ Committee and other guests to this the 49th Conference o f the Academy. This year’s Conference is distinguished by the fact
« s . i - iv ] ' T H i XLDrfh lit&KAilfjftJStC? CONFERENCE 5
ibkxr we have t!een' able to hive Our popular Chief Minister Dr. J^laignar Thiru ''.M .'^karhhanidhi ' ' to inaugurate the Conference. Dr.j Karynaniahi has" many distinctions. He is essentially a m an j^ t ithe ‘j^wsws, but at , the same time, a map who clearly stands out from among the masses. His concern for the poor and the down-trodden has been in evidence' from a very young pge; his passion for social justice' has been equally xleep. . His political career which flowered under v the guidance of Thiru C. N. Annadurai is now public knowledge and hence there is po need for me to dwell at length on this aspect of h is ' life. His -contribution to the growth of the DMK in Tamil Nadu is,r considerable and his style of administration, which has given us a stable •Government in the last few years, has commanded the attention of thinking men all over the country. More than his public and political achievements, his attainments in the field of Tamil letters, Tamil drama, Tamil films, Tamil poetry, command my personal -admiration. It is uncommon to find political leaders o f outstanding ability. It is equally uncommon to find an all-round artist with .great attainments in several fields of literature, poetry and drama. In Thiru Karunanidhi we find one who combines in himself both these aspects and qualities. I am sure he derives more personal -satisfaction from his efforts in the field of literature than even his political accomplishments. Naturally, he is extremely busy and I -consider it a privilege to have him with us here to inaugurate this 'Conference. I extend to him a very warm welcome.
As you all know, this year has been observed by the Music Academy as the Bi-centenary of the birth of that remarkable composer and one of the musical Trinity in Carnatic Music, Sri Muthu- -swami Dikshitar. It will not be an exaggeration for me to say that the year-long celebration has touched its high watermark in the present Conference. The celebration of the Bi-centenary has helped to bring to the public many new compositions of Sri Muthuswami Dikshitar. In the concerts that will be held here this -season, a predominant place is being given to the compositions of "Sri Muthuswami Dikshitar. On the occasion of the Centenary o f the passing away of Sri Tyagaraja, and on the occasion Of his Birth Bi-centenary, we did not elect a President for the Conference as is normally done every year. This was because the whole Conference was in a sense dedicated to the great master.
6
The Music Academy has built up and preserved many fine traditions and in keeping with this tradition, this year also we have not elected a President. It is my earnest wish that we all consider the Conference as- honouring the memory of Sri Muthuswami Dikshitar. We have requested the musicians to give renderings of Dikshitar’s compositions in their concerts, in the same way as tye did on the occasion of the Centenary of the passing away Of Sri Tyagaraja and o f his Birth Bi-centenary. In the discussions, in the Experts’ Committee meetings and in the papers that will be presented the emphasis will be on the study and exposition of Sri Muthuswami Dikshitar’s compositions. We have offered monetary assistance to some of the young musicians to learn Dikshitar kritis and we have also given special allowances to a few senior musicians who are engaged in the cause of the propagation of Dikshitar’s compositions. The scheme of extending financial assistance to musicians is being continued. I may add, that with the growth in the stature of the Music Academy more and more Vidwans consider it a great honour to be invited by the Academy to give concerts. Next year, we will be holding the 50th Conference of the Academy and it is) our desire to celebrate the Jubilee on a grand scale. By that time, we expect to complete the building of the Academic block which will bouse our library and the small concert hall will also be ready. I
I wish to take this opportunity to express my thanks to the Secretaries, the Conveners and other members of the Executive Board for their keen interest in the activities and affairs of the Academy.
I now request Dr. V. Raghavan, Secretary of the Academy, to present the Welcome Address to our distinguished guest.Thank you.
Welcome Address
Dr. Raghavao, Secretary, then presented to Hon. Dr. Kalaignar Karunanidhi the Welcome Address in the course of which he said}Dear Sir,
We are grateful to you for accepting our invitation and we welcome you most cordially to this our 49th Annual Conference.
THE JOURNAL OF THE MADRAS MUSIC ACADEMY ( V o l. XLVU
"* It is in many ways appropriate that .you Should inaugurate our -Conference this year. We. have always had the Chief Ministers and the Governors of the State for this function. You have, since your .young days, been involved actively in poetry, music and drama, the Mutlamlzh. Further, our Conference this year is dedica- ted to Sri Muthuswami Dikshitar whose Birth Bi-Centenary is being celebrated all over the country. Although all the three Great -Composers were born in Tiruvarur, it was Dikshitar, who lived long at Tiruvarur and sang of every deity in every Temple, big and small in that holy place: He and his father Ramaswami pikshitar -organised the pattern of the Nagasvaram music of Tyagaraja’s temple. We are starting tomorrow morning our Experts’ Committee sessions with the auspicious Nagasvaram music from Tiruvarur Temple. It is therefore a happy coincidence that you, who belong to that same place, rich in its historical associations and artistic heritage, are with us to inaugurate the Conference in honour of Muttuswami Dikshitar.
-PtS. MV] THE XLIXth MADRAS MUSIC CONFERENCE 7
As our President has said just now, we have, during this year, taken many steps to promote the prach&ra of Dikshitar’s Kritis. We are also honouring specially some musicians who, by singing and teaching, have contributed to the spread of Dikshitar’s compositions. There are still numerous rare songs which we know, from internal evidence, were composed by Dikshitar and which remain to be recovered from the manuscripts with the descendants and pupils of Dikshitar, and the families of the ‘Tanjore Quartet ’ and the Nagasvara Vidvans of Tanjavur District whom were especially devoted to Dikshitar.
Dikshitar has a special connection with the temples of Tamil Nadu on the deities o f most of which be has sung. He was a 64th Nayanar, a 13th Alvar and a second Arunagiri. In this connection may we appeal. Sir, to you who have done much for the revival of the traditional culture of Tamil Nadu, that in your regime the Endowments Board might make arrangments for the Dikshitar Kritis associated with particular temples, especially those at Kanchi, Tiruvarur, Tanjavur, Tiruchi-Srirangam, Madurai etc. which have numerous songs of Dikshitar, to be rendered regularly in those temples by local musicians and Nagasvara-k&ras.
Dikshitar’s music has a high significant message, a s , it is a bridge between the Hindustani and Karnataka, Schools.
May we request you, Sir, now to inaugurate this important Conference of ours and the connected festival of music and dance.
We remain, Sk*Your friends of
THE MUSIC ACADEMY, MADRAS
Inaugural Address
The Hon. Dr. Kalaignar Karunanidhi then delivered his Inaugural Address in Tamil, an English summary o f which is furnished below :—
I am thankful to the President of the Music Academy and the- other Executives for inviting me to inaugurate this Conference.
The services rendered by the Madras Music Academy for the past 48 years for the propagation of traditional Carnatic Music are highly commendable.
Many scholars have delivered illuminating speeches while inaugurating the conferences or presiding over them and I hope the Academy will compile them and publish them.
This Academy has been rendering yeomen services for the preservation of not only Carnatic music but also of Bharata Natyam, Kalakshepam and even Hindustani Music.
The word ‘Isai’ also means ‘agree’ or ‘accept’. I have therefore great pleasure in agreeing to inaugurate the 49th Conference of the Academy and also the Bicentenary of Sri. Muthuswami Dikshitar. Music is an alhpervading fine art. We bear music in running brooks, in birds singing from trees and the lisping of children. 'A great scholar Called Congreve has said that “Music can control wild animals, melt rocks and bend even a mighty .tree. ”
Eyen .workmen sing while they do thek'daily work. Women sing in the fields while engaged in agricultural wbrk.
$ THE JOURNAL OF THE MADRAS MUSIC ACADEMY [Vpl. XLVIE
21st December 1975 Madras.
9-
Tamilians are a great mlisical people and propagated'Mhftamizh* whJfch includes Poetry, Music and Drama. Even before the Tiruk- kural Was written, the Flute and Yazh were1 popular in Tamil Nadu. Hence Tiruvalluvar compares the lisping of a childto the music o f the Flute and the Yazh. The Silappadikaram is a great repository of the musical knowledge of the Tamils. We feel thrilled when we read about the Kanal Yari songs sung by Madhavi and Kovalan on the beach at Poom Puhar.
Pattuppaftu, Silappadikaram and other Tamil works mention a large number of Yazhs in the Tamil country. After the Sangam period, Tevaram, Tiruvachakam, Divyaprabandham and Tiruppugazh, were composed to spread Tamil Isai in South India. Even a mammoth temple was considered sacred only if it was found mentioned in the sacred hymns of Saints. The lyrical beauty of the K&vadichindu of Annamalai Reddiar is incomparable. The same should be said of the songs of Rftmalingaswami. Later, a host of Tamil composers starting from Muttut&pdavar enriched Carnatic music by their sterling compositions.
f t * I - lV j THB X L K th MADRAS MUSIC c dt<HiWBNCE
Carnatic music reached the pinnacle of its glory by the services rendered by Dikshitar, Tyagaraja and Syama Sastri, the three giants of our music.
I am closely associated with Tiruvarur where all the three were born.
Some people think that Carnatic music has no connection with the Tamil language. There is no reason to conclude that merely because the Trinity composed songs in other languages, they did not favour Tamil compositions. In the name of modernity, we should not demolish the very foundations of our music. Poet Subrahmanya Bharati has expressed great anguish at Vidwans repeatedly singing, only a few kirtanas. He was anxious that new compositions should be sung in concerts.
In the past, even film songs were being composed in classical Carnatic music. It is only today we find cheap music entering thfr film world.
2
We should not conclude that classical music is passing through -a crisis. Even in Western countries, classical music has met the -challenge of jazz music and pop music. The foundations of -our classical music are strong and can withstand any attack by light music.
I welcome the suggestion made by Smt. M ., S. Subbulakshmi ' that music should be made a compulsory subject in schools. This does not mean that every one should become a concert artiste. Music helps the spiritual advancement of a person.
Apart from classical music, Bharata Natyam, Nadaswaram music, Yazh music and other instrumental music also need our wholehearted support. ' The Tamil Nadu Govt, is doing its best to foster these arts and would welcome suggestions from music lovers.
I have great pleasure in announcing here that the Tamil Nadu Govt, has set apart an amount of Rs. 1,25,000/- for producing a Documentary on Smt. Balasaraswati by the famous film Director Sri. Satyajit Ray.
I once again thank every one concerned for giving me this opportunity of inaugurating this Conference dedicated to the memory of Sri. Muthuswami Dikshitar.
1 0 TUB JOURNAL OF THE MADRAS MUSIC ACADEMY [Vol. XLVH
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PtB. I-IV] THE XLIXth MADRAS MUSIC CONFERENCE 19
Vote of thanks
Sri V. K. [Ramaswami Mudaliar, Trustee, proposed a vote of thanks.
Conference Souvenir
The Souvenir of the 49th Conference, which was brought out on the opening day, carried the annotated programmes of the whole Conference and the concerts, the usual illustrated supplement and an account of the Academy and its activities. Tn addition, it also carried the following articles : .<
Poem on Sri Muthuswami Dikshitar by Sri M. Anantanarayanan; Dikshitar’s Contribution to Music by SriK. Chandrasekharan; Nada Jyoti Sri Muthuswamy Dikshitar by Sri L. N. Acharya, Bangalore, Muthuswami Dikshitar, The Musician’s Musician by Sri M. S. Ramaswami; Sri Muthuswami Dikshitar and wbat one should learn from his Compositions, by Sri Sandhyavandanam Srinivasa Rao; Muthuswami Dikshitar and Vivadi Melas by Dr. S. Sita; Dikshitar’s Disciples (Tamil) by Sri B. M. Sundaram of Tanjavur.
Agenda of the Conference
The following was the Agenda of the Experts’ Committee meetings of the 49th Conference.
1) Dikshita kritis from Tiruvarur temple : Recital on the Nagaswaram by Sri S. Lakshappa Pillai and party.
2) Tradition of Sanskrit Compositions : Paper by Sri K. V. Srikanthan.
3) Music of Different Cultures : Illustrated talk by Dr. Johanna Spector of New York.
4) What musicians gain from Dikshitar: Lecture-demonstration by Vidwan T. K. Rangachari.
5) Analysis of Dikshitar’s Compositions : Paper by Dr.T. S. Ramakrishnan and Prof. K. Rajagopalan.
6) Release of Volume on Dikshitar written and compiled by Dr. V- Raghavan for the National Centre for Performing Arts,. Bombay.
20 THB JOURNAL OF THE MADRAS MUSIC ACADEMY [Vol. XLVII
7) Flute recital of Dikshita kritis by Sri T. Viswanathan.8) Dikshitar and Other Composers : Dr. V. Raghavan
Shashtyabdapurti Endowment Lecture by Sri Sandhyavandanam Srinivasa Rao.
9) Tala Settings of Dikshita kritis: Lecture by Sri K. C. Tyagarajan and demonstration by Vidwan B. Krishnamurthy.
10) Dikshitar’s Apurva 'Ragas ; Paper by Sri V. V. Nara- simacharya ofKakinada.
11) Dikshitar and the Vina style : Talk and demonstration by Vidwan Devakottai Narayana Iyengar.
12) Dikshita kritis in the Karnataka Area : Paper by Vidwan Chennakesaviah.
13) Rare Ragas in Dikshita kritis : Talk and exposition by Vidwan B. Rajam Iyer.
14) Dikshitar, Venkatamakhi and the Vivadi melas : Paper by Dr. S. Sita of the University of Madras.
15) Concept of Vivaditvam : Paper by Dr. T. S. Ramakrish-nan.
16) Dikshitar’s Art as Unifier : Talk and demonstration by Prof. V. V. Sathakopan.
17) Katha Kalakshepam on Dikshitar : By Sri Embar Vijaya- raghavachariar.
18) Raga Forms as portrayed by Dikshitar and Tyagaraja : Illustrated talk by Sri S. R. Janakiraman of the Tirupati Music College.
19) Rare Ragas of Dikshitar : Talk and demonstration by Dr. S. Ramanathan.
20) Tiruvarur Panchalinga Kritis : Recital by Sri Tirup- pambaram Sivasubrahmanya Pillai.
21) Dikshitar and Kerala : Paper by Dr. S. Venkita- subramoni Iyer of the Kerala University.
22) Dikshitar and the Karnataka and Hindustani Paddhatis : Illustrated talk by Sri Sandhyavandanam Srinivasa Rao.
23) Rare Dikshita K ritis: Recital by Sri Kallidaikurichi Ramalinga Bhagavatar.
24) Kritis of Tanjore Ponniah P illai: Recital by Sri K. P. Kittappa and Sri K. P. Sivanandam.
25) Dikshitar Tradition and Gamakas: Talk by Dr. Harold Powers of the University of Princeton, U. S.
26) Dikshita Kritis in Bharata Natyam: Recital by Sint. Nandini Ramani.
27) Rama as Depicted by Dikshitar andTyagaraja : Exposition by Sri Mannargudi Sambasiva Bhagavatar.
28) Dikshitar and Andhra : Talk by Vidwan Nori Nagabh-ushanam Pantulu. f
29) Demonstration of Japanese Koto : By Mr. Miyasita Kusano.
30) Recital of Dikshita Kritis on the Gottu Vadyam : By Sangita Kalanidhi Budalur Krishnamurti Sastrigal.
THE FIRST DAY 22nd December 1975
The Experts’ Committee Meeting convened in connection with the 49th Conference of the Music Academy, which was organised as the Mutbuswami Dikshitar’s Birth Bi-Centenary Conference, opened this morning with Sangita Kalanidhi Budalur Kristin amurthi Sastrigal in the Chair. At the outset Dikshitar’s Nottu Svara Sahityas (Sakti-sahita-Ganapatim, Varasivabalam and Santatam Pahi mam) were sung by the students of the Academy’s College, with Veena and Tabla. V. N. Mallika then sang Dikshitar’s Navagraha Kriti for Monday - Chandram Bhaja (Asaveri) and K. N. Susila the Dhyanakirtana in Todi in the Kamalamba Navavarana series.
Dikshitar kritis from Tiruvarur Temple
Dr. V. Raghavan then explained that the proceedings of the Dikshitar Conference this year would appropriately begin with the recital by the Nagasvarakaras of the Tyagaraja Temple at Tiruvarur. He said that Sri Subbarama Dikshitar had mentioned in his Sangita Sampradaya Pradarsini that the music in Tiruvarur temple had been arranged by Ramaswami Dikshitar and Mutbuswami Dikshitar. The Music Academy had been able to bring the Nagas- varam players of that Temple for recital of the compositions of Ramaswami Dikshitar and Muthuswami Dikshitar played by them
PtS . J-IV ] THE XLIXth MADRAS MUSIC CONFERENCE 21
in that Temple, Sri S.Lakshappa Pillai, K. Selvaganapati Pillai, V. Natesa Pillai (Tavil and Kirikkatti) and Dakshinamurti Pillai and Rajagopalan. Sri Mahalinga Gurukkal of Tiruvarur explained and introduced the pieces. The Nagasvara Vidvans first played the Vattam and Mallari which figured at the Deeparadhana time and then a Varna in Poornachandrika by Ramaswami Dikshitar, Muthu- swami Dikshitar’s Kritis - Tyagaraja palaya {GowIa)‘z\iA Tyagarajam Bhaje (Yadukulakambhoji), Srikamalambike (Sri), Gurumurte (Nottu~ svara and Vast Vasi (Karnataka Kapi), the last by Ramaswami Dikshitar. These Were played on the Bari Nayanam peculiar to the Tiruvarur Temple. The ivory Nagasvaram, which was a present to the Nagasvara Vidwans, was also shown and demonstrated.
Sri Budalur Krishnamurthi Sastrigal referred to the appropriateness of the Academy celebrating the Birth Bi-Centenary of Dikshitar, to the work of the Academy, which had gained the high esteem of the music lovers all over India, and complimented the Nagasvara party from Tiruvarur Temple who gave the rare renderings that morning* Dr. V. Raghavan referred to the parampara of Sri P. Lakshappa and the store of Dikshitar Kritis preserved in their families.
22 THE JOURNAL OF THE MADRAS MUSIC ACADBMY [VoL XLVII
Tradition of Sanskrit Compositions
Dr. V. Raghavan then requested Sri K. V. Srikanthan to read his paper on Dikshitar and other Sanskrit composers. Sri Srikan- than referred to the continuous tradition of Sanskrit composition beginning with Jayadeva and Gita Govinda and flowing through Narayana Tirtha and his Krishna Leela Tarangini, Sadasiva Brah- mendra etc. to the present times. He referred to the other great composers who had used the Telugu or Tamil media but whose compositions had always a high percentage of Sanskrit vocabulary. The speaker then analysed from the point of view of language, literary presentation and subject matter, the compositions of Dikshitar and compared them with those of Tyagaraja and Syama Sastri.
Budalur Krisbnamurti Sastrigal complimented the speaker on his comparative study of the Sanskrit composers. Sri Embar Vijaya- raghavachariar illustrated how even in compositions in Tamil like those of Vedanayakam Pillai, there was always a high incidence of Sanskrit expression.
THE SECOND DAY23rd December 1975
When the second day’s proceedings of the Experts Committee of the Muthuswami Dikshitar Birth Bi-Centenary Conference of the Academy began this morning, with Sangita Kalandidhi Semmangudi R. Srinivasa Iyer in the chair, there was first a rendering, by the students of the Academy’s Teacher’s College of Music, of Dikshitar’s Nottu Svara Sahityas, Kamalasanavandita, Rama Janar- dana, and Sdmaganapriye. Then Nandini Ramani and Jaya KAIidas rendered the Navagraha Kriti for Tuesday Angarakam (Surati) and Kallidaikurichi Sankaralinga Bhagavatar, pupil of Vedanta Bhaga- vatar and Ramalinga Bhagavatar rendered the first Kamalamba Navavarana Kriti in Anandabhairavi
Music of different Cultures
Dr. Raghavan then introduced Dr. Johanna Spector of New York who was actively associated with the Society for Ethnomusi- cology and Asian Music Circle, U. S. She was attending the Academy’s Conference every alternative year. Speaking on Anthropology and Music, Dr. Spector said that the Ethnomusicology was one of the youngest of cultural sciences. Little attention had been devoted in the past to non-European musical cultures and the progress of Ethnomusicology in recent times had helped them in the knowledge of the non*western musical cultures of the world, of India, Indonesia, Japan, Middle East and Africa. Ethnomusicology had removed many of the erroneous beliefs e.g. that the other musical cultures were simply folk-music and that all music was that which was written down and there were no oral traditions. The speaker then traced stages and aspects in which art music had developed among different peoples. She then showed how field work had brought out the incorrectness of many earlier assumptions e.g. that women used smaller intervals than men, that the babble-songs of small children provided material for reconstruction of original music, that the pentatonic scales preceded heptatonic ones and that simple rhythms preceded the complicated ones. The highly develo. ped equidistant tempered diatonic scale of the West and the equally highly developed microtonal scale of the Middle East, were an achievement significant for each culture lying at different ends of the pole. The meeting of musical cultures brought in the phenomenon
PtS. I-IV ] THB XLIXth MADRAS MUSIC CONFERENCE
2 4 THB JOURNAL OF THE MADRAS MUSIC ACADEMY [V o l. XLVU
of the compatibility or otherwise of the two musical cultures. There was compatibility in some cases and in other cases one destroyed the other. For example the Negro music could be incorporated into the Western harmony and polyphony, without injury to the former, but the music of the American Indians and Western music were incompatible and the latter always destroyed the former. The music of the Middle East was also incompatible with that of Europe. The Middle Eastern music was microtonal and untempered and used with great variety of maqamat. A maqom consisted of varieties of melodic phrases and patterns. The Muslims of Central Asia did not look upon the introduction of the European music from Moscow as progress but as destructive of their classical type. The speaker then illustrated her talk by playing tapes, with examples of Bach's Fugue, showing both harmony and polyphony and also examples of music from Uzbec, Azerbaijan on the violin - like instrument called Kamancha, Bukhara, Morocco, Syria and the Egyptian Lute presenting a succession of microtones. Dr. Harold Powers of Princeton University asked for several clarifications which Dr. Spector gave. Dr. Raghavan said that there were not wanting now writers and critics in India who wanted new creations and breaking of new ground, without harping upon tradition, all of whom wrote on the background of the impact of Western music and its performance. He wanted a straight answer from the speaker, especially in view of the principle of compatibility and incompatability in musical acculturation which she had enunciated, as to her opinion on this contemporary trend in Indian music. He wanted to know from the speaker as to what she thought of this. Dr. Spector answered that the character and genius of Indian music stood to be affected adversely by such ideas and that the two musical cultures, Indian and Western, were incompatible. Dr. Raghavan thanked Dr. Spector for her participation in the Conference and her instructive paper.
What Musicians Gain from Dikshitar
Vidvan T. K. Rangachari then gave a very interesting and instructive talk and demonstration on ‘What Musicians stood to gain by learning Dikshita tCritis*. The Vidvan recalled the advice given by his gurus Tiger Varadachari, Sabhesa Iyer and Ponniah Pillai on the gain that the students on music had in learning
Diksbitar’s kritis. It was usual and necessary to learn Vamas at the beginning stage. The advantage of learning Vamas was gained all the more by learning chowka - kala compositions of Dikshitar. These pieces gave them correct and full knowledge of the Ragas. The speaker stressed the scope they gave for niraval and incidentally, he deprecated the craze for svara - manipulations with the aim of obtaining applause. The very take-off in the Pallavi gave them the quintessence of the Raga, giving no room for doubt, and in every part of the song, the Raga was immanent so that a student attained ability for doing alapana. In respect of Ragalqkshanas, Dikshitar kritis were correct guides and they should be rendered with due regard to Ihe purity of the Saga. The Vidvan illustrated these points by singing the Bhairavi kriti, Balagopala in its Pallavi and Anupallavi. Dikshitar’s kritis gave also scope for singing in the lower register. The Madhyamakala passages were a special feature in Dikshitar and it was a question worthy of investigation whether he was a pioneer in this respect or bad predecessors. Sometimes, in addition to all these merits, there was the beauty of ‘Svarakshara’ and also the appropriateness of the meaning of the sahiiya and the music which he illustrated by singing the passage, Bhaktavatsala Kripajaladhe, where the lower register suggested the Lord’s compassion and concern for the devotee. Even the veiy frame and outline of his pieces were fine, not to mention their further beauty when they dived deep into the composition. There was a divine afflatus when they sang Dikshitar-pieces and the holy presence (daiveekam} which was there, created a picture of the high and austere personality of Dikshitar, irrespective of what they had heard from biographical accounts of him. The Vidvan illustrated the above points in another piece which he sang, Srivaralakshmi in Sri raga ; for a musician who was a real anubhavi, there were during his singing moments which clicked and brought forth a sudden rapport with the divine ; the speaker said, he had had such experience when singing pieces like ‘Neerajakshi Kamakshi’, particularly its Pallavi which was superb. Vidvan Rangachari said that often he had felt that Sri Kantimatim in Hetnavati (Desi - simharavam) was a masterpiece. It was also his favourite, as it was remarkable for its Kalapramana and its pace which resembled the Gajagati and the Vidvan rendered the whole piece. For a Kriti in quicker pace, he sang *Kanjadalayatakshi’ in Manohari which was remarkable for its diction and felicity of words and for the training it gives to the voice in Ghana and Naya and in bigu - sugu.
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Thanking Sri Rangachari, Semmangudi Srinivasa Iyer referred to the Vidvan’s instructive talk which showed his capacity as a singer and a teacher. It was not enough merely to take down a piece, but what was more important was to go on ruminating on it, like a cow chewing the cud. Dikshitar’s kritis dripped with raga wherever they were touched. Referring to the Madhyama-kala passages, Srinivasa Iyer said that it appeared to him that the special point about these passages is their giving them the whole raga-lakshana. Dikshitar was a Lakshanakara for - them and the Sangita Sampradaya Pradarsini, which embodied the Dikshita tradition, was a treasure to be cherished by all musicians. In his own case, that book had been an eye* opener. Taking the same Bhairavi kriti Balagopala, Sri Srinivasa Iyer sang portions of and showed how the special characteristics of the svaras of the Raga, which note was to be steady, which oscillated •etc., were known from the song.
THE THIRD DAY24th December, 1975
At the third day’s meeting of the Experts’ Committee of the Dikshitar’s Birth Bi-Centenary Conference of the Music Academy, Madras, with Sangita Kalanidhi M. S. Subbulakshmi in the chair, there was first the presentation of ‘ Nottu Swara Sahityas ’ of Dikshitar (Syamale Meenakshi, Guruguha Sarasija, Peetavarnam bhaje) by the students of the Academy’s College. Smt. Lakshmi Krishna- murti then rendered Dikshitar’s Navagraha Kriti for Wednesday <B udhamasrayami- Nata Kurinji) and Kamalamba Navavarana Kriti ^Kamalambam Bhajare • Kalyani).
Analysis of Dikshitar’s Compositions.
Dr. T. S. Ramakrishnan and Prof. K. R. Rajagopalan of the ■Christian College then presented an analytical study of the compositions of Dikshitar. The study included an alphabetical index of the available 461 compositions of Dikshitar and another a Raga- Mela-wise index of the Kritis with notes. In the accompanying paper, Dr. Ramakrishna dealt with Dikshitar and the music tradition that came to him from Venkatamakhin, with special reference to the 72 Melakartas. The speaker referred to the extra ragas handled by Dikshitar and his pieces in them. A noteworthy feature was that there were about six compositions of Dikshitar and Tyagaraja with
2 6 THE JOURNAL OP THE MADRAS MUSIC ACADEMY [V o l. XLVII
almost similar Dhalus. The style and special features of Dikshitar compositions were then referred by the speaker, particularly in respect of the decorative elements Yati Prasa Chittaswaras etc. Comparing the total number of Ragas handled by Dikshitar and Tyagaraja, the speaker said Dikshitar used 191 Ragas for 461 avail, able Kritis, and Tyagaraja only 160 for his 700 and odd Kritis- In a further analysis, the number of Kritis in each Raga was also given with the comparative statement of the position in regard to Tyagaraja. Anoter important aspect analysed was in respect of the Talas used by Dikshitar which showed greater number and variety than those in other composers.' The speaker, in summing up, observed that Dikshitar’s compositions reflected the vast musical heritage in all its aspects, besides the larger heritage of the traditions of Bhaktf and Gnana. He was a model Vaggeyakara. There was then a. demonstration of four Kritis of Dikshitar • Dandayudhapanim - Anandabhiravi, Siddhisvaraya • Nilambari, Aryam Abhayambam - Bhairavi, aud Mangalambikayai - Malavasri, by the speaker assisted by his two daughters Smts. Kesari and Mangalam. Dr. Raghavan thanked Sri T.S. Ramakrishnan who was a thorough student of the Sampradaya Pradarsini and Prof. K.R. Rajagopaian who had presented a similar statistical study of Tyagaraja’s compositions at the Tyagaraja Birth Bi-Centenary Conference a few years back.
Volume on Dikshitar
There was then a function for the release of a Volume on Sri Muthuswami Dikshitar written and compiled by Dr. V Raghavan for the National Centre for Performing Arts, Bombay. Dr. Narayana Menon, Executive Director of the Centre, introduced the Volume and referred to the participation of the Centre in the Dikshitar Birth Bi-Centenary celebrations during the year. Sri K. Chandrasekaran, speaking on the Volume, referred to its contents which comprised detailed accounts of the life and work of Muthuswami Dikshitar, Ramaswamy Dikshitar. Chinnaswamy Dikshitar, Balaswami Dikshitar, Subbarama Dikshitar and Ambi Dikshitar; a critical account of Dikshitar Kritis from the historical and theoretical points of view and an appreciation of the aesthetic aspects of Dikshitar’s art; and account of the Sishya Parampara of Dikshitar; a Bibliography of Dikshitar literature and publications and an Index of the compositions of Dikshitar and ether members of the family with reference to all available printed
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texts from early publications of 1800s onwards. He paid a tribute to Dr. Raghavan for his indefatigable and scholarly work not only -on such academic undertakings, but also his contribution to the work of the Music Academy, Madras. Sri K. S. Venkataraman, former President of the Madras State Sangeet Nataka Sangam, referred in glowing terms to the researches and studies qf Dr. Raghavan, evident in this and other publications. He recalled the recent series -of nine lectures delivered by him during Navaratri on Dikshitar’s compositions and the Deities and appealed to Music Academy and other organizations to publish his lectures and other writings of Dr. Raghavan. Reference was also made by Dr. Menon, Sri K. Chandra- sekharan and Sri K. S. Venkataraman to the Sanskrit Mahakctvya on the life and work of Muthuswami Dikshitar and the music of that age by Dr. Raghavan. In token of the release of the volume, Sri Venkataraman gave copies of the Volume to Semmangudi Srinivasa Iyer, M. S. Subbulakshmi, to the author, to the Music Academy, and other Vidwans and scholars. In his reply Dr. Raghavan thanked the speakers for their words of appreciation about his work and their participation in the function.
THE FOURTH DAY 25th December 1975
The Experts’ Committee, convened in connection with the 49th Conference of the Music Academy and the Muthuswami Dikshitar Birth Bi-Centenary celebrations, met this morning with Sangita Kalanidhi D. K. Pattammal in the chair.
There was first a recital of ‘Nottu Svara Sahityas’ (Vande Meenakshi, Muchukunda-varada, Somaskandam) after which Smt. Vasanta Saravanam rendered the Navagraha Kriti for Thursday •(Brhaspate • Athana) and Smt. Sarada Natarajan and Lalitba Kunchitapadam, the Kamalamba Navavarana Kriti in Sankara- bharanam.
Flute Recital of Dikshita Kritis
Introducing the recital on Flute of select Dikshita Kritis by Sri T. Viswanathan, Dr. Raghavan said that there was a special significance in a member of the Veenai Dhanammal family presen
ting some Dikshta Kritis at this Conference. For a long time before
-any efforts were made to propagate Dikshita Kritis, a certain number of them had been in continuous vogue in the family of Veenai Dhanammal who was a disciple of Sattanur Panchanada Iyer, a direct disciple of Dikshitar. The songs which were thus handed down in direct Sishya Parampara had a finish and polish of their own, as distinct from those that had been learnt from script. Some of the pieces which Rasikas had often listened to and enjoyed from members of this family would now be rendered by Sri T. Viswanathan. Accompanied by Sri Tyagarajan on Violin and Sri Ranganathan on Mridangara, Viswanathan then played on the Flute the following Dikshita Kritis :
Hastivadanaya - Navaroz, Tyagarajayogavaibhavam - Ananda Bhairavi, Veenapustakadharinim - Vegavahirti, Chetasri - Dvijavanti, Kantimati by Subbarama Dikshitar in Kalyani and Sri Kamalambike in Sri. To bring out some of the special features of Dikshitar’s handling of the Raga and the Tala, he sang some of them vocally also. He stressed the importance of learning pieces directly from an authentic personal source rather than from books. Thanking Sri Viswanathan on behalf of the Experts’ Committee, Smt. D. K. Pattammal endorsed his appeal to learn Dikshita Kritis from an authentic teacher and recalled her own association in this respect with Dikshitar’s descendent Ambi Dikshitar and the late Sri T. L. Venkatarama Iyer.
Dikshitar and Other Composers
Sri T. V. Rajagopalan, Secretary, then requested Sandhyavanda- nam Srinivasa Rao to deliver the Dr. V. Raghavan Shastyabdapurti Endowment Lecture for the year. Sri Srinivasa Rao chose appropriately the subject *A comparative study of Dikshitar and other composers with special reference to Purandaradasa and Kshetrajna. After referring to Dr. Raghavan’s various writings and works relating to Dikshitar and his tradition in English, Tamil, and Sanskrit, Sri Srinivasa Rao observed that the musical setting of Dikshitar Kritis should not be tampered with and they were best rendered with as few Sangatis as possible, although rendering them with Sangatis, on the model of Tyagaraja Kritis, had come into vogue. Referring to the pace of compositions, the speaker illustrated from the compositions of Trinity pieces in Gajagati, Naragati
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and Asvagati; Dikshitar’s songs came in the first class, although in several pieces, Dikshitar had included Madhyamakala passages. In Dikshitar Kritis they had a different Dhatu in the Pallavi, Anupal- lavi and Charana without any repetition. They bad also the classical Angas-Swara and Pata and embellishments like Yatis, more conspicuosly than in the compositions of his contemporaries. Dikshitar’s songs were masterpieces carefully conceived, elaborately developed and consummately finished, and they showed a perfect blend o f Sangita and Sahitya. The speaker illustrated the points by singing snatches o f ‘Hiranmayeem Lakshmim ’ and other pieces. In the songs of Purandaradasa and Tyagaraja, the Charanas repeated the Dhatu. There were also parallels between Purandaradasa and Dikshitar e.g; in the inclusion of Madhyamakala passages. Dikshitar's music was of the Vainika style, full of gamakas, but he also used, in a remarkable way, plain notes and the speaker illustrated this latter point by singing portions of Sriguruna - Padi and Bharati maddhishana in Devamanohari. The speaker then illustrated some peculiar gamakas of Dikshitar by singing some portions of Veena Pustakadharini and the Bhairavi Navavarana Kriti ; this was peculiar to the Veena style whereas the genius of Tyagaraja was that of the Vocal style. The speaker then took up the earlier Trinity of Purandaradasa, Kshetrajna and Venkatamakhi and the relation of Dikshita Kritis with those of this Trinity. They were of course hampered in this comparative study because many Dikshita Kritis yet remained to be brought to light. Still, even from among those that were available, the speaker was able to show several parallels in Raga*settings between the compositions of Purandaradasa and Kshetrajna on the one hand and those of Dikshitar on the other. He illustrated this by sioging some examples from the songs of these three compoers. There were even among the available pieces of Dtkshitar several minor Ragas which were very rare, Gauri, Salaoganata, Ardradesi etc for which Dikshitar’s Kirtanas alone were available for our knowledge of the form of those Ragas.
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The speaker thought that Dikshitar followed the music of Purandaradasa even more than Tyagaraja himself and sang in this connectton the Geeta in Malahari and Dikshitar’s Panchamatanga in the same Raga. For a parallel in the Suladis of theDasa, the speaker
sang Sadachaleswara of Dikshitar. For some other Dikshitar’s Kritis in Ragas like Gauri, Navaroz and Mangala Kaisiki, the speaker showed parallels in Purandaradasa and Kshetrajna.
Smt. D. K. Pattammal expressed her appreciation of the exposition by Sri Srinivasa Rao and T. V. Rajagopalan thanked him for delivering the Endowment Lecture.
THE FIFTH DAY 26th December, 1975 -t
Today’s Meeting of the Experts’ Committee of the 49th Conference o f the Academy in honour of the Birth Bi-Centenary of Sri Muthuswami Dikshitar, commenced with the rendering of ‘Nottu Swara Sathityas’ of Dikshitar (Kancbisam, Rajivalochanam and Sri Sankaravara) by the students of the Academy’s College ; this was followed by the Friday Navagraha Kriti (Sukrabhagavantam - Paraz) and the Kamalamba Navavarana Kriti in Kambhoji by V. N. Mallika.
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Tala Settings of Dikshita Kritis
Sri K. C. Tyagarajan then [gave an analysis of the Talas and their Jatis as used in the compositions of i Dikshitar. He pointed out that Dikshitar’s father Ramaswami Dikshitar had produced a long composition in 108 Talas and Dikshitar bad used not only the seven Suladi Talas in his series on the Planets but had used also Talas not used by other composers. The speaker also mentioned the passages in Dikshitar’s songs set in the Madhyama- kala and the features of the Tala settings in these passages. The talk was illustrated by Vidwan B. Krishnamurthy who sang portions of the large number of Kritis referred to by the speaker to bring out the speciality and beauty of their rhythmic settings. Dr. Raghavan thanked the speaker and Sri B. Krishnamurthy.
Dikshitar’s Apurva Ragas
Sri V. V. Narasimhacharya of Kakinada then presented a paper on Dikshitar’s Apurva Ragas. He traced the history of the Raga system from ancient times up to those of Venkatamakhi and the Trimurtis. He explained the concept of a Mela - Raga as
conceived by Venkatamakhi and the later theory and the nomenclature of the Melas followed by the two schools. Both in the Kanakambari and the Kanakangi series, there were as many as 40 Apurva Ragas having Vivadi - swaras. Some musicians avoid these Ragas while others deal with them with care and skill and by employing Vakra and Gamaka prayogas. The speaker then examined the concept of Vivadi-swara in the light of the observations o f ancient writers like Sarngadeva, Ramamatya etc.
Dikshitar and the Vina StyleDr. Raghavan then requested Devakottai Narayana Iyengar
to give his talk and demonstration on the subject of Dikshitar’s Kritis and their relation to the Vina - style, justifying the description of the composer as Vainika - Gayaka. Sri Narayana Iyengar referred to the tradition of Vainikas always accompanying their playing with their vocal music, and mentioned the examples of his own teachers, the Karaikudi Brothers, Vina Dhanammal and others. He then took up Dikshitar’s Bhairavi Kriti ‘Balagopala’ in which the ‘ Mudra Vainika - Gayaka Guru - Guha ’ was given and showed the Gamakas and Madhyamakala. He said that Anubhava or experience was necessary to give polish and perfection to what had been learnt directly from one’s Guru. Although there were the notes of the Raga in Arohana and Avarobana, it was the Ragachchaya that one should imbibe and try to reproduce. It was not necessary to over- embelish in playing the Gamakas. There was a certain duration beyond which it could not be elongated. This innate Kalapramana should be observed. The Vidwan illustrated this by playing portions of different Rages and Kritis of Dikshitar like Kanjayadalayatakshi- (Kamala - Manohari) Sri Sarasvati (Arabhi) etc. and Ragas like Todi, Sri and Surati.
Vina Vidwan K. S. Narayanaswamy endorsed the observations of Sri Narayana Iyengar that a knowledge of Vina - practice was very helpful to vocalists and that in the playing of Raga, the Gamaka and the Tana, there was always a latent but clear Kalapramana. The setting of Dikshitar’s Kritis was peculiarly suited to the Vina style and could not be embellished too much with additional Sangatis etc. For the eorrect understanding of the peculiarity of certain Swaras in certain Ragas, for example Gandhara in Todi and Bhairavi and the correct measure of the Gamakas,
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Dikshitar’s Kritis provided the necessary guidance. Dr. Raghavan, thanking Sri Narayana Iyengar for his talk and demonstration, mentioned that Sri Narayana Iyengar who was brought up in the high tradition of the Karaikudi Brothers, was conducting now a regular Vina class under the auspices of the Academy and that students of Vina might take advantage of this opportunity*
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THE SIXTH DAY
21th December, 1975 4
When the Experts of the Music Academy met this morning at its 49th Conference conducted as the Dikshitar’s Birth Bi-Centenary Conference, Dikshitar’s three Nottuswara Sahityas (Pahi mam Janaki, Chintayehamsada and Varadaraja) were presented by the students of the Academy’s College. Vidwan Kadayanallur Venkata- raman then rendered the Saturday Navagraha Kriti ‘Divakaratanu-*- jam* in Yadukula Kambhoji and Nandini Ramani rendered the Kamalamba Navavarana Kriti in Bhairavi.
Dikshitar Kritis in Karnataka
On behalf of Vidwan Chennakesaviah, Dr. Raghavan read the former’s paper on the Prachara of Dikshita Kritis and the Vid- wans responsible for it in the Karnataka region. This was part of the survey, arranged for this year’s Conference on Dikshitar, relating to the Telugu, Kannada and Kerala areas. The paper mentioned the musicians and composers who had sung and brought into vogue Dikshita Kritis in Mysore. It was interesting to note from the paper that in the 1880s a note-book in a musician’s family in Mysore contained seven Kritrs of Dikshitar, including a few rare ones.
Rare Ragas in Dikshita Kritis
Vidwan B. Rajam Iyer, disciple of Ariyakudi Ramanuja Iyengar, and one who specialised in learning Dikshita Kritis from Sri T. L. Venkatarama Iyer, gave a talk and exposition of Ragas handled by Dikshitar and not handled by other composers. Several of these pieces were sung either in full or in part by Sri Rajam Iyer. These rare Ragas were either ancient ones or Melakarta
5
Ragas. Some of them had their own value because they differed from the Ragas curreat with the same name in the compositions of others. He illustrated this with Suddhi Saveri of the first Mela and sang Dikshitar’s ‘Ekamresa-nayike' in this Raga. Nagavarali o f the 8th Mela with its song ‘Ganalole’ and Mohananata of the 9th Mela with its song ’Mohananatakapriye’ were then described by the speaker. The appeal o f Bhupala with its Suddha Svaras was brought out with the rendering of ‘Sadachaleswaram’. After referring to Udayaravichandrika and *Sri Guruguha’ in that Raga, the speaker took up Mela IS, under which there were Ragas not in vogue now and in which there were Kritis of Dikshitar. He gave the examples of Salanganata, Chayagaula, Mangala Kaisiki, Mecha- bauli, Padi, Kanada Bangala, Ardra Desi, Devaranji, Poorvi, Maruva, Malavapanchama, Poornapanchama, Margadesi and Ramakali. In the 20th Mela he explained and sang Gopikavasanta and the piece ‘Balakrishnam’, The next to be sung was Suddhava- s&nta (29th Mela) and Dikshitar’s Kriti ‘Somasundaresvaram’ in it, which showed similarity to the raga Mand of the north. Vamsavati <54th) was then explained and the elobrate song ‘Bhaktavatsalam’ in that Raga sung. The Vidwan sang also ‘Chetasri’ in Dvijavanti (28th). Samanta, comparable to Telang of the North, was then dealt with along with its composition ‘Viswanathena’. Finally the speaker sang ‘Pasupateeswaram’, in Sivapantuvarali which also showed North Indian Similarity. Vidwan T. K. Rangachari, in thanking Sri Rajam Iyer, referred to the Kritis of Dikshitar which Sri Rajam Iyer had edited many years ago in the pages of the Swadesa- mitran. He complimented the Vidwan on his chaste and dignified renderings of Dikshita Kritis.
Dikshitar, Venkatamakhi and the Vivadi Melas
Dr. Sita of the University of Madras then presented a paper on the Venkatamakhi tradition of Mela and Raga and Dikshitar’s compositions which conformed to Venkatamakhi and also the subject of Vivadi Melas. She referred to Dr. Raghavan’s paper in the Journal of Music Academy, Madras (Volume 12, 1941) in which he had assembled evidence and shown that, although Venkatamakhi devised the framework of 72 Meals, the Anubandha and the names of each of the Malas and their Janya Ragas, which were being Attributed to him, were really not his and that they came at a much later stage. Dr. Sita took up the subject and substantiated the
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above view by her elaborate analysis. Diksbitar adhered to the Venkatamakhi’s School. He followed also the nomenclature Kanakambari ete. The most important part of her paper related to the Lakshana Geetas in the Sampradayapradarsini and the light thrown by them on the Melas and their names. The general impression was that they were all composed by Venkatamakhi but the real fact was that some of them were not his. The Upanga and Bhashanga Janyas figuring in the Gitas were surprisingly found in the same order in Tulaja’s Saramrita and also the work of Shahaji. all of which show a date; later than that of Venkatamakhi for these Geetas. Dr. Sita had discovered in some manuscript belonging to the Nayak period of Tanjore about 25 Gitas and Prabandhas o f Venkatamakhi with his own name and that of his parents expressly mentioned there. She gave a detailed description of each of these. A great advantage for research on this question was the Raga Mudra which Dikshitar had taken care to give in his Kritis, sometimes with their Katapayadi prefixes. Certain remarks of Venkatamakhi in his Chaturdandi Prakasika led us to infer that Venkatamakhi had in his mind the problem of Vivadi Melas. These Melas also could be made to yield music when the concerned notes were handled properly and skilfully.
Vivadi Melas
Following up the paper of Dr. Sita, Dr. T. S. Ramakrishnan read his paper on the concept of Vivaditvam. The speaker referred to Venkatamakhi and the methods shown by him to make Vivadi svaras agreeable by clothing them with suitable Gamakas. The ^compositions of Dikshitar guided musicians as to how Vivadi Mela Ragas could be made pleasing. Dr. Raghavan thanked the speakers.
THE SEVENTH DAY28th December, 1975
To-day’s meeting of the Experts Committee held in connection with the Dikshitar Birth Bi-Centenary Conference of the Music Academy, Madras, opened with the recital of Dikshitar’s ‘ Nottu Svara Sahityas ’ (He Maye. Ramachandram, Santanasaubhagya) by the students of the Academy’s College and Dikshitar Navagraha Kriti (Suryamurte-Saurashtra) and Navavarana Kriti in Punnagava- rali by Smt. Ambujam Vedantam.
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Dikshitar’s Art as Unifier
Prof. V. V. Sathakopan gave a talk and demonstration on ‘ the '/Essential All-India character of Dikshitar’s Art After singing Hamsadhvani, he pointed out that recently the Hindustani tradition bad adopted this Raga which had also aspects having a universal significance. Singing Kambhoji, Sri Sathakopan pointed out some -of the characteristics of this Raga which provided a common approach to both the schools. The Kritis of Dikshitar set in Vilamba and shorn of baroque ornamentation provided a counterpart of the Dhrupad. There was also the greater universal spiritual background -of Advaita and Bhakti which formed the foundation of our culture and arts. ■ Smt. Jayalakshmi, who assisted the speaker, rendered Dikshitar’s Kritis * Panchasatpitha, ’ ‘ Srisatyanarayanam ’ and Boundararajam. The recital concluded with ‘Mamava Pattabhirama* sung by both.
Kalakshepam on Dikshitar
Sri Embar Vijayaraghavachariar, the leading Harikatha artiste of South India, gave an erudite and elevating discourse on the life -and art of Dikshitar. He sang a very large number of Kritis of JDikshitar, the meanings of which also, he explained in great detail.
THE EIGHTH DAY 29th December, 1975
At the Meeting of the Experts’ Committee of the Music Academy, Madras held in connection with the Dikshitar Birth Bi-Centenary celebration, students of the Academy’s College first presented the ‘ Nottu Svara Sahityas ’ of Dikshitar (Dinabandbo, Dasarathe, and Pankajamukha). Smt. K- N. Susila sang the Rahu Kirtaaa in the Navagraha series and the Sahana Kirtana in the Navavarana series of Dikshitar.
Raga Forms
Sri S. R. Janakiraman of the Music College, Tirupati, then /gave anillustrated talk on the Raga-forms as portrayed by Dikshitar and Tyagaraja. In his comparative study, the speaker said Dikshitar had not oniy consolidated the music of his time but also revived the ■older Ragas. To show the different approaches and styles of
Dikshitar and Tyagaraja in the portrayal of Ragas, the speaker sang, in the same Raga, the Kritis of the two composers. Dikshitar’s treatment was best described as “ linked sweetness long drawn out” . While for richness and purity of Raga, both were foremost, there -was a difference in the actual presentation, owing to the highly lyrical and poetic contents in Tyagaraja and the subdued and sublimated Vedantic attitude of Dikshitar. In some of his Kritis, Dikshitar presented the archaic forms of Ragas. The speaker illustrated them with Ananda Bhairavi (Kamalamba samrakshatu) and Poornachandrika (Sankha-chakra-gadapanim). In one and the sama Raga, the two created altogether different atmosphere and he illustrated the point by singing the compositions of the two in Manohari, Hindola and Kedara, e.g. Dikshitar’s * Nirajakshi’ and Tyagaraja’s ‘ Samaja ’ in Hindola. The speaker then dealt with the handling of the Talas of the two composers. Dr. Raghavan thanked Sri Janakiraman and requested Sri S. Ramanathan to give his talk and demonstration on Dikshitar’s delineation of some rare Ragas.
J>tS. I-1V] THE XLIXth MADRAS MUSIC CONFERENCE 3 7
Rare Ragas of Dikshitar
Sri Ramanathan was accompanied by Sri A. Natarajan on the Violin. Sri Ramanathan observed that the Ragas handled by Dikshitar could be taken in four classes, the well-known ones, the older ones brought to life by him, the Mela Karta Ragas, and those related to Hindustani Ragas. Sri Ramanathan sang first Padi and Dikshitar’s Kriti ‘ Sriguruna ’ and then ‘ Vinabheri ’ in Abheri of the 20th Mela. He also sang snatches of Srimatribhutam in Kannada, Sri Subrahmanyaya in Kambhoji, and ‘ Bhajare ’ in Kalyani and compared them with the treatment of the same Ragas by Tyagaraja. He observed that there were not two different schools as regards Raga, but only confusion of Raga names. He showed how the Raga Lalita as handled by Dikshitar and Syama Sastri was the same. Takka as found in Dikshitar’s Kriti on Sundaramurthi Nayanar and Tyagaraja’s “ Rakasarsivadana ” was the same. Next he took up the Raganga ragas like Kanakambari and Kalavati and pointed out how Dikshitar handled the Vivadi Svaras in these Ragas by either skipping or by use of gamaka. In conclusion, he sang “ Sri Ramam ” in Narayanagaula and compared it with “ Kadalevadu ” of Tyagaraja and showed how the Raga differed from Surati.
38 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [Vol. XLVir
Tiruvarur Panchalinga Kritis
Dr. Raghavan thanked Sri S. Ramanathan and requested Sri Tirupambaram Sivasubarahmanya Pillai who came in the direct: Sishya Paramparaof Dikshitar, to give his recital of the Pancha- linga Kirtanas of Tiruvarur. Apart from the Kritis devoted to- the Lingas of the five elements in Kalabasti, ArunacBalam, Kanchi, Chidambaram and Jambukeswaram, there was a set of five Lingas associated with five Elements at Tiruvarur on which also Dikshitar composed five Kritis. Accompanied by Sri Venkataramanujam of the Music Department of Banaras University on Violin and Melakaveri Sri Ramamurti on Mridangam, Sri Sivasubrahmanya Pillai then' sang the following Panchalinga Kritis of Tiruvarur : ‘Sadachaleswaram’ - Bhupalam, ‘Anandesvarena’ -Ananda Bhairavi, 'Sri Vahnikalingam’ - Kambhoji, 'Sri Siddhisvaraya’ - Nilambari, and ‘Hatakesvara’ in Bilahari and ended bis recital with ‘Garavamu,’ a Ragamalika in 9 Ragas by Subbarama Dikshitar. On behalf of the [Experts’ Committee, Dr. Raghavan thanked the Vidwans.
THE NINTH DAY
30th December 1975
The Experts’ Committee Meeting in connection with the Dikshi -tar Birth Bi-Centenary Conference held this morning with Sangita Kalanidhi Semmangudi R. Srinivasa Iyer in the Chair began with the recital by the students of the Academy’s College of Dikshitar’s ‘ Nottu Svara Sabityas ’ (Maye Chitkale and Parvatipate) and the Navagraha Kriti on Ketu and Kamalamba Navavarana Kriti in Ghanta by Nandini Ramani.
Dikshitar and Kerala
Dr. Raghavan introduced Dr. S. Venkitasubramoni Iyer, Professor of Sanskrit, Kerala University, Trivandrum who had written extensively on Svati Tirunal. Dr. Venkitasubramoni Iyer presented a paper on ' Dikshitar and Kerala ’. He referred to Dikshitar’s Kritis on Deities at Trivandrum, Sabarimalai and Guruvayur. He then dealt with the influence of Dikshitar’s compositions on Svati Tirunal the other distinguished Sanskrit composer. He referred in this connection particularly to Madhyamakala passages and Raga-
malikas and the use of Ragamudra by Svati Tirunal. H j also meationed several musicians in Trivandrum who had popularised the* Kritis of Dikshitar beginning with Dikshitar’s own pupil Vadivelu o f Tanjore. Thanking the speaker, Dr. Raghavan observed that there was also a fourth soog of Dikshitar on a rare form of Gana- pati called Rakta Ganapati which he expressly mentioned as being in Kerala but which remained to be identified.
Dikshitar and the Karnataka and Hindnstani Paddhatis
Sri Sandhyavandanam Srinivasa Rao then gave an illustrated talk on the relation of the two styles of Indian music, the Karnataka and Hindustani, and the give and take that had taken place between the two schools in the course of history, particularly with reference to the Ragas and the mode of singing them. Even before the days of Venkatamakhi, som; Hindustani Ragas were assimilated by Karnatak music. Dikshitar stayed for no less than five years at Kasi. This naturally led to his imbibing the best in North Indian style. The point that the speaker specially made was that, not only in the Ragas which were known to have taken by him from North such as Iman, Jaijaivanti and Hamir, but also in other Ragas, the treatment of the Svaras and the Gamakas in Dikshita Kritis showed -clearly the North Indian style. This was perceptible most in the employment of Suddha Svaras. The speaker sang several pieces of Dikshitar to bring out the above points. He appealed to Karnataka musicians to make a thorough study of the Hindustani system. It was only those who have mastered both the systems that could make suitable adaptations of the elements of one into the other. Sri Srinivasa Iyer expressed his appreciation of the speaker’s attainments and emphasised the point mentioned by him, namely the necessity to practice singing of the Suddha Svaras before one practiced the Kampita Gamaka. This was what his own Guru, the late Sangita Kalanidhi Umayalapuram Swamioatha Iyer, had always told him.
P tS . I - I V } THE XLlXth m a d r a s MUSIC CONFERENCE 39,
Recital of Rare Dikshita Kritis
Sri Srinivasa Iyer then introduced Sri Kallidaikurichi Ramalinga Bhagavatar whom he venetrated as one of his Gurus. Assisted by his pupil Sri K. H. Mahadeva Iyer, Smts. Ambujam Vedantam and Gayatri, Sri Ramalinga Bhagavatar gave an exposition of rare Dikshita Kritis. In his introduction, he spoke of the greatness of
Dikshitar’s art and referred to the Kalakshepam on Lalitopakhyana prepared by bis elder brother Vedanta Bhagavutar, utilising the Kritis of Dikshitar. The following Dikshita Kritis were then presented by him and his pupils : ‘ Balambika ’ (Sriranjani), * Shada- nane ’ (Kamas), ‘Mangaladevataya’ (Dhanyasi), ‘ Halasyanatham ’ (Darbar), ‘ Sadasraye ’ (Cbamaram', ‘ Vedaranyesv^raya ’ (Todi),‘ Abhayamba ’ (Kalyani), ‘ Tyagarajam ’ (Nilambari), ‘ Trilochana- mohinim ’ (Bhairavi) and ‘ Minakshi Pahi mam'’ (Kalyani). Dr- Raghavan thanked Vidwan Ramalinga Bhagavatar and his pupils for the demonstration and said that the Academy was arranging for the performance of Lalitopakhyana based on Dikshita Kritis.
Kritis of Tanjore PonniahDr. Raghavan then referred to the efforts made by the Academy
to bring together for the Dikshitar Conference representatives of different lines ofDikshitar’s disciples. The Tanjore dance masters, Ponniah and Brothers, were greatly devoted to Dikshitar and Adi Ponniah composed nine songs in which he had mentioned that they felt blessed and proud to have been the pupils of Dikshitar (Guru- guha-murti). He then requested Sri K. P. Kittappa and Sri K. P. Sivanandam, sons of the late Sangita Kalanidhi K. Ponniah Pillai, to give a rectial of some of the above mentioned songs of Adi Ponniah. They were assisted by Smt. Sarada and Sri S. Rama- nathan. First Sri K. P. Sivanandam presented a short paper on his ancestors, which was read on bis behalf by Embar Sri Vijaya- raghavachariar. The following pieces were rendered on the Vina and voice: First three Kritis of Dikshitar, ‘Mahaganapatim’ (Todi),‘ Sankaram Abhirami ’ (Manohari) and ‘ Nagalingam ’ ( Sankar- abharanam), and then the Kritis of Adi Ponniah : ‘ Mayatita ’ (M. M. Gaula), ‘ Sriguruguha (Bhinnashadja), ‘ Nidu padame ’ (Pantuvarali), ‘ Bribadamba ’ (Sankarabharanam) ‘ Ni sari sati ’‘ Kalyani and Amba Nilambari ’ (Nilambari). The recital ended with a Javali in Surati. Dr. Raghavan thanked the musicians for presenting these compositions.
THE TENTH DAY31st December 1975
Sangita Kalanidhi Dr. T. Balasaraswati presided over to-day’s session of the Dikshitar Birth Bi-Cenenary Conference of the Music Academy, Madras. The proceedings began with the recital
4 0 THE JOURNAL OP THE MADRAS MUSIC ACADEMY [V o l. XLVIf
HM -4V] THE XLIXth MADRAS MUSIC CONFERENCE 41
•of Diksbitar’s ' Nottu Svara Sahityas ’ (SakaJasuravinuta Jagadisa) by the students of the Academy’s College and Dikshitar Navagraha Kriti (Budham • Natakurinji) and Navavarana Kriti (Ahiri) by Snot. Gayatri.
Dikshitar Tradition and Gamakas
Dr. Raghavan then introduced Dr. Harold Powers of the University of Princeton, U.S., who had been for some years learning Karnatak music jn Madras. Dr. Powers placed before the meeting some reflections stimulated by a study of Diksbita Kritis and the Sampradayapradarsini of Subbarama Dikshitar. Citing the epithet of Dikshitar ‘ Vainika-gayaka-guru-guba’, the speaker said that the SSP notation was based on instrumental technique for producing the sounds and was “ prescriptive ” , whereas the notation of Chinnaswamy Mudaliar and many others, which wrote down what was heard, was based on vocal tradition and was " descriptive Referring to the mention in Dikshitar’s Kriti on Minakshi of the ten gamakas, “ dasa-gamakakriye ”, the speaker said that gamaka system in SSP was a reconciliation of the above two systems, both belonging to the family. Faced with a need to produce a book, Subbarama Dikshitar had to adopt a number of reconciliations which could be seen in his use of ancient terms like Murcchana, Raganga and so on in a new sense. It was usually said in the old text books on music that the authors were trying to reconcile the difference between Laksbya and Lakshana. This was also a phenomenon which Subbarama Dikshitar had to- face with respect to the assignment of Melas to Ragas. as between the oral tradition and the Cbaturdandi Prakasika. He illustrated this with reference to the Ragas Sahana, Vasanta and Devagandhari* The Speaker then referred to the amalgamation in SSP of the 15 old gamakas of the Sangita Ratnakara and the 10 gamakas of the Vainika tradition- This Subbarama Dikshitar did by including some of the old gamakas as varieties of one. The speaker then took up the Navagraha Kriti ‘ Budhamasrayami ’ and discussed Dikshitar’s ma-ga*ma-ri-sa prayoga in Natakurinji. He sang this as well as the Pallavi of the T yagaraja Kriti in the same Raga,‘ Manasuvishayanala ’. He then took up ‘ Tyagarajayoga vaibha- vam ’ of Dikshitar and discussed the Karvai in the Pallavi and the Madhyamakala portion and the unique, 3, 3, 5, 5, 2, 2, which was
6
not usual with Dikshitar’s strict observance of Dirgba-hrasva in .Madhyamakala] passages. The speaker offered his own explanation for this. Dr. Raghavan thanked Dr. Powers.
Dikshita Kritis in Bharata Natyam
Smt. Nandini Ramani, pupil of Balasaraswati, then gave a Bharata Natyam recital based on Dikshita Kritis. After Alarippu, -a Sanskrit Sabda on Dikshitar composed by Dr. Raghavan was rendered. The Dikshita Kritis chosen were those which had particularly Svaras and Jatis composed by Dikshitar himself. Dr. Raghavan mentioned the references to the art of dance in the Kritis of Dikshitar. He then explained the meanings and allusions and ideas suggested by the Sahitya and their Abhinayas as taught by Balasaraswati. He said that this programme of dance of Dikshita Kritis did not mean that the Kirtanas of famous musicians should displace the Padas in dance recitals. The programme had been got up as a homage to Dikshitar on the occasion of the Birth Bi-Centenary. The pieces presented were ‘Anandanatanapra- kasam’ (Kedaram), ‘Trilochana Mohinim’ (Bhairavi), Shadanane, <Kamas), ‘Hiraomayim’ (Lalita), and ‘Sri Ramam ravi’ (Narayana <jaula). Vocal music was provided by R. Vedavalli and Vina by Jaya Kalidas. Sri T. V. Rajagopalan thanked Smt. Balasaraswati, Dr. Raghavan and other participants in the programme.
Rama as Depicted by Dikshitar and Tyagaraja
Mannargudi Sambasiva Bhagavatar then gave an exposition of the portrayal of Rama’s personality, qualities and the episodes o f the Ramayana in the fairly good number of Kritis on Rama -composed by Dikshitar, and compared them with Tyagaraja for whom Rama was Ishtadevata. He was assisted by Smts. Lalita Ramakrishna, Jaya Krishnan, Malini Kasturirangan,* Kalpakam Balasubrahmaniam, Susila Achyutaraman, and Gita Sundaresan. Accompaniment on Violin and Mridangam was provided by "Smt. Lalita Raghavan and Sri Ramachandran. The Dikshita Kritis on Rama sung were: * Ramachandram ’ (Vasanta),4Sri Ramachandro Rakshatu’ (Sri Ranjani), ‘Ramachandraya’ (Todi) and ‘Kshitijaramanam* (Devagandharl). Each Dikshitar piece was followed by the recital of a corresponding song of Tyagaraja. The
4 2 THB JOURNAL OF TrtB MADRAS MUSIC ACXfrEMY [ V o l. XLVtl
[THE XLIXth MADRAS MUSIC CONFERtNC# ■ 43P t s . I - IV ]
- -demonstration concluded with Dikshitar’s ‘Mainava Pattabhirama.’ Dr. Raghavan' thanked Sri Sambasiva Bhagavatar and other participants.
Dikshitar and Andhra
Dr. Raghavan then introduced Vidwan Nori Nagabhushanam Pantulu, Hyderabad, who was bringing out for the A.P. Sangeet Nataka Academy, a new Telugu edition of the Sangeeta Sampradaya Pradarsini. The Vidwan spoke about the musicians of Andhra who had maintained the vogue of Dikshita Kritis. He referred to schools of music established at Masulipatnam, Kakinada etc. where Dikshitar Kirtanams were taught. He also dealt with some of the beauties of Dikshitar’s compositions like Svarakshara. He sang and played on the Violin four compositions of Dikshitar. ‘Ganesakumara’ (Janjhooti), ‘Sarasvati Manohari’ (Sarasvati Manohari), ‘Nilakantham Bbaje’ (Kedaragaula), ‘Balasubrahmanyam Bhaje’ (Sucati). Sri Udayashankar accompanied on Mridangam. D r. Raghavan thanked the Vidwans.
THE ELEVENTH DAY
1st January 1976
The last day’s Meeting of the Experts Committee of the Music Academy in connection with the 49th Conference and the Muthu- swami Dikshitar Birth Bi-Centenary Celebration was held this morning. There was first the recital of ‘Nottu Svara Sahityas’ of Dikshitar (Sadasivajaye, Anjaneyam) by the students of the Academy’s College, after which Sankaralioga Bhavavatar of Kallidaikurichi sang the rare Dikshita Kriti ‘Rakta Ganapatim’ in Mohana and a composition in Raga Dhamavati (59th Mela) of Dikshitar composed by the late Sermadevi Subramanya Sastri, pupil of Subbarama Dikshiiar.
Japanese Koto.
Dr. Raghavan then welcomed cm behalf of the Academy, members of the Japanese Cultural Delegation who were in the -city, and requested them to present the demonstration on their traditional stringed instrument called Koto. Miasita Kusano gave
an introduction, Mr. Nagao explained the items played and
Mr. Miyasita played Koto. Koto was a horizontal harp, with 13 silken strings and movable frets and a popular music instrument in Japanese homes. Five numbers were played by Mr. Miyasita; one of it was of the 16th century, another of the 19th, - a melody called after the cherry flower, the third depicting the life of Okinawa people, another of the 19th century which showed influence o f European music which had then been introduced a^d lastly an old folk tune reconstructed by the player himself. It was observed that the player made slight shifts on the movable frets and pressed the strings instead of plucking them, and produced some gamakas. Vina Vidwan Devakottai Narayana Iyengar observed that although there was no basic Sruti, they could recognise the melodies of Kharahara- priya and 'Hamsanada. The player used all the 10 fingers and the sound was very pleasing. Dr. Raghavan thanked the Japanese team for their participation.
Gottu Vadyam
Sangita Kalanidhi Budalur Krishnamurti Sastrigal then played four Kritis of Dikshitar on the Gottu Vadyam accompanied by Alandur Natarajan - ’Mohanaganapatim’ (Todi), ‘Sriguruguha’ (Devakriya), ‘Brihaspate’ (Athana) and ‘Sri Venkatagirisam’ (Surati).
4 4 TUB JOURNAL 0 9 THE MADRAS MUSIC ACADEMY [V o l. XLVI*
Dikshitar and Aporva Ragas
Sri V. V. Narasimhacharya, Member of the Experts Committee from Kakinada, continued his paper partly read at an earlier meeting. He dealt with the ways of avoiding Vivadi Dosha in the Melas involving that defect. He gave a review of the all the Melas of the Kanakambari scheme which had been adopted by Dikshitar, with their Iakshanas and the illustrative pieces in them.
He was followed by Vidwan Aripirala Satyanarayana of Vijayawada who sang and played on the Violin ‘Vatapiganapatim’, ‘Siddhi Vinayakam’ and ‘Ramachandram Bhavayami’ of Dikshitar.
Concluding Fnnction
Bringing to a close the proceedings of the Experts Committee Meeting of the 49fh Conference, Dr. Raghavan expressed thanks on behalf of the Academy to all those who had contributed to the
P tS . I - I V ] THE XLIXth MADRAS MUSIC CONFERENCE 45H'-'.: ' ’f V, - w > • ►< •; v " .
success of the Dikshitar celebration, particularly the representatives of the different lines of Dikshitar’s pupils partso f Tamil Nadu. Referring to.the NpttuSyara Sahityas of Dijuhitar
"fetad& 'idht the oufeit e v ^ ' ^pMrag ^in -the Conference, Dr. Raghavan mentioned that the Academy was bringing out an. edition of these songs which wouldLbe published soon*
,£®*fc*!*e*
The} Exports’ Cpmpiittee o f the then expressed itscondolences on t$e jessing . atyay p f ..the ..fallowing musicians duringtheyear. "
Sangita K al^ idh is, ^(nsiri -Suhrahinanya Iyer, Mudikpndan Venkatarama Iyer and Chittw Sabrahmayya .PiPpi; the following Members of the Experts Committee, Sri TjLnftiyam .Vpnkatacama. Iyer, Mysore B. Subba Rao and Vidwan Avidayarkoil Haribara Bhagavatar, Alangudi Ramachandran, Vaidyanathan and Tiruv- arur Nagarajan.
Vidwan Ramaliaga Bhagavatar and . his pupil, Mafcadeva Iyer,;then sang) the<Maatra &riti-in,Sri;which was rawly sung in public and then the more commonly heard, Mangala Kriti, also in Sri, ‘ Sri KamalamMke There was then a group photo o f the Members o f the Experts’ .Committee and those who took part- in its proceedings.
S A D A S
The Sadas (Convocation) of the 49th Conference of the Academy was held in the Andatariuai o f the Academy on 1st Jan. W76 at
4 p.m. There was a distinguished audience of members of the Academy,tM11 ihwers, Musicians, Music SehoJsrs <and Experts. The proceedings sta$qd .with ppqyep by .Vidwan R. Rajam Iyer. The messages received in JtysxonuMJtipn ,were read op(t by S jj R,.Raftga- nathww Secretary. The Efcptyeat £/£* J . S.,Rajam.4o h 's ; openin gxemariks said:, . ?
■46 THE JOURNAL OP THE MADRAS MUSIC ACADEMY [Vol. XLVII
“Dear Sadasyas,
I welcome you to this Sadas and wish you all happiness and -success on the New Year Day.
In addition to the usual Sadas Awards for Musicians who had participated in the Concerts during the year and the Conference, prizes for the successful candidates at the competitions and ■certificates to the successful students of the Academy’s Teachers ■College of Music, the Academy is honouring at this Conference •dedicated to Sri Muthuswami Dikshitar, five musicians who had actively promoted the propagation of Dikshita Kritis. The Souvenirs of this honour have been designed by Dr. Raghavan so as to symbolise Dikshitar and his devotion to Sri Vidya and Mantra Sastra. They will be given to the musicians by Sangita Kalanidhi Semmangudi Srinivasa Iyer.
Before these musicians are introduced, I wish to say a few words about this and the coming Conference. I wish to express on behalf of all of you our appreciation of the work put forth by the Secretaries and the Convener in making the Dikshitar Bi-Cen- tinary Conference a signal success. I must mention particularly Dr. Raghavan and his efforts in this connection. Every succeeding •Conference of the Academy turns out to be more successful than the previous one, thanks to the co-operation of the musicians and the public. The coming Conference will be our Golden Jubilee Conference and I hope it will be a greater achievement. In this connection, I appeal to all members and musicians and our Experts* Committee Members to send in writing their suggestions for the Golden Jubilee Year and Conference of the Academy.
Now the Dikshitar Awards will be introduced.”
After the reading of the citations, the Dikshitar Awards were -presented to the Vidwans by Sangita Kalanidhi Sri. Semmangudi 'Srinivasa Iyer. Dr. Raghavan then introduced the special Awards, Sri. P. S. Ramachandran introduced the Competition Awards and Sri. K. C. Thiagarajan, the College Certificates. Sri. K . Chandra- -aekharan proposed a Vote of thanks.
Pta. I-IV ] THE XLIXth MADRAS MUSIC CONFERENCE 47
M. RAMALINGA BHAGAVATAR
Born in May 1896 in Tiruvavaduturai, in Tanjavur District; learnt music from his elder brother Sangita Kala- nidhi Vedanta Bhagavatar who had himself, through Ambi Dikshitar, become deeply interested in Dikshita Kritis and and their propagation ; had sung in concerts with his elder brother and also by himself; from 1930, became deeply interested in Dikshita Kritis which he has been propagating by singing and teaching to several musicians and students ; a representative of the Southern school of Dikshita music, knows many rare Dikshita Kritis, including pieces composed by Dikshitar for Lalitopakhyana ; has been celebrating Dikshitar festival every year for the last 39 years.
48 THE JOURNAL OF THE MADRAS MUSIC-ACAWMY (Vol. XLVIV'- .(I,.? iif-ti f YT-1 .3}0'
S. RAMANATHAN
Born pn 8th Aprils 1917 .atVaJavanur; had his first vocal musie lessons wfthRamuduTthagavatar of Tirukoilur; practised also Vina with Vidwan Devakottai Narayana
'flyettgar ; passed iheS angita Bhirtfcasaov fcouffce;of the AnRaamlajlJqwewily ;b«ides perfoowog await:; bflsbeen naively, interested in research in Jndianxnuaic. Jm& chief wprfc ip^hi^ line being on. the musip ofSilappatfkaram ; has edited several volumes bfsong£ with' notation ; has taught
' inToul Uiilterdtiesiii U: S.,‘ :fcdludin'gthb,''Weilfeyan : where yhe’£o<- ilHid his W ; D. tn Eftoomisiewiogy ? is-Prinrtpal of ftbtfSadguruiSaogita Vidy*laya(MuSici GoRege) at-Madurai; is a member of the Aoaflemy’s Experts’ X^oipniittee and an active p^ tidpan tjn the annualConJeren<?es of the Academy; learnt Dikshita kxitis J'from Sangita KalaOidhl Tbfljore k^Ponalatilfillhi, o f the' direct lin e 'o M iic ip ^ o f DfftAli- tar ; haM petfortned K^takshepkmson thoiifh off EXiksbitar ;
has (poropenated in the Academy’sT arn il apciptr odftiqn, o f the Sangita Sampradaya Pradarsini; has taught Dikshita Kritis to several musicians and students.
Pjs. MV) THE XLIXth MADRAS MUSIC CONFERENCE 4fr
K. H. MAHADEVA AIYAR
Born on May 9th, 1915, at Kallidaikurichi; started learning music from his 7th year with Vedanta Bhagavatar ; from his 34th year, has been specialising in Dikshita Kritia which he has been teaching to many musicians and students; has co-operated with the Academy in its project to teach Dikshita Kritis to young musicians.
8
3 0 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [ V o l. XLVX
B. RAJAM IYER
Born on July 1st, 1923 at Patharakkudi near Karaikudi; had his first lessons in vocal music with Jalatarangam Ganapati Iyer and later became a pupil of Sangita Kala- nidhi Ariyakudi Ramanuja Iyengar ; learnt a large number of Dikshita Kritis with Sangita Kalanidhi T.L. Venkatarama Iyer ; from 1955 onwards, edited 80 Dikshita Kritis in notation in the Swadesmitran Weekly ; is on the staff of the Central College of Karnataka Music, M adras; is an Experts’ Committee Member of the Music Academy and has been co-operating in the Academy’s Tamil script edition of the Sangita Sampradaya Pradarsini and in the project of teaching Dikshita Kritis to young musicians.
Pts. I-1V] THE XLIXth MADRAS MUSIC CONFERENCE 51
Sangita Kalattidhi
D. K. PATTAMMAL
Born on 19-3-1919 at Kanchipuram ; had training with several gurus and her extensive repertoire includes a large number of Dikshita Kritis learnt from Dikshitar’s own descendant Ambi Dikshitar and Sri. T. L. Venkatarama Iyer ; was President of the Academy’s 44th Conference, 1970; by her own singing and by teaching, has contributed greatly to the prachara of Dikshita Kritis.
THE MUSIC ACADEMY — 48th ANNUAL CONFERENCE
COMPETITIONS & CONCERTS PRIZES 1975-76
Competitions
1. Vocal Music Ladies*T. R. Venkatarama Sastri Prize
2. Violin - Kasturi Ranga Aiyangar Prize
3. Veena - Dhanam Memorial Prize
4. Modern Compositions- L. Muthiah Bhagavatar Memorial Prize
5. Tamil Songs - The ‘Amarar’ Kalki Tambura Prize
6. Maharaja Svati Tirunal Compositions - Murthi Memorial Prize
7- Purandaradas Padas
Donors
Awarded by Sri T. V. Rajagopalan
Awarded by late Sri K. Srinivasan
Endowed by the R. K. Murthi Memorial Committee
Winners
I Prize : R. N. SrilathaII Prize : Sudha Venkatarama n
I Prize: R. Muralidharan
I Prize : R. N. SrilathaII Prize : R. Subbulakshmi
Endowed by V. S. S. K. Tobacconist I Prize : Sudha Venkataraman Jaffna. II Prize : Revathi Sarma
Endowed by late Sri M. Sudarsanam Iyengar
Awarded by Music Academy
Endowed by Sri T. Sadasivam
I Prize : K. Saraswathi II Prize : Tata BanumathiI Prize : Vijayalakshmi Krish-
12. Bhikshandarkoil Rajagopala Pillai Prize for Dikshita Kritis
Concerts1. SriK. R. Sundaram Iyer
Shashtyabdapurthi Prize for the Sub-Senior Musician
2. Violinist Naum Lichtenbarg Memorial Prize for the Junior Violinist
Endowed by Dr. S. S. Krishnan
Awarded by Smt. Priyamvada Sankar
Awarded by Vijayaraghavalu Memorial Religious and Charitable Trust, Edamanal, Sirkali, C/o V. Ramachandran, Beem- anna Mudali Street, Madras.
Endowed by S. Jagannarayanan
Endowed by Smt. Sarada Natarajan
Awarded by Sri K. R. Sundaram Iyer Shashtyabdapurti Trust
Endowed by his sister Dr. Johanna Spector
I Prize : Revathi Sarma
I Prize : Revathi Sarma
I Prize : Vijayalakshmi Krishna*murthi
I Prize : Sudha NarasiruhanII Prize ; Nalini Ramaprasad
I Prize : V. RajkumarII Prize : R. N. Srilatha
T. N. Seshagopalan
Radha Narayanan
3. Dr. Henry Cowell's Prize for the Junior Mridangist
4. Sri T. V. Subba Rao Prize for the Junior Musician
5. Semmangudi Narayana- swami Iyer Prize for the Junior Violinist
6. V. R. Sambasiva Iyer Prize for the Sub-Senior Violinist
7. Veenai Shanmugavadivu Prize for a young Veena Player
8. D. K. Pattammal Prize for a Lady Vocalist
9. Yogam Nagaswami Prize for a Senior Vocalist
10. Sarada Krishna Iyer Prize for a musician in the concerts during the year
11. Challapally Ranga Rao Prize for a deserving Veena Player
Endowment of the Royalties of his Madras Symphony
Awarded by Executive Committee of the Music Academy, Madras
Awarded by Sri V. Panchapakesan
Awarded by Sri S. Natarajan
Endowed by Smt. M. S. S. Ladies Felicitation Committee
Endowed by D. K. P. Ladies Felicitation Committee
Endowed by Mrs. Yogam Nagas- swami
Endowed by Justice V.R. Krishna Iyer
Endowed by Sri Chitti Babu
R. Ramesh
Meera Nathan
Maraga|ham Ramaswamy
V. V. Ravi
M. Nageswara Rao
Gomathi Ramasubramaniam
M. Bala Murali Krishna
T. N. Sivasubramania Pillai
Vasant Kumar
12. Nyayapathi Sriranganaya- kamma Prize for a deserving artiste
Endowed by Prof. N.V.V.j. Swamy, U. S. A.
K. V. Krishnan
13. V. T. Krishnamachari Hari- katha Award
Endowed by Sri V. K. Ranga- swamy
T. K. Ragbunatha Bhagavatar
14. N. V. Raghavan Prize for a Senior Violinist
Endowed bn Smt. Indira Ranga- swamy
T. N. Krisnnan
15. Prize for the best exposition at Experts’ Committee Session
Endowed by A.C. Rangarajan T. K. Rangachari
16. Prize for a Violinist Endowed by late Violinist Abhira- masundari
T. Rukmani
17. G. V. Narayanaswami Iyer for Ilnd Award
Endowed by Sangita Kalanidhi G. N. Balasubramaniam
N. Padmavathi
18. Vidvan Semmangudi Narayanaswami Iyer for Ilnd Award
Endowed by Sangita Kalanidhi Semmangudi Srinivasa Iyer
K. Shivakumar
19. For best concert with Dik- shitar Kritis
Awarded by Bharathi Society, New York
B. Krisbnamurthi
CollegeRaja Sir Annamalai Chet- tiar Prize for the best student in Practical
Endowed by Raja Sir Annamalai Chettiar
Sreemathf
R. N. Sharma Prize for Theory
Endowed by Smt. T. Alamelu Ammal
Sreemathi
A Comparative Study of the Raga Form* Portrayed In the Kritis of Dilcshitarand
TyagarajaS. R. Jenakiraman
The century from 1750 A.D. to 1850 A.D., the golden age, proved an epoch making period in musical history inasmuch as it opened a new vista of the fullest possibilities of the revelation of the raga in its full bloom, the pivotal concept of Indian Music. The musical genius of the devout musical trinity of Carnatic music Sri Syama Sastry, Tyagaraja and Muthuswamy Dikshitar soared to colossal heights. The portrayal of raga forms in all its varied richness and colours was the sole aim of the Musical Trinity in their own characteristic and individualistic musical expression in different channels. “All roads lead to Rome”. Several saints and seers of our Holy land have attained the Eternal Bliss paving their own chosen path. Syama Sastry, Xhyagaraja and Dikshitar evolved their own august path and explored in full the possibilities of their creative marvels of raga pictures each with its defined scope and presentation and thus reached the Supreme Goal through the melody medium of music.
Dikshitar and Tyagaraja are the two foremost composers of great and fertile imagination of an abnormally divine calibre and have evolved in their Kritis wonderful edifices out of ragas. They have by their art created worlds of their own of which they are the sole monarchs and peopled them with “ the heirs of their imagination” . In music the art consists of featuring the ragas with a clarity and fidelity which will throw them up in bold and distinct relief before our minds. The soul of Carnatic Music lies in its raga forms. Ragas have distinct personalities which could be distinguished and visualised. These raga forms are by their very nature incapable of exact definition. Poetry can be caught but not taught. Such is the case with regard to the definition and description of the raga forms of Dikshitar and Tyagaraja which are in other words sound pictures so dexterously conceived.
The supreme position occupied by Dikshitar and Tyagaraja in Carnatic Music is due to the fact that they pursued the ideal of depicting raga bhava steadfastly and brought to bear the highest , imagination in their art and their compositions stand unrivalled as great monuments of ragasof Carnatic Music.
Scales exist in innumerable number. Ragas must be created out of them. The plethora of scales concretised by Tyagaraja into solid structures in full form and figure will survive the test of time. Dikshitar had a different , programme 'chalked out for him. He consolidated the music of his times and also revived the past and passed it on to posterity. He Resurrected those ragas that existed prior to him and which were almost goiog into the oblivion. Now the scope of my talk and demonstration is confined only to a comparative study of the raga forms as portrayed in the Kritis of Dikshitar and Tyagaraja and not the extent of the raga system as adopted by them with different objectives. It will take me far beyond the scope of my assignment for today if I were to dive deep into the technique of raga features as developed by these two composers. I shall only try in my own humble way to touch upon a point or two here and there making a comparison of the raga forms as featured by them in .some major ragas and familiar ones.
It is a fact that the musical styles of these two composers are characteristically different and distinct. While Tyagaraja is predominantly a composer in Madhyamakala, Dikshitar revelled in slow tempo. Tyagaraja is at his best a lyric composer and Dikshitar an epic composer. This fundamental difference in style has no doubt left a deep impress in the delineation of raga in their Kritis. Not only the musical style but also their bent of mind, mode of approach to God, revelation of Bhakti and above all perhaps the theme of Sahitya have all been the other important factors contributing to the distinctive modes o f presentation of even one and the same raga in different phases.
P t l . I - I V ] THE XLIXth MADRAS MUSIC CONFERENCE 5 7
9
58 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [ Vol. XLVII
By nature Tyagsraja, it is evident* was intensely emotional* Whenever he experienced any feeling of joy and eclat, or sorrow or wonder or disgust he worked himself to a climax in that strain and in such moods appropriate modes appeared conveying such feelings as were best suited to that occassion. They were the spontaneous outpourings of the heart and the soul of the person? Tyagaraja’s is a mystic experience.
Illustration
“ Intakanananda” - Bilahari“ Dorukunayituvanti” - Bilahari“ Manasa Etulortune” - Malayamaruta - a feeling of be
ckoning or request
“Epapamu” - Athana
It is this element that accounts for the immediate appeal o f Tyagaraja both to the classes and the masses.
Dikshitar had been initiated into Sri Vidya Maha Shodasa- kshari Diksha. He had practised yoga and was even known as the Yogiswara of Tiruvarur. He would often enter into moments o f meditation in undisturbed samadhi and when he woke up from the trance with strains of vision in praise of the deity he burst forth into the song full of that experience which great philosophers and high- minded souls realise in themselves when they realise Godhead. Dikshitar’s mode of revelation of bhakti was subdued and undemonstrative while that of Tyagaraja was expressive and demonstrative. Now this aspect had the tremendous influence on the featuring of ragas by these two composers. Dikshitar conceived the -raga in full and featured it in all its angles. In each Kriti the raga is taken up at a particular point and from there hovers over the •entire region in a magnificent survey leaving an indelible impression. This is how Dikshitar’s Kritis have a ponderous length with '“ linked sweetness long drawn out’’.
Tyagaraja emphasised those aspects of the raga which were appropriately suited to express the emotions in which the song is •cast. A close examination of the Kritis of these two composers in one and the same raga side by side critically will bear ample
Ptt . MVj THB XLIXtb MADIAS MU51C CONFHffiNCB S >
testimony to the fact that they vie with each other in point o f purity and richness of raga bhava and form a class by themselves.
Tyagaraja’s mental experience was diverse in character and made him pour forth ragas depicting different rasas and phases o f rasas. Tyagaraja speeks of “Navarasayuta Kriti”. He is the master of the topic of “Raga and rasa”.
Illustration“Naradaganalola” - Atbana - evoking bhakti “ Epapamu Cheshire” - Athana a raga chiefly known for
portraying Vira and Roudra rasas was given a mould to evoke feelings of tenderness and pathos thus taming a. wild elephant to a mild cat.
Dikshitar’s Kritis evoke mostly a feeling of serenity and poise- Santa rasa pervades the atmosphere. Dikshitar’s raga forms are the. finest specimens of pure or absolute music. Gana rasa is the solo feeling experienced while listening to Dikshitar’s raga structures.
Dikshitar’s raga forms are large scale products - massive in structure and closely knit in texture. In Tyagaraja we have abridged editions as well as enlarged.
Illustration
“ Aragimpave”
“Kaddanu Variki”- Todi - Tyagaraja
Dikshitar’s structures in one and the same raga are ‘uniformly of the same magnitude though in different form.
60 THB JOURNAL QF TIffi. MADRAS M iraje A6AQBMY [ V o l. XLVII
Illustration
“ Akshayalinga” )[■ - Sankarabharana - Dikshi-
“ Dakshinamurte” ) tar
The manner of handling of certain ragas by Djkshitar and Tyagaraja may particularly be noteworthy in this context.. A good number of ragas are accredited to Tyagaraja for having been introduced for the first time through his kritis. While employing such ragas he took absolute care scrupulously to observe the scale formation which he immediately incorporated even in the very opening of the song and built it up further in the other sections of the song.
Djkshitar has given a mould to Puma Chandrika which is rather archaic. Dikshitar’s Puma Chandrika is, to my mind, an amalgamation of Purna Chandrika and Janaranjani the latter being an ■off-shoot of the former. Puma Chandrika is older and Janaranjani later. Tyagaraja evolved Janaranjani out of the archaic Purna- chacdrika and individualised and immortalised both Puma Chandrika and Janaranjani in his kritis. The old-fashioned Purna Chandrika was preserved by Dikshitar in bis “ Sankha Chakra ” brings in deergha ga and deergha dha now transmitted into Janaranjani.
Fts. I-IV.J tub xLixtb madrAs Music confrr'sncb 61
Illustration
“ Sanka Chakra ” — Dikshitar |[• Purna Chandrika
“ Palukavemi ” — Tyagaraja J
' Creation of an altogether different atmosphere is quite perceptible in one and the same raga being cast in different tempos by these two composers.
Illustration“ Kanjadala ” — Dikshitar
“ Nimuddumomu ” — Tyagaraja
“ Nirajakshi ” — Dikshitar
" Samajavara ” — Tyagaraja
“ Ananda Natana ” — Dikshitar
“ Marachevadana ” — Tyagaraja
}
}
Kamafamanohari
Hindola
Kedara
The rendering of raga has got its own perceptible laya though not marked into regular intervals of time. There is a sense of rhythm in every aspect of the operation of nature.
The world is a cosmos and not a chaos. The raga has been featured by these two composers in quick moving pace and slow pace and is at once the two distinctive and individalistic expressions each unsurpassed for its beauty and splendour. It looks to me that their presentations of raga feature are perfectly well balanced one with the other — that of Dikshitar in Vilamba laya or slow tempo and that of Tyagaraja in the corresponding madhya laya. Tyagaraja’s Kritis are not lacking in slow tempo also but even here there is the underlying rhythm of a madhyama kala. Dikshitar conceived the raga in slow pace independent of any thought of acceleration as how the Indian musical genius conceived melody purely melodically independent o f any thought of harmony as against a Western who conceives melody harmonically that is to say melodic ideas pivoted on relationships of harmony. But at the same time Dikshitar never lost sight of the intrinsic beauties while interspersing relatively fast moving phrases in some ragas which were eminently suitable for such a treatment through their basic mould was cast in slow tempo.-
62 THE JOURNAL OF THB MADRAS MUSIC AfAPtpY [ Vol. XVII*
It is with this definite purpose that Dikshitar chose to set apart of the musical setting in any section or sections of the song in relati* vely quicker tempo to do adequate justice in the treatment of the raga> concerned. But here too one could cautiously observe that Dikshi* tar chose to introduce madbyamakala movement not as a matter of routine business in his structures. Some Kritis are conspicuous in the omission of madhyamakala movement though there may be an apparent impression of such an inclusion consequent on a little more closely knit Sahitya with more words as [agaist the paucity of words in other parts.
Dikshitar created an opportunity for himself to cover a larger orbit for the raga structure in his Kritis. Never the dhatu or the musical setting repeats itself in any section of the song. There are of course also the Kritis of Dikshitar only with apallavi and anupallavi though the latter is commonly known as Samashti charana but not found as such in the Sangita Sampradaya Pradarsini. In a good number of compositions of Tyagaraja set particularly in perceptible madhyamakala and in Chitra Tama marga the music of the latter half of the charana is repeated to that of the Anupallavi. Further there are also the kritis of Tyagaraja having plural charanas all sung to the same dhatu. Splendid instances may be noted in ** Darini Telusu Konti ” and “ Dorukuna yituvanti ” . In a few other kritis- of Tyagaraja with plural different dhatus, as in “ Sri RaghVvara* prameya ” *' Brochevarevare ” and “ Endukunirdaya "
Sangatis or the variations on the fundamental musical theme -constitute an integral part of the Kritis of Tyagaraja which have contributed in no small measure to the magnificent and colourful portrayal of raga forms in his Kritis. Tyagaraja is particularly one composer who has adopted Sangatis with a twofold purpose. Sets o f Sangatis well sequenced have been incorporated in some Kritis primarily intended for the enlargement of the raga structure.
Illustration
“ Darini ” —Suddha Saveri “ Koluvamaregada ” — Todi
Contrasted with this we have other Kritis of Tyagaraja where the Sangatis have been embodied solely for the purpose of elucidating the intrinsic bhavas, latent shades and ideas enshrined in the meanings of the text or the Sahitya.Illustration
IPtS. I-FV ] THB XLIXth MADRAS MUSIC CONFERENCE ' 63
“ Mari Mari Ninne ” — Kambhoji “ Dorukunayituvanti ” — Bilahari
The lack of this element has been over compensated by Dikshi- tar in his raga portrayal by the long drawn movement of the theme caste in the majestic elephantine gait breathing an atmosphere of blissful rest.
The rhythmic setting and its flow quite patent in their Kritis have again been the outcome of the flow of their raga expression with the mark of distinction. Jerks and jolts are out of place for Dikshi- tar and a calm and uninterrupted flow of rhythmic movement is a feature of Dikshitar’s kritis. Variety of pace is discernible in Tyaga- raja’s structure. Not only. Adi, Rupaka, Jhampa (Miera), Triputa talas and the like Tyagaraja resorted to some jerky movement of structure in rhythm. He employed khanda and Misra Chapu talas. Syncopated rhythm of the Chapu could never suit the slow movement. It is a matter of common apprehension that if the Misra Chapu Tala is reckoned in Vilamba laya it becomes Trisra Triputa with its Trisra Laghu and two Drutas. Likewise, if the tempo of reckoning Trisra Triputa is speeded up it results in Misra Chapu with only three beats or some times with two beats and one visarjita.
64 THE JOURNAL OF THE MADRAS MUSIC ACADEMY ( V o l. XLVIt
We find Dikshitar’s kritis only in Trisra Eka, Khanda Eka and Misra Eka Talas. Nowhere the word Chapu is found for Dikshitar’s Kritis as rendered in notation in the Sangita Sampradaya Pradarsipi,
Illustration
“ Anandanatana ”“ Bhajare ”“ Akshayalinga ”
Grace and embellishment form the soul of Carnatic Music. The continuous curve of Indian music distinguishes it from the other alien systems of music of the world. Gamaka does not comprise only shakes - grades large and small. The term should be understood comprehensively to mean and include not only shakes and graces but also the manipulation of any note in any such manner as to result in the richest musical effect. Thus a note rendered in all its plain character shines of its own accord.
“ Swayam yo Rajate yasmadasmadesha swarasmrtah ”
“ Swatoranjayati srotruchittam sa swara uchyute”
This suswara gayana has been given all emphasis in the picturing of ragas by Dikshitar.Illustration
“ Sri Subrahmanyomam” - TodiA judicious and graduated grace of rendering the notes in a
raga has always its own charm.
Illustration“ Nirajakshi” - Hindola“ Sri Sundararajam” - Ramakriya
It is erroneous to think that swaras seldom rendered with any grace or embellishment do not bring in or, according to many, even mar the Carnatic flavour.
The theme of Sahitva employed by these two composers has again led to the consequential outlay of the raga structure. The theme o f Sahitya of Tyagaraja is by far the most enlarged in scope. No subject has been left untouched by the magic vvand of
}Misra Eka
Tyagaraja. Dikshitar’s Sahitya is in essence a hymn of praise, an invocation to some deity or the other, an accumulated stock of ancient wisdom abounding in yogic, mantraic, and tantraic technical references. His life was a long pilgrimage visiting every shrine and offering his song incorporating in loving detail the local customs and traditions of the shrine and crowding epithets and attributes finding expression in the heal deity. Dikshitar had no occasion to sing
P tS . M V ] THE XLIXth MADRAS MUSIC CONFERENCE 6 5 '
In the employment of scales in general Dikshitar was not very particular about the requirement of the full complement of the notes in the regular order of ascent and descent. This he scrupulously observed in the case of the so called vivadi scales. His compositions in such ragas were less elaborate. Dikshitar is reported to have adopted the asampurna mela paddhathi. We have Dikshitar’s Kriti in Bhanumati and not in Vanaspati, and again in Bhoga Chaya Nata and not in Vagadhiswari.
The above phenomenon incidentally accounts for the nonavailability of kritis of Dikshitar in such popular ragas of Tyagaraja like Kharaharapriya and Hari Kambhoji. Tyagaraja had his own innovations in depicting Vivadi melas and ragas.
Thus Dikshitar and Tyagaraja, the divine minstrels commis- siond to the Earth, spread the gospel of Ragopadesa to the humanity at large.
10
Dilcshitar and Karnataka and Hindustani Paddhatis
Sandhyavandanam Srinivasa Rao
I wish to place my listeners in the proper frame of mind not to expect from me too much. My approach to the subject is that of a student of Karnataka Music willing to absorb whatever is excellent in the Hindustani Paddhati so that I could do Karnataka Music better - in the Karnataka style and idiom and without prejudice to the peculiar Raga chaya. Needless to say that without proper training over a number of years in Hindustani music under a great .guru, no attempt to render Hindustani cheezes (uruppadis) can meet even with tolerable success. My concern is to share with you the principles of enlightened eclecticism that a close study of Muthuswami Oikshitar’s compositions reveals.
I wish to give a brief account of the historical aspect or better still, the Lakshana aspect of the twin systems in the words of Pandit Ratanjankar and of my Guru Sri. T. L. Venkatarama Iyer. It is obvious that the two systems of Indian Music were but two branches of the same tree - having the same roots and trunk and yielding similar fruits and that due to the historical factors of Muslim invasion in the North, two divergent systems were evolved, the North Indian Hindustani music being the outcome o f the Indian Music plus the excellences of Persian and Arabic music. The fundamentals are the same. “Srutirmata, Layah pita” . ‘Ragapradhanam sangitam’ The Saptaswaras, the twelve notes, the twenty-two srutis, Gamaka, Alankara Sobha, the importance of voice - Kim tena gattam vina - o r Gatram Vina Gayana Ma Prasastam - the ideal of Manodharma- Sadhana Paddhati all are similar. I refer the readers to Pandit Ratanjankar’s ‘‘Dr. Raghavan Shashti Abdapurthi Endow ment lecture” published in the Journal of the Music Academy of 1970. After tracing the history of Raga-classification in the post- Ratnakara period, the Pandit says : “ The Moorchanas gaveplace to the system of Janya-Janaka classification while the principle underlying the classification of the ten types of Ragas suggested the idea of the Raga-Ragini classification. In the Southern system
of Indian music, the Janaka-Janya (Thata-Raga) classification seems to have been introduced by Vidyaranya of Vijayanagar, author of a work by name 'Sangitasara’ written some time in the 14th century A.D. As already pointed out, the Raga-Ragini classification seems to have been introduced by some musicologist of the 15th century who evolved this classification out of the ten groups, Grama-Raga, etc. of the ancient system of music. Some pandits feel that the Raga-Ragini classification may have had its origin in the Persian Melodies in Merquams, Shobas, Ghoshas etc. (Thakur Jayadev Singh strongly differed from this common belief and lje would maintain that the principles laid down by Bharata are still obtai- ning more in Hindustani system - for instance the rule that Antara Gandhara and Kakali Nishada are more aesthetic in Arohana Sancharas - This is by the way). But the types of Ragas had already prepared the ground for the Raga-Ragini system. The bifurcation of the Indian Music into two distinct systems, the Hindustani and Karnatic began with these two different classifications of the Indian Melodies.”
-PtS. I-IV] D1KSH1TAR - KARNATAKA AND HINDUSTANI PADDHATIS 67
Now I wish to place before you the considered views of Sri. T. L. Venkatarama Iyer - views with which most of you are so familiar. I am reading extracts from Sri Iyer’s book on “Muthu- swami Dikshitar” published by the National Book Trust, India- Muthuswami Dikshitar spent five years in Kasi in the company of the holy saint Chidambaranatha Yogi, doing Adhyatmasadhana. Sri T. L. Venkatarama Iyer says : “ That takes us on to a topic, which is of the greatest in the study of the compositions of Muthuswami Dikshitar, as to how far they were influenced by the Hindustani Music. It should be remembered in this connection that though the Hindustani and Karnatic systems of Music present distinctive features and may strike one on the first flush as alien to each other, the fact is that they are branches of the same system of music. They are both derived from the same source and based on the concepts of Raga and Tala, which are peculiar to the Music o f India. The Theory of music is the same in both the systems (you just have to peruse a question paper of B. Mus. in Hindustani Music where more than half of the questions can be answered by students of Karnataka Music) - and the treatises in which they are expounded are common to both. It is true that they
have developed each its own individual but the difference is merely dialectical in character. In the days of Venkatamakhi these difference had not become so pronounced. (I am rather doubtful about this observation of my guru). He was himself a master of Hindustani Music (Venkatamakhi was a student of his own brother Yagna Narayana Dikshitar and of Tanappacharya who * came from the North.) In Sangita Sampradaya Pradarsini in the life of Venkatamakhi, the following passage occurs :
68 THB JOURNAL OF THE MADRAS MUSIC ACADEMY [Vo'l. XLVll
“ Venkatamakhi was a disciple of his elder brother Yagna Narayana Dikshitar. With his father’s (Govinda Dikshitar) consent Venkatamakhi learnt the Lakshana and Lakshya of (classical) music from a very great Vaggeyakara named Tanappacharya who hailed from the North. He has composed a Gitam “ Gandharva Janata ” in praise of his Guru Tanappcharya, in Trikhanda, sang it to his father and brother and got their approbation. The Gitam is still in vogue. ”
The Carnatic system had before his ( Venkatamakhi’s ) days adopted and assimilated several Hindustani Ragas and Venkatamakhi had composed Lakshana Gitas on them. After his time owing to the prevailing conditions the two systems began to lose touch with each other, and to develop on independent lines that resulted in the accentuation of differences. For the same reason, the Hindustani Ragas which had earlier been absorbed in the Carnatic system lost, during this period, some of their original features and instead adopted new sancharas thereby taking a somewhat different complexion. That was the condition of Hindustani Music in South India during the latter half of the 18th century.
Muthuswami Dikshitar was brought up in the tradition of Venkatamakhi and the Hindustani Music strongly appealed to him. During his stay at Kasi, he had an excellent opportunity of listening 1o Hindustani Music in all its purity and he fully availed himself -of the same for learning it. Except when engaged in the services of God or of the Guru, he devoted himself to the practice of music in .general and of the Hindustani Ragas in particular and acquired a mastery over them. This has had a profound influence on his mind
and this can be seen not noly in his handling of the Hindustani Ragas but also in the portrayal in general of all ragas. It has been already stated that some Hindustani Ragas had been adopted in Karnatic music, but then they suffered some change during the post-Venkatamakhi period. In the compositions of Muthuswami Dikshitar they regained their original purity and form. Having learnt the Hindustani Ragas first hand in Benaras, he was able to present a picture true to Hindustani version, though he was unable wholly to discard some of their accretions in the south. To give an illustration, the Raga Sarang of the Hindustani system had been adopted in Karnataka Music unde? the name of Brindavani. Such changes in the names of Ragas are not unusual, as for example in the case of Malkhaus-Hindolam, but they do not affect the substance of the melodies. Venkata- makhi has a Gita in Brindavani beginning with the words “ Ambara Sambhu Re ” . The Lakshana of the Raga as handled by him is Arohana SRMPNS and Avarohana SNPMRS and it is the same as that of the Karnatic Raga Madhyamavati, except that it takes also Kakali Nishada and has some characteristic sancharas. The Lakshana of Brindavani in this Gita conforms fully to that of Sarank in the Hindustani system. Here I wish to offer a word or two by comment. In Hindustani the Kakali Nishada occurs in Arohana and Kaisiki only in avarohana: and also the touch of Gandhara. So North Indian Vidwans told me that they would call this not Brindavana Saranga but Madhyamadi Sarang.
PtS . I-IV] DIKSHITAR- KARNATAKA AND HINDUSTANI PADDHATIS 69
The Hindustani singers do exact double and treble Kalas like Karnataka Varnams or Pallavi. Murki Sangatis as we add to Dikshitar Krithis are a strict taboo. I feel South Indian Vidwans must learn simple Bhajans and then Dhrupads-just Bandish in popular, familiar, parallel ragas and then only proceed to learn “Khyals’ and later still Thumris, I will resume Sri. T.LV, Iyer’s account. “After the days of Venkatamakhi the Raga which came to be called Brindavana Saranga. combining the names in both the systems, underwent some changes. There was an occasional use of Sadharana Gandhara. That is not of much consequence. But the Kakali Nishada Prayoga and the characteristic sancharas came to be dropped and this completely altered the complexion of the Raga. All this was set right by Muthuswami Dikshitar. He*has composed a number of songB
70 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [Vol. XLVU
in Brindavana Saranga— “ Ranga pura vihfira” . “Swamin&thena” and “ Soundararajam ” and except for the very slight use o f Sadharana Gandhara which can even be omitted without any detriment to the pieces, his rendering of the Raga is precisely the same as that of Saraog in Hindustani,
Turning next [to the other Hindustani Rafea bandied by Dikshitar, he has composed a number of pieces in Raga Yamuna Kalyani (Email of Hindustani Music) and among them special mention must be made of the song “ Jambupate ” which for its richness of Raga Bhava and grandeur, stands unrivalled. His song in Hamir Kalyani “ Parimalaranganatham ” is again a brilliant composition, bringing out impressively the features of the Raga Ked ir, which had for centuries been adopted as part of it in South Indian Music (there is a Hameer in Hindustani Music—it has no gandhara in MAGRS—it is just MRS.) Enough has been said to show that the compositions of Muthuswami Dikshitar have been greatly enriched by his knowledge of Hindustani Ragas and it seems desirable that there should be a critical study of his compositions in this aspect, by persons having knowledge of both these systems. “Even in the handling of Ragas other than those adopted from the Hindustani system, the compositions of Dikshitar bear a strong impress of his knowledge of that system” , Sri Iyer further observes elsewhere— “ Because of his studies in Benaras we have from him renderings of many ragas of Hindustani system which had been assimilated in Carnatic system in all their original form and colour. “For those three examples are handy - ‘Sri Satyanarayanam’ in Subha Pantuvarali, ‘Chetasri’ (Dvijavanti or Jaijaivanti and) “ Neera- jakshi” in Hindolam. Apart from this even in the rendering of the Ragas generally we can see the influence exerted by the Hindustani Music on his songs” .
“Though gamakas are common to both Hindustani and Carnatic systems, the former lays greater emphasis on some of them as for example Jaru. The compositions of Dikshitar alsn give great prominence to this gamaka, It may in general be said that certain Gamakas are very appropriate to Vilambakala music and so it is only to be expected that they would figure largely both in the Alapa of Hindustani Ragas and in the compositions of Dikshitar. In the rendering of these Gamakas Dikshitar found in Hindustani Music much that was congenial to him’'.
P ts . I - I V ] DIKSHITAR.-K.ARNATAKA AND HINDUSTANI PADDHAT1S 71
Indeed a Karnatak Sangita Vidwan must make a deep study of these characteristic Gamakas which are peculiar to one of the two systems only and avoid mixing them up; for this an intimate study and grasp of the Raga Swarupa of both the systems must be acquired or we get only hybrids, where the change or the beauty of the alien system will sound like an intruder. This is an ‘aupacharika’—I feel this sort of departure is better avoided.
Ragas must be rendered with all the peculiar sancharas and anuswaras and the individual, traditional ‘Raga Rupa* scrupulously preserving the 'Dhvani Visesha’ of our Ragas. Greater attention to Mandra Sthayi, Vilamba alapana and staying on important notes with a large varieties of sancharas centred on them will help us capture the soulful nada silpa of Hindustani performers without in any way sacrificing the peculiar Gamakas and raga flavours of Karnatic system. To learn the kritis of Dikshitar in the traditional style preserving the vilamba kala and gamaka pushti will ensure the acquisition of all that is [excellent and worthy of [adoption in the Hindustani Paddhati.
Muthuswamy Dikshitar and Kerala
Dr. S. Venkitasubramonia Iyer
It is worthwhile to examine the interest Sri Muthuswami Dikshitar had in Kerala, the influence he exerted on its music and the interest Kerala has shown in his compositions. The impact of Dikshitar in the shaping of modern classical music in Kerala is quite perceptible.
It is doubtful whether Muthuswami Dikshitar had at any time visited any part of Kerala. The indications are that he had not. But that was no bar for him to see of the chief deities in some of the most famous temples there. In the collections of his compositions now available we get three such songs, namely ‘PannUgasayana’ in Madhyamavati - Adi onAnantapadmanabha at Trivandrum, ‘Hariharaputram’ in Vasanta - Khanda Ekam on Dharmasasta of Sabarimalai and ‘Srikrishnam bhaja' in Todi-Adi on Srikrishna of Guruvayur. Needless to say that these three temples in Kerala are the best known outside. In the song on Padmanabha we get the statement pUyasannapriyakara which refers to the huge quantity of paysam, about 300 litres per day, offered to the deity and distributed to the devotees, a practice that was current till a couple of decades ago. We get therein the expression ‘unnatapandyakeralani- vasa't the exact significance of which is not clear. ‘Pandyakerala’ perhaps means ‘the part of Kerala adjacent to the Pandya country’ or ‘the part of Kerala where the people from the Pandya territory migrated in good numbers’. It may also mean ‘the part of Kerala under the Pandyas’ because a portion of Southern Kerala was under the control of the Pandyan kings for a short period. The word ‘Urinatef meaning ‘high’ is reminiscent of the term ‘malainadu' by which Kerala was referred to by the people of the Tamil country to whom it was a Western highland. A similar expression ‘pan4yakeraladidesaprabhakaram’ occurs in the song on Ayyappan also. Here it may mean the deity who is spreading his lustre in Pandya - kerala, that is the
Ptst I-IV] DIKSHTTAR A N D KERALA n
part of the Kerala adjacent to the Pandya country, as before, or, more appropriately, the deity who is most popular in Kerala and Pandya, which is true to this day. An interesting observation in the description of the deity in this song is that he is holding a bow of sugarcane and an arrow of flowers (pushpasarekshukar mukadharam). Nothing special of this kind is noticeable in the song on Guruvayurappan.
There are some points of similarity between the compositions of Muthuswami Dikshitar and those of his contemporary and compeer, Maharaja Swati .Tirunal of Travancore. Some of these are due to their identity of outlook; others are due to the influence of Dikshitar on Swati Tirunal.
In the former category, the most outstanding similarity is the use of the Sanskrit language as the principal medium for the compositions. Sanskrit used by both is lofty in both idea and expression. Both are great masters of words and the verbo-musical embellishments like assonance, alliteration and rhyme mark every one of their pieces. Swati Tirunal deduces the rules regarding these from the compositions of Margadarsi Sesha Ayyangar. Dikshitar probably draws them from the compositions of Upanishadbrahmayogi. The compositions of Dikshitar almost exclusively and those of Swati Tirunal mostly are kirtanas in praise of the gods and goddesses of the Hindu pantheon. But while Dikshitar has sung of the diety in most of the well-known temples in South India, Swati Tirunal has sung mostly of his tutelary deity Padmanabha, though songs in praise of deities in other temples are also not wanting. Dikshitar adopted a good number of Hindustani ragas and so did Swati Tirunal. Both of them were steeped in tradition, but both had an open mind and broadness of vision. Both have preserved in their kritis rare ragas like Padi, Gopikavas- santam, Lalitapanchaman and Ghanta, and rare features like tarasthayi prayogas in Nadanamakriya and Yadukulakambhoji.
Similarity due to the influence of Dikshitar is seen in the raadhyamakalasahitya which we find in many compositions o f Swati Tirunal and in the introduction of the raga - names m
II
the text which we find in some. As is well known, these two embellishments in musical compositions were introduced by Dikshitar, and each has a purpose to serve. The first gives a swiftness of flow in contrast with the earlier part and the second removes all doubts about the raga of the composition and enables us to grasp the different prayogas associated with it. The kirtana *Jagadisa sada’ (Natakurinji-Adi) of S ^ t i Tiiunal has the third avaria in the Anupallavi and the fifth in the charana in the madhyamakala. 'Mandaradhara' (Todi-Chapu) has one avarta in the madhyamakala in the charana. There are numerous other instances like * Pahi mam Srivagiswari ’ (Kalyani-Adi) ’, * Paid tarakshupuralaya ’ (Anandabhairavi-Adi),' Paripahi mamayi' (Kal- yani-Chapu) etc. As instances of raga-names figuring in the Sahitya may be cited Ahari in the expression ‘ paramaharitrida'sajanapariv- varita * in ‘ Pannagendrasayano ’ (Ahari-Adi), Mohana in ‘ Moha- nam tava vapurayi ’ (Mohana-Adi), Lalitapanchamam in ‘ voralali- tapanchamam ’ in ' Paramapurusha ’ (Lalitapancbamam-Jhampa), Varali in * bhurinilavarolismakacha ’ in ‘ Mam ava Padmanabha * (Varali-Chapu) etc.
Solkattu or the beautiful combination of svara and jati occurs in several compositions of Swati Tirumal like ‘Rasavilasa* (Kambhoji-Adi) and ‘Gopalaka pahi mSm* (Bhupalam—Chapu) and some of the Navaratri kirtanas like 'janani mam ava* (Bhairavi-chapu) and ‘Saroruhasanajaye* (Pantuvarali-Adi). It is possible that in this Swati Tirunal is influenced by Dikshitar who has it in his kritis iike ,Anandanatanaprakasam’ (Kedara-Chapu). This device is seen In some of the songs in the Krishnalitatarangini of Narayana Tirtha, but evidence is lacking to show that Swati Tirunal had known this -work.
The kritis of Dikshitar were introduced in the court of Swati Tirunal by his worthy disciples Vadivelu and his brothers, “ the Tanjore Quartette ” . With the demise of Raja Serfoji of Tanjore, the great patron of music and the other fine arts, many talented artists adorning his court moved to Trivandrum, many at the invitation o f the Maharaja through Dewan Subba Rao and some on their ■own initiative, and all were accorded a hearty welcome and given •encouragement. The story goes that the first song which Vadivelu sang before the Maharaja was the Navavarana kriti ‘Kamalambam
14 THB JOURNAL OF THE MADRAS MUSIC ACADEMY [ Vol. XLVU
Fts. I-IV] DIKSHITAR AND KERALA 75
bhaja re’ in Kalyanj, and amazed at ite beauty and grandeur, and deeply inspired by it, Swati Tirunal composed his Pahi mam Srivageeswari’ which stands out as one of the most attractive in die Navaratri kirtanas and one of the best in the whole lot of his compositions.
The attractive design of the Navavarana kritis and the orderly treatment of the mystic chakras of Sakteya Tantra in them by Oikshitar, the devotee of Devi, inspired Swati Tirana], the devotee of Vishnu, to compose the Navaratnamalika or the nine gems of songs dealing with the nine-fold aspect of Bhakti, namely Sravana, Kirtana, Smarana etc. This string of compositions has gained great popularity.
The typical ragamalika with its different sections and chitta- svaras and a concluding pait having the svaras in the reverse order is represented in Swati Tirunal’s output by a few excellent examples like Pannagendrasayatia and 'Kamalajasyahrita'. It is quite possible that in this type of composition he was influenced by the ragamalikas of Dikshitar. We do not find such specimens in the pre-Swati Tirunal period in the music of Kerala.
Although Swati Tirunal, with bis catholicity of outlook and capacity to imbibe the best in every tradition, was susceptible te the influence of the majestic music of Dikshitar, no other composer in Kerala shows this influence or even much familarity with the Dikshitar kritis, presumably because of their inimitability and the special talent they demand for their proper comprehension and correct presentation. No doubt that the Tanjore Quartette was present there, but what seems to have caught the attention o f the contemporary artistes there, was their own sparkling Varnas, Sabdas and other compositions for dance than the thrilling compositions of their master with their massive dignity and imposing beauty.
At the beginning of the present century about a dozen kritis o f Dikshitar were popular in Kerala, particularly in the southern parts,, and this need not be taken as a small number when we consider that even in Tamilnadu where his sishya paramparas were extant and; works like the Sampradayapradarsini, containing a good many Ofi
his compositions in authentic notation were available, the songs figuring in concerts were few in number before the revival o f interest in them brought about by the efforts of people like Sri T.L. Venkatarama Iyer and Dr. V. Raghavan, and on the practical side by persons like Smt. D. K. Pattammal. The most popular among them was naturally ‘Vatapiganapatim’ id Hamsadhvani. ‘Mmasaguruguha0 in Anandabhairavi, ‘Nilakantham bhajeham’ in Kedaragaula, ‘Tyagarajaya namaste' in Begada, Tyagarajayogavai- bhavam' in Anandabhairavi, ‘Anandanatanaprakosam' in Kedaram ‘Minakshi me mudam' in Gamakakriya, ‘ MahalakshmV in Madhava- manohari, ‘Kanjadalayatakshi’ in Kamalamanohari, ‘Bhajare rechitta* in Kalya'ni and *Akshayalingavibho' in Sankarabharanam were some of the rest. Many of the songs are available in Malayalam books on elementary musical theory like the Sangitagunadarsam and in collections of songs like the Sangitarajarangam. In the Sangitarajarangam of Ranganatha Iyer many of these are given in notation.
In the musical history of Kerala, we do not find any outstanding Vidvan who has particularly specialised in Dikshitar music, but Padmanabhapuram Samba Bhagavatar in the court of Sri Mulam Tirunal Maharaja used to render ‘Akshayalingavibho' and‘Tyagarajaya namaste' with a speciality of his own. His high- pitched and full-throated voice and remarkable mastery of laya stood him in good stead to render Dikshitar kritis in slow tempo bringing out their full grandeur. Somayaji Bhagavatar in the court of the same Maharaja had a good repertoire of these compositions and it is reported that in the collection with him, which is unfortunately not traceable now, there was a song in a rare raga Jyotirmani. In Palghat, which is a noted music centre in Kerala the discourser Anantarama Bhagavatar and the composer Ennapadam Veokata- rama Bhagavatar seem to have mastered some of the more important kritis of Dikshitar.
Needless to say that in the present day, the compositions of Muthuswami Dikshitar are as popular in Kerala as in the rest of South India and the Vidvans render them in concerts in increasing numbers due to the significant revival of interest in them in recent times and the availability of a large number of them with correct {exts and proper notation.
76 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [ Vol. XLVI1
DIRSHITAR’S KIRTANAS IN KARNATAKAVidwan N. Chennakesavayya
It is now 200 years since Muthuswami Dikshitar, the youngest of the South Indian Musical Trinity, all of whom hailed from Tiruvarur in Tanjore district, was born. Dikshitar in his early years gained considerable knowledge of the Vedas, Literature, Grammar» Rhetoric, Astrology aud Tantras in addition to practising the family art of Music , Veena and Vocal. He also gained some knowledge in Western Music.
In his 16th year he met Chidambaranatha Swami and proceeded with him to Varanasi. He spent live to six years learning Vedanta and was initiated into the secrets of Sri Vidya Upasana. By austere upasana he secured the grace of Devi. During this time he learnt North Indian Music also. At the demise of his Guru and after rendering him the last services he returned to Madras, proceeded to Tiruttani, a famous kshetra of Sri Subrahmanya, and for forty days performed severe tapas and obtained the grace of the Lord of that kshetra. He then visited from time to time other celebrated kshetras like Tirupati, Kalahasti, Kanchi, Tiruvannamalai, Chidambaram, Vaideeswaran Koil, Mayuram, Tiruvarur, Tanjore, Tiruchirapalli, Srirangam and Madurai. Staying at some places with his family, he composed kirtanas in Sanskrit on the presiding deities of each of the kshetras. These kirtanas are since then shining as brilliant expositions of Bhava and Lakshana of the ragas in which they are sung and have secured for Dikshitar the place of Acharya of South Indian Music.
Dikshitar did not visit Mysore which was passing through political troubles during bis days. The British were waging wars with Tippu Sultan, defeated him and placed the young Sri Mummadi Krishnaraja Wodeyar on the Mysore throne with Pumaiya as Dewan. The Maharaja assumed full responsibility of the adminis
tration with the retirement of Purnaiya in 1811 and vidwans from the South began to visit Mysore to seek Royal patronage. Dikshi- tar’s kirtanas might have been introduced into Mysore during this- period. A musician of that day, Sonti Venkataramana Ayya is said to have sung a pallavi in Dwijavanti before the Maharaja and this raga was introduced into Karnatic music ^rith Diksbitar’s celebrated Kirtana - “Chetasri”. None of Dikshitar’s direct disciples appear to have come to Mysore either. Among those who may be said to have popularised his kirtanas in Mysore during their visits may be mentioned Lalgudi Rama Bhagavatar, a disciple o f Tyagaraja, Mysore Sadasiva Rao, a disciple of Walajapet Venkataramana Bhagavatar, Mugur Subbanna (Vasudevacharya has mentioned in his book on contemporary musicians that he sang “ Saras- wati Chayatarangini” in the raga Chayatarangini) who was a sishya of Andanallur Subba Iyer, Sundaram and Subbarao brothers from Trichy, Veena Vidwan Kapisthalam Chikkaram^nna (a nephew o f Bakshi Veena Venkatasubbaiya of the Mysore Palace and father o f Veena Sesbanna), Alasur Krishnaiya, a disciple o f Annaswami Sastriar, Nagapattioam Appukkutti Nattuvar who had challenged Syama Sastriar and failed and sought palace patronage in Mysore, Kaojari Radhakrishnaiya of Chittoor, Veena Shamanna, Veena Sambaiya, Pallavi Ramalingaiya of Mysore who was a sisbya o f Manambuchavadi Venkatasubbaiya.
Maharaja Sri Mummadi Krishnaraja Wodeyar passed away in 1868 and the administration, which had been taken over by the British in 1831, was handed over to Sri Chamaraja Wodeyar in 1881. Visits of musicians to Mysore for palace patronage began again from that date. In a manuscript of musical notation of my father, Sri Natanahalli Kesavaiah of 1882, seven of Dikshitar’s- kirtanas “ Vatapi’’ (Hamsadhwani), “Kanjadalayatakshi” (Kamala- manohari), “ Suryamurte ” (Sowrashtra), “ Sreeramam ” (Nara- yana Gowla), “ Chintaya Makandamoola Kandam” (Bhairavi), “Mahishasura mardani (Narayani) “and Ramachandrena’’ (Manji)- are found. It can therefore be said they were already current in Mysore.
Music received a great deal of encourangemnt during the reign Sri Chamaraja Wodeyar, the Maharaja himself being a violinist. Veena Seshanna, Subbanna, Dodda Subba Rao.VeenaPadmanabhaiya and others were Asthana Vidwans. The visiting musicians included
78 THE JOURNAL OP THE MADRAS MUSIC ACADEMY [ Vol. XLVU
W8.I-IV] D1KSHITAR AND KARNATAKA nMaha Vaidyanatha Iyer, Patnam Subramania Iyer, Tirukkodikaval Krishna Iyer, Parameswara Bhagavatar, Periya and Chinna Vaitbl, Pallavi Seshaiya, Veena Kuppaiya, Kedaragowla Narayanaswami, Krishnaswami, Srimatis : Coimbatore Tayi, Kanchi Dhanakoti and Veena Dhanam. They might have been responsible for the spread -of more and more kirtanas of Dikshitar. Sri Vasudevacharya, who returned to Mysore after his musical training under Patnam Subra- maniya Iyer, used to sing “ Vatapi Ganapatim ”, ” Sri Subra- manyaya Namaste ” (Kambhoji), ** Tyagarajaya Namaste ” (Beg- -ada), “ Chintaya Makanda-muia ” and “Kanjadalayatakshi,” imitating Maha Vaidyanatha Iyer’s style and also “ Balagopala ” {Bhairavi) “ Ranganayakam ” (Nayaki), “ Sri Varalakshmi ”
Sri Chamaraja Wodeyar passed away in 1896 and the admins- tration was with the Maharani - Regent till 1902. The marriage of the Maharaja Sri Krishnaraja Wodeyar (Nalvadi) during this period was the occasion for the gathering of a large number of distinguished vidwans from the South in Mysore and would have been responsible for the dissemination of several more of Dikshitar's songs. With the starting of the Gayana Samaja in Bangalore in 1935 constant visits of musicians from the south began and they popularised Dikshitar’s songs in public performances.
In 1904 was published Sangita Sampradaya Pradarsini, which -was responsible for the spread of knowledge of Dikshitar’s songs widely. Vidwan Sundara Sastri of Mysore, a disciple p f Veena Padmanabhaiya, learnt many songs from this publication and was
-“ Nirajakshi ” (Hindola). Sri Bidaram Krishnappa brought into vogue “ Amba Nilayatakshi” in Nilambari. Tiger Varadchariar used
to sing ” Vatftpi” ,' ” Ramachandram Bhavayami ’’(Vasanta), ” Bha- ja re ” (Kalyani) and “ Sri Rajagopala ” (Saveri). Bhairavi Kempe -Gowda sang “ Tyagarajaya namaste ” (Begada) and Sri T.
Chowdiah - “ Sri Venugopala ” (Kuranji), Sri Chikkarama Rao, a disciple of Sri Karigiri Rao used to sing “ Sri Ganan&tham ” in K&nada and I was wondering when this new version of the Isamano- hari Kriti came into vogue. When I was in school I was taughta Ganapati Storta “ Ratna Garbha Ganapatim...........VaibhavamWhen in 1910 I purchased a set of Sangita Samprqdaya Pradarsini Volumes I came to know that there was a separate sahltya “ SaktiSahita Ganapatim...........Vaibhavam ” set to jati swara of Dikshitar.In the early days of my musieal training I was taught by Sri Chikka Subba Rao, “ Sri Gurugugha Tarayasu ” (Deva kriya), ‘‘ Mahaga- napate ” (Natanarayani), “ Saraswati Manohari ” (Saraswati- manohari), " Sri Guru guhaya ” (Sama), '* Sri Dum Durge ”( Sriranjani). With the help of the Pradarsini I learnt and sang in those days “ Svetaganapatim ” (Ragachudamani), “Sri Muladhara” (Sri) and the Kamalamba Navavarana Kirtanas.
Since 1902, when Sri Nalwadi Krishnaraja Wodeyar ascended the throne in 1947 when the reign of the Maharajas concluded, the annual Dassera and Birth day celebrations at the palace attracted a large number of vidwans from the south to Mysore and this may be said to have helped to further the knowledge of Dikshitar’s songs in Mysore. In the distinguished galaxy of musicians who thus came and sang or performed may be mentioned Sriyuts Ramnad Srinivasa Iyengar, Nemam Natesa Iyer, Vijayanagaram Venkata- ramanadas, Palghat Iswara Bbagavatar, Sabhapati Iyer, T. Sabhesa Iyer. Valadi Krishna Iyer, Palghat Ananatarama Bhagavatar, Pudu- kottai Ganapati Iyer, Harikesanallur Mutbiah Bhagavatar, Ariyakudi Ramanuja Iyengar, Salem Doraiswamy Iyengar, Palladam Sanjiva Rao, Conjivaram Nayana Pillai, Maharajapuram Viswanatha Iyer, Musiri Subrhamanya Iyer, Chembai Vaidyanatha Bhagavatar, G.N. %Balasubramanyam, Chittoor Subramanya Pillai, Dwaram Venkata- sami Naidu, Rajamanickam Pillai, Srinivasa Iyer and Madurai Mani Iyer, Srimatis : M. S. Subbulakshmi, D. K. Pattammal, Bangalore Nagaratnamma, M. L. Vasantakumari. Some of these were Asthana Vidwans and most of them were honoured by the Maharaja. Among the Kirtanas which were popularised by these are “ Ananda- natana ” (Kedaram), " Anandamrita karshini ” (Amritavarshini)“ Jambupate ’’(Yamuna Kalyani), "Arunachala Natham ’’(Saranga),'* Seshachala Nayakam ” and " Mamava Meenakshi ” in Varali;'* Dakshinamurte ” and “Akshaya Linga Vibho” in Sankarabharana.
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Pts. 1-IV ] DIKSHITAR AND KARNATAKA 8!
“ Pahi mam Ratnachala” (Mukhari), ‘‘Mamava Pattabhirama” (Mani- rangu), " Sri Mahagana^ati ” (Gowla), and “ Sri Balasubrahmanya’’ (BMtfcpri}. The AkashaVsiii ladm tisical conferences are responsible for further dissemination of knowledge in this behalf. The Navavarana Kritis, the Navagfaha Kfirtanas, the Pancbalinga Kritis and others also became popular. In Bangalore, Tiruvaiyaru Subra- mania Iyer, DakshihaniUrthi Sastri, Viswanatha Sastri, a disciple of Maha Vaidyanatha Iyer, Chintalapalli Venkata Rao, a disciple of Pallavi Seaha Iyer, Channappacbar and others sang and taught Dikshitar’s songs. . ,
Even after all these days, many of Dikshitar’s kirtanas have still to come out and be popularised. The Sahitya and style of the kritis are not easy to grasp. The tempo is vilamba and a good mastery of tala is necessary to render them satisfactorily. They are composed in all the 72 melas and their several janya ragas. Many of the melas suffer from the difficulty of vivadi swaras in the scales and though the songs themselves are composed intelligently to overcome the vivadi difficulty, they ary difficult to grasp for the ordinary student of music- We did not have a knowledgeable sishya parampara to disseminate them and even now proper teachers are difficult to come by.
The extant publications do not give the notation with attractive sangatis and the songs cannot be learnt and satisfactorily sung with the help of these. While the kritis themselves have ample scope for artistic eleboration with nice sangatis, the task requires a musician with wide knowledge, a good aesthetic sense and imagination. These factors are responsible for the kritis not being as popular and appreciated as they deserve to be. Again, some new compositions are being introduced as the songs of Dikshitar. When these are compared to the kritis in the Sampradayapradarsini, we see considerable diversity in sahitya. style and music. These are now a fit subject for musical research. It is a good sign that the attention o f our artistes is now being drawn more and more towards Dikshitar’s songs. It behoves all of us on this occasion to remember with gratitude the great musical tradition and the magnificent compositions handed down to us by Dikshitar, practise them well and popularise them.
12
Raga - Mudras in Dikshltar’s Compositions
S. Seshadrl
Though God is said to be omnipresent it is inly in certain places where his presence is felt or where a devotee loses himself on being in a place surcharged with holy atmosphere. These kshetras have been to us the veritable abodes ofGod. Our faith in these holy places have been reinforced both in the past and in the present by the visits o f great saints, singers, Acharyas and devotees. Every kshetra has its own ‘Sthala - Mahatmya’ handed down from generation to generation. Almost all the kshetras in South India abound in ‘Sthala Mahatmya’. Therefore a visit to such places in one’s life-time is considered to be one of the spiritual acts. Kshetri- tanam is a common man’s yagna.
For our Saints and Singers, a silamurti or a sculptured God is not a lifeless object but His resplendent form which is there for the benefit of the devotee. It is only with one such symbol that we can bring to our miad the image of God. It is a form to be contemplated upon. Hence the stress on sagunopasana. Temples in India are as important for their sthala mahatmya as they are for the architectural beauty. When a holy man visits such a temple or a kshetra, he immortalises his visit with slokas, stotras or kirtanas. Numerous songs of Haridasas of Karnataka, in praise of the deities o f different places can be seen. The musical Trinity who visited some of the kshetras have sung in praise of the presiding deities of the places and have incorporated in their songs the sthala-mahat- myas also. The visit of Sri Tyagaraja to Tiruvotriyur, Kovur and Lalgudi has resulted in ‘Pancha - Ratna’ [kritis in respect of each place.
Of the Trinity, Sri Muthuswami Dikshitar was the one who had widely travelled. From his kritis, it can be seen that he visited a number of kshetras from Rameswaram to Katmandu in Nepal Since Tiruvarur was his birth • place, we find a large number of kritis composed on the presiding deities Tyagaraja and his consor
Parvati. The additional vRlue In tim e kahetra krids of Dikshitar is the material of archaeological, monographic and literary interest that they contain. These songs are epitomes o f , kshetra-mahatmya. Dikshitar was a keen observer and an anxious enquirer and never missed features of temple architecture which had particular relation to the symbology of worship at particular shrines like the “ Pranava- kara Vimana* in his Ranganayakam in Nayaki” (Dr. V. R.).
Archaeological and iconographic materials in Dikshitar’s com. positions demand a separate study. But, for students^ of music Dikshitar is a * Lakshanika ’. His kritis abound in adiprasa, antyaprasa, swarasahitya and swarakshara beauties, madhyamakala sahitya, gopucbcha and srotovaha yatis, viloma chitta yatis etc. ‘ Dikshitar left us in no confusion and controversy in respect of the ragas of his compositions. The scientific anxiety with which he wove into his sahitya the raga-name, is something for which we should be profoundly thankful to him ’ (Dr. V. R.). He followed the 72 meals beginning with Kanakambari: Devi is addressed as
(dsruift ffe). w w tf lw t etc.
Raga - names have been in existence even from pre - Ratnakara period. It is impossible to say by whom and when these raga - names were coined though some of them can be traced to certain regions. But the scope is very limited. While some raga • names lend themselves to form intelligible meaning some others seem to be obscure. It is by the employment of raga ■ names in his kritis so as to give an intelligible meaning that Dikshitar stands as a unique composer. Perhaps Dikshitar got the inspiration from his father Ramaswamy Dikshitar who was a pioneer in the art of incorporating raga and tala names in the songs. Reference can be made to his Raga - Tala malika.
Raga • names found in Dikshitar’s compositions can be studied under several heads :
1. Raga - names which themselves suggest nama - bhedas of the deity or one of the numerous doxologies attributed to the deity.
2. Raga - names which suggest the colour of the deity’s body, the dress and ornaments worn by it and pooja samagris used white worshipping.
PtS. I-F V ] RAGA - MUDRAS IN DIKSHITAR’S COMPOSITIONS 83
3. Raga-names which when prefixed or suffixed or dropped by one or two syllables become meaningful.
4. Raga-names which are suggestive of certain emotional aspects.
5. Raga-names which undergo a slight change in? syllables but yet are near to the names that are in usage.
6. Raga-names of compound words which when split into two separate words' reveal the ragamudra.
7. Raga-names which are used with ‘Nutam’, ‘Priye’, ‘Priyam’, ‘Moditam’ etc.
8. Raga-names which do not find any place in the kritis.
We shall examine some kritis under each head. It has already been said that Dikshitar adopted Kanakambari-Phenadyuti nomenclature. The name of the first mela ‘Kanakambari’ appears in his Kanakambari piece. Parvati has been addressed as one clad in Kanaka Vastra, She has been described asone who delights the minds of Sankara and Narayana - UT&MITHW SCTRsrft. She is worshipped by all the chief commandants of the army-§wt!rifcigwt<nfa^ (Senagrani piece). She has been described as one garlanded by malavika flower as in snfefa
in the Maya malava gaula kriti. Her feet are capable of granting all kinds of wealth-*re3ttfcmuYTU ^ 4 ^ as in Kamalam- bikayai. Her nose screw is as shining as a star: tmiuftlWtUI-HWmlih f trrfh w i as in Devi’s temple is adornedwith door-bells which loudly proclaim ‘Mukti’ to all those who worship her-FFtra j j l w s a s in sft Parvati enjoys the music of Veena, Bheri, Venu etc. as in
Sarasvathi destroys the fear of samsara - as “ Similarly Sri Visvanatha destroys the
fear of samsara of those who take refuge in him-fsrcra«l as in sftf^TT*r
Ganapati is described as one clad in red cloth-UT^riS^t sfcuft- as in He has been described as Naranatayana’s
son as in ngTrorot UTUtUtg Hri*. He is the destroyero f sins, as in unmnP9^ni”Rfir. Sri Parvati is addressedby her numerous names I am theservant of Guruguha who has been worshipped;by ancient sages.
8 4 THB JOURNAL o f THE MADRAS MUSIC ACADEMY [ V ? l . XLVR
PtS. I—iy i RAGA-MUDRAS IN DIKSHI tar’s COMPOSITIONS 85- v.‘ •• ' ■ , ; y
w w fil * -r faflWi as, in straits^.Mahakavya and Netaka 4re die favoAflise subjects of M&haganapeti-affltRWV - Sri Tyagaraja has beat described as s«NH-gawfjf ify®Tf (Gaulaand Gaura are one and tbe same raga).- Hehas been described.Rs one who is die lord of elements, a n&v§ orboat in which he takes us out of the samsara sagara and one whois praised by the learned- qtrafflr ngifteflftewNm.He is the friend of Soma, Saoaka etc.as in Sivas eyes are Sun, Moon and FireWSWS, as in Nabhomani piece, it is by the Lord's grace that being-live-tR4Y*il*l£Tfr»t grtowt sftufar as in Jeevanthika piece.
Sri Krishna is described as the paramour of beautiful cowherd women efN^wdt-ihvdt-sm^. Just as the spring puts all plants to bloom, he is a spring to all cowherd women ?qziftfir*TTOTO!H. as in TOfPW MTWITfir. He is one praised by Vedas and delights the mind of Gauri, Guruguha etc. by his gtihwn, as in fjwtlTO*-
Rama is the destroyer of sins: tin ttW He isdescribed as one wearing an anklet (staftOTfrsw) as in
He has been described as one seated on the pearled throne with JlfiinjFffl, JtfuttJH'srC I He is the Lord of Sitawhose voice is like that of a cuckoo as in sttapmtnmRfir nfstTfit
Lakshmi is described, as the charming wife of Madhava as in MfT fsfR Anjaneya takes delightin Kavya, Nataka-w4<uts^-nN <ii4*-alt as in ’T TCPpt.
Raga Names with slights variations :
Margadesi s STOW as in
Ritigaula : fbnwrffc WSROItNft^ as in
Ardradesi: *mi]HSWT$stH4<iEi«l as in
Dhanyasi; 1 as in
Huseni: qwTft fMw stTuwrnsttiTf fPTW as in «ft
Sahana; tsitm pjlfiR t f4Q(acJ|wt<l as inaft«iTOT^>t«Pri tuffc
86 tub journal of the madras music academy [VoI.
E x a m p l e s o f R a g q u s e d w i t h 'nutam\ 'vinntaffl’ etc,- '
Vati Vasaota Bhairavi: O mind ! worship Prasanna Venkatesa
Kedaragowla : Kedaragowla is a favourite raga of Nilakantha.
Revagupti: frtrftHR SRfawnrc un jftf^r
Gujjari raga : 3^35^ 3®^
Saveri : aAfoiwgon. as in
Compound words which when split reveal Ragamudras
Abheri : ^Nl^fr-^SIVtirrfx
Ahiri : JlTOt fasant $fRtR*fllfvW*iaT% as in 9H91WIT amfir
Mukhari : gvtauarf^ UHgOTft as in ’rrf? wt N n iin U n
K ap i; 4 ta w r t t« iw w as in thenPm^lg (Manipravala kriti)
Bowli; M**fV 4fanfro£t as in qrSdtoiNA
Raga - Names suggestive o f some places which Dikshitar might
have visited:
Kedara s sftmg n*nw aft
Mayamalava Gaula ; smmnasvharfv as in
Begada: M W R ji> tih l4h lW ll^ h ^ fi& tn it
praised by
Kannada Bangala : frqnivnfig* f^Rpmd^RtO onm ifaErMWRVITS wiFMSMSlft as in
Madhyamavati : hv HTwIh
(Avanti desa is Ujjain. Does he refer to this?)
Pts. I-IV] RAGA-MUDRAS IN DIKSHITAR’S COMPOSITIONS 87
If raga-names such as Takka, Padi, Asaveri, Malavapaachama, Poorva panchama, Darvaru, Erukala kambhoji, Athana, Navaroju etc,, have not ibun<j placcio Dikabitar's compositions, it may be due to the'nanies lotMlendmg .tSrtarnseltarftb form a meaning in relation to kritis in they, were to embedded.
This is only an attempt to show how seemingly fanciful raga- names have become meaningful at the hands of the Master Composer. Dikshitar’s extraordinary skill is best illustrated in his Chatur- dasa Ragamalika eOfiwtrtf Such feats are possible only fora person gifted with high intellectual powers. In that Dikshitar reigns supreme. It will be quite interesting to study this" branch in kritis which are yet to be brought to light.
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Pts. H V ] TALA SET-UP IN OIKSHITAR’S KIUTIS 89-
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•90 THE JOURNAL OF THB MADRAS MUSIC ACADEMY [ V o l. XLVII
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9 4 THE JOURNAL OP THE MADRAS .MUSIC ACADEMY [ V o l. XLVn
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98 THB JOURNAL OF THB MADRAS MUSIC ACADEMY [ VdL XLVD
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Pfo I-1V ) DIKSHITAR AND OTHER SANSKRIT COMTOSERS 101
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104 THE JOURNAL Or THX MADRAS MUSIC ACADEMY [ Vol. XLVU
The Four Vivadi Dosha Svara Couplets And How Dilcshltar deals with Them
Dr. T. S. Ramakrishnan
During the Pre-Venkatamakhin period, several, some very important treatises on music had been written. But their contents especially regarding the Lakshya mQrga (description of the various Ragas about their practical aspects) were very confusing and some different from treatise to treatise. The definitions of the Lakshana terms were rather vague and indefinite with confusing meanings. Besides most of them were mere copies of earlier treatises.
It was Venkatamakhin who successfully dispelled all 6ucb previous confusion through his famous treatise, “Chaturdandi Prakasika” and its appendices, by devising our famous present-day 72 Melas, coining their respective Raganga Ragas and classifying janya Ragas under them. In bis treatise he clearly described their individual Raga features both by coining suitable murchanas for them and by composing highly interesting melodic Lakshana (=Model) Gitas and Prabandhas and Tanas. Through these he expected musicians to understand and learn the various Ragas in their true individual melodic pictures.
Venkatamakhin had learnt from his Guru, Tanapparya, 55 of the then current and more important classical Ragas of Carnatic music which included the already famous 18 Purva Melas. He was also familiar with all the, then current, highly popular, local (=Desi) Rakti Ragas of South India.
His findings after deep scrutiny and analysis of all the material pertaining to music, especially Ragas are as follows : I.
I. Most of the 18 Purva Melas were not found to be based on Krama Sampurna Arohanavarohana Saptakas (=Hepta Scales), but had for their development their own basic different individual murchanas.
15
II. In six of the PurVa Melas four extra Svaras sounding in the Octave (Sthayi) among its svarasthanas were found to occur and contribute to take part in four Vivadi dosha svara couplets as explained below:—
1. A Gandhara svara sounded on the Panciasruti Rishabha svarasthana and with its next lower Suddha Rishabha formed the First Vivadi Dosha, svara couplet which he wrote as Fa, Ga. He named this flattest Gandhara as Suddha Gandhara (Ga).
2. A Nishada svara sounded on the Panchasruti Dhaivata svarasthana and with its next lower Suddha Dhaivata formed the Second Vivadi dosha svara couplet which he wrote as Dha, Na. He named this flattest Nishada as ‘Suddha Nishada, (Na).
3. A Rishabha svara sounded on the Sadharana Gandhara. svarasthana and with its next higher Antara Gandhara formed the third Vivadi dosha svara couplet which he wrote as Ru, Gu. He named this sharpest Rishabha as Shathsruti Rishabha (Ru)._
4. A Dhaivata svara sounded on the Kaisiki Nishada svarasthana and with its next higher Kakali Nishada formed the Fourth Vivadi dosha svara couplet which he wrote as Dhu, Nu. He named this sharpest Dhaivata as Shatsruti Dhaivata (Dhu).
It was while analysing these points, through sudden inspiration, Venkatamakhin coined a new Mela, which he named as “ Simharava” <leter this became the 58th Mela in his 72 Mela Scheme), which was based on a Krama sampurna Arohanavarohana Saptaka. It was really the coining of this extra 19th Mela that inspired him to devise, through mathematical permutation using all the 15 svaras (which included the extra four svaras discovered by him), his famous, maximum possible, 72 Mela scheme which included all the 19 Melas on hand already. These newly - devised 72 Melas were all Krama sampurna Arohanavarohana Saptakas (i.e. mere Hepta scales) and 40 among them had Vivadi dosha svara couplets. He found that these 40 melas and several of the others also could not be developed to yield Ragas with melodic features. Hence he simply classified them, under 12 “ Chakras” with six melas each. He named the 12 chakras in such a way that through the meanings of their name-words
106 THB JOURNAL OF THB MADRAS MUSIC ACADEMY [ Vol. XLVII
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Cas per “ Sabda Sankhya’1 system) one could know their rank numbers : for example in “ Rishi Chakra” Rishi stands for seven reminding us of “Sapta Rishis” . Similarly he used six “Katapayadi’ syllables which enabled one to find out the rank numbers of the six melas in each Chakra.
In order to deal with the 40 Vivadi dosha melas, Venkatamakhin examined carefully the murchanas of the six melas with the Vivadi doshas among the Purva melas. The six melas were (1) Mukhari (2) Hejjaji; (3) Samanta; (4) Desakshi; (5) Nata; and (6) Suddha Varali. He found them, to be not Krama sampuma Arohnpvarohana saptakas. He therefore followed the same method and coined suitable murchanas for all the rest of the Vivadi dosha melas and other melas. Thus he had 72 murchanas one for each of his 72 melas which could be developed into highly melodic Ragas. He named these 72 murchana Ragas as “ Raganga Ragas ” .
It was for these Raganga Ragas (not for the Melas) that Ven- katamakhin coined new names still retaining the already existing old names of the Purva melas. Thus resulted the ‘Ari Ambari Manjari* system of his 72 Raganga Ragas all classified under their respective ranks in their respective Chakras. The names were so coined that by applying the " Katapayadi ” formula to the first two syllables of their names, one could find their rank numbers among the 72 Raganga Raga scheme. For this purpose in the ease of a few names he had to prefix to those names to suitable * Katapayadi ’ syllables-
The Raganga Ragas with respective murchanas were of four types-They a re :
1. Sampurna :—Most of these were free from Vivadi dosha;
2. Shadavasampurna :—These had at least one Vivadi dosha svara couplet;
3. Audavasampurna :—Several of these had two vivadi dosha svara couplets: 4
4. Vakrasampurna The vakra feature in most of these involved Shatsruti Dhaivata (Dhu) with its next higher Kakali Nishada (the vivadi dosha svara couplet Dhu, Nu) and the vakra passage
ft#. I-IV ] DIKSHITAR AND VIVADI SVARA COUPLETS
occurred in the form “ Sa, Nu Dhu Nu Sa ” in which the Shatsruti Dhaivata, Dhu, had to be rendered with an accent (w=Nokku) and with a short duration at least not exceeding that o f the next Kakali Nishada.
Venkatamakhin adopted the following methods to render Vivadi dosha agreeable, by clothing them with suitable Gpmakas and Graces.I
I. Suddha Rishabba with Snddha Gandhara vivadi dosha couplet(Ra Ga) :—
1) In the phrase Ra, Ga — the Suddha Gandhara was to be rendered with a kampita on the Panchasruti Rishabhasthana (Ri);
2) In the phrase Gd,Ra-the Suddha Gandhara was to be rendered in the same way as in (1) above with kampitam;
3) ‘Suddha Gandhara, Ga, is varja in the Arohana of the murchana and hence we can have only the phrase Ra, M a,~In this phrase Ra, Ma. the 'Suddha Risabha, Ra, has to be rendered with a kampita on its next lower Shadja svarasthana ; and the Madhyama svara; Ma, with an Avarohana Gamaka ( = “Digu jaru” marked as/) gliding from panchama svara downwards to the level of the Madhyama svara, Ma, without a "Karvai” on it written as/Ma, or in case the Madhyama svara is of a short duration it is rendered with an accent as Ma.
4) In the phrase Ma,/Ga - the Suddha Gandhara, Ga, has tobe rendered with an Avarohana Gamaka ( = ‘‘Digu jaru” marked/) gliding from Madhyama svara downward just to the level of the panchasruti Rishabhasthana, without a “Karvai” on it • written as/Ga. ?
II. Suddha Dhaivata with Saddha Nishada vivadi dosha couplet (Dha, N a): — 1 2
1) In the phrase Dha, Na - the Suddha Nishada has to be rendered with a kampita on the Panchasruti Dhaivata svarasthana (Dhi);
2) In the phrase Na, Dha - as in (1) above the Suddha Nishada has to be rendered with a kampita on the Panchasruti Dhaivata sthana (Dhi);
108 THB JOURNAL OF THE MAORIS MUSIC ACADEMY [Vdl. XLVxl
3) Suddha Nishada, Na, is varja in the Arohana of the nurchana and hence we can have only the phrase Dha, Sa. In this pharse Dha, Sa - the suddha Dhaivata has to be rendered with a light kampita on the next lower pancbama svarasthana as Dha, Sa; or jthe shadja svara has to be rendered with an arohana gamaka ( = “Ekku jaru” marked as/) starting from the suddha Dhaivata svarasthana gradually reaching the level of the sadja svara above as DhalSa;
III. Shatsruti Rishabha with Antare Gandhara Vivadi dosha svara couplet (Ru, Gu) — ..
1. In the phrase Sa,jRu - the Shatsruti Rishabha sounds rendered with an Arohana gamaka ( = “Ekku jaru” marked as/) starting from Shadja svara and reaching just the level of the sadha- rana Gandhara svara above - It can also be rendered as Sa, Ru with Shatsruti Rishabha with a kampita ;
2) In the phrase Ru, Gu, Ma - the shatsruti Rishabha must be rendered with an accent ( = “Nokku”) and must be short in duration, at least not exceeding that of the next higher Antara Gandhara svara;
3) In the Avarohana either Shatsruti Rishabha, Ru, or Antara Gandhara Gu, one of the two is varja, Thus the phrases must occur as "Ma, Ru, Sa" or "Ma, Gu, Sa". In the former the Shatsruti Rishabha has Jo be rendered with kampita on Sadharana Gandhara svarasthana as Ru.
P tS . I-IV ] DlKSHlTAR AND VIVADISVARA COUPLETS 1 09
IV Shatsruti Dhaivata with Kakali Nishada Vivadi dosha couple <Dhu, Nu) :—
1) In the Arohana Shatsruti Dhaivata, Dhu, is always present as in the phrase Pa, Dhu, Nu, Sa and in this the Shatsruti Dhaivata, Dhu has to be rendered with an accent ( = “Nokku” marked as w) on Kaisiki Nishada svarasthana, and with a short duration at least not exceeding that of the next Kakali Nishada :
2) The phrase Pa, Dhu never occurs.
3) la the Avarohana Shatsruti Dhaivata, Dhu, is always varja,i.e. the phrase can be only Sa, Nu, Pa; But Shatsruti Dhaivata, Dhu, occurs in the vakra prayoga phrase Sa, Nu, Dhu, Nu, Sa and In this phrase also it has an accent (Nokku= w) and must be of a short duration as described in (1) above.
Note : Symbols used (all as from “ Sangtta Sqppradaya Prada- • rsini”)
1 . w - a stress or an accent on a svara ( = “Nokku”) ;2. Kampita - is a sinusoidal pitch movement up and down in
equal periods and pitch amplitude in accordance with the basic “ laya” of a svara on its svarasthana or on its next lower svarasthana in which case it is marked with the symbol “X” above it (a 3rd symbol)
3. f =Arohana Gamaka (=Ekku jaru”) is an upward movement in pitch of the svara from a lower svarasthana finally reaching its level of pitch - on a stringed instrument, like the vina, it is rendered by a pull on the string on a lower svarasthana ;
4. /= Avarohana gamaka (= “Digu jaru”) - is a gliding (downwards) movement in pitch of the svara from a L higher pitched svara level and reaching its own pitch level - on a stringed instrument, like the vina, it is rendered by gliding the fingers from an above pulled position of a higher svara on its own svarasthana finally reaching the level of the svara intended.
The above detailed points referring to the Vivadi dosha prayogas (= usages) occurring in 40 Raganga Ragas of Venkatamakhin have been collected by me from the treatise “ Sangita Sampradaya Pradarsini ” as mentioned and adopted therein by Subbarama Dikshitar. If one follows them carefully it will become possible to render the various compositions as given in notation therein with all the required melody Raga features.
The Murchanas o f the Raganga Ragas coined by Venkatamakhin can be grouped under three headings as detailed below :—
1 1 0 THBJOtnW AL OF TBBMApftAS MUSIC ACADEMY fV o i. M ,V fl
I Mnrchanas of the Raganga Ragas with Vivadi dosha occurring in them in their serial order—40 in number :
PtS. M V ] DDCSHITAR AND VIVADISVARA COU PLETS III
q Murchanag Name of thed Raganga Raga Arohaija Avarohana
I wish that the present day musicians and musicologists study the above furnished murchanas for Raganga Ragas by Venkata- makbin and the versions of Dikshitar’s kritis as given by Subbarama Dikshitar in their full authenticity and try to render all the Raganga Ragas and their janya Ragas accordingly - otherwise it is as well we discard the 40 Vivadi dosha yukta Melakarta Ragas altogether thereby saving the occurrence o f the highly undesirable “ Vivadidosha" prayogas freely indulged at the present day in our Carnatic music.
16
A few remarks about the names o f the modem 72 Melakarta Ragas
114 THE JOURNAL OP THE MANIAS MUSIC ACADBMY [ Vpl. XLVII
These names are from the treatise “ Sangraha Chudamani” by Govinda, a favourite of Tanjore court during the beginning of the last century. At present, our musicians are following the system of music as propounded in this treatise, The author,- Govinda, is said to have imbibed the lakshana features of our music from his predecessor, Akalanka. We do not know definitely now who coined the modern “Kangi - priya” set of names for the 72 melakarta Ragas as detailed in the Sangraha Chudamani.
It is well known to all musicians and musicologists, that among these names, the names of five melakartas do not satisfy the katapayadi formula and yield wrong rank numbers when written iti Sanskrit or Telugu scripts. But it will be quite surprising to find that, these same five names if written in the Tamil script and the katapayadi rule then applied, their correct Melakarta rank numbers are obtained as shown below :—
From the above it can be clearly conjectured that whoever -coined the names of these new “Kangi-priya” system ot Melakartas {was it Akalanka 7) did not know to write in either Sanskrit or Telugu (lipis!) and hence seems to have written them in the Tamil script yielding wrong rank numbers for the five melakartas.
Pts. MV] DIKSHITAR AND VIVAD1 SVARA COUPLETS 115
At the present day there prevails a wrong opinion among musicians and musicologists that Dikshitar used Hindustani system of Ragas for some of his compositions or at least gave some Hindustani Raga touches to our Ragas in some of his kritis. Such Ragas referred to are :—
1. Nagagandhaii (as Jonpuri);2. Brindavani (as Rag Megh, or some varieties of Sarang)‘3. Kapi (as Hindusthani Kapi);
It is believed that Dikshitar heard and learnt or at least enjoyed Hindustani music while he stayed at Kasi for five years. This is certainly a wrong opinion and baseless. Dikshitar spent all his time at Kasi practising Sri Vidya Maha Mantra upasana under the tutelage of his guru Chidambaranatha yogi. This point will be clear if we scrutinise the Lakshana and Lakshya kritis of Dikshitar and the Raga sancharas given by Subbarama Dikshitar and compare them with the technical definitions, Lakshana and Lakshya Gitas of Venkatamakhin with respect to their Dhatus and Raga pictures. Some musicians with doublful acquaintance with Hindustani music, in the recent past, through their fancy, blemished the purity of Dikshitar’s compositions with Hiudustani hues and paved the way for some of their successors to do the same m an increased degree and argue in favour of this definitely wrong opinion.
Mufhuswamy Dikshitar and Venkatamakhin’s Tradition
Dr. S. Sits
Section I
Inspired composers had always been votaries of the art of music in its twin arpects of Lakshya as well as Lakshana. The musicologists were throughout rightly guided all along by the principle of Lakshya or musical practice of their times in their' treatises, and Venkatamakhi frequently refers respectfully to the views of vidwans. The divinely inspired composers were also fully aware of the scientific principles governing the live art. Though their highly creative compositions were not composed by rule of thumb to suit some previously formulated system of theories, but being themselves inspired, these products of divine inspiration explicate the values revealed by them and these principles are at once seen to be primordial and eternal in significance. There is ample internal evidence in the compositions of Saint Tyagaraja and Diskshitar to show their regard for the Sastra of Music and the scientific concepts that are of basic value to our system. Their compositions are noted for their *purnatva’ which invests them with classic beauty. While lakshana seeks after the Truth behind this Beauty, Lakshya unfolds the Beauty o f the Truth. The modern Karnatic system is based on the tradition set up by the Musical' Trinity, who have adopted the raga-system of Venkatamakhin as expounded in his Chaturdandi Prakasika.
The following internal reference from some of the compositions of Dikshitar point out not only his regard for the Sastraic tradition since the days of Sage Bharata, but also his adherence to Venkata* makhin’s system on the whole; references are available in unmistakable terms to the 72 Raganga ragas, 22 srutis 7 svaras, and so on, For instance the following may be cited
Pts. WV] DKSHITAR AND VBNKATAMAKHIN’S TRADITION 117.
1. “ S a n g i t a V d d y a V in o d a to n d a v a A n a n d a n o t a n a p r a k O s a m in Kedaram in praise of Lord Natarija of Chidambaram. It refers to the triple arts of vocal, instrumental and dance, which constitute Sangita.
2. “ B h a r a ta m a ta n g a d i m i te ” - D O k s h O y a n i A b h a y O m b ik a in Todifrom Abhayamba Navfivarapa. Tyagaraja refers to “Matanga n&radSdulupasinche’’ in his “Sangita gnanamu vinft sanmar- gamu galade” in Dhanyasi raga. Dedicated pursuit of knowledge in both theoretical and practical aspects leads to the altar of Truth, which is Bliss. .»
i3. “Sangita tattva bodhino” - Ramachandra dhanyam in Dhanyasi.
Sri Rama is described as proficient in Sangita Sastra.
4. “Sangita Sastra yukte” ‘Namaste paradevate’ in Devaranji.
5. “Bhava rdga tola viswasini - Panchasadpitharupim; “Bhava ragatala modini ” Bhaja re re chitta” in Kalyani. The Goddess delights in bhava, raga and tala. “Bhava rdga svorvpatmokam” Mararatipriyam in Ratipatipriya.
6. “Madhurya-ganamrita-pana-priya” - Sri Ramachandro rakshatu in Sriranjani
7. “Sahitya sarajna sannute” - Mangalambayai in Malava sri
8. t,GanOmrita rasapana g'ltamritananditayai”
9 “Vainikag&yaka gurugvhanuta” - Balagopala in Bhairavi The reference to Vainika and Gayaka is interesting.
10. “ Vallaki ndddnubhava modam” - Sri Dakshinamurtim - in Phenadyuti.
12. “Ashtadasa vadyadipriyam,“Atisuddha maddala vadya priyam” Chandrasekharam“Sangita Sastradisamyutam in Margahindolam
13. *'B h e r i v in a d ig d n a lo le n a ” - K a m e s w a r e n a in Sri raga
14. “R a g a s v a r a m o d d a U td i v a d y a m " - T y a g a r d ja m a h a d h v a jd r o h a in Sri raga.
15. Dundubhi vadya bheda n&da
U S THE JOURNAL OP THE MADRAS MUSIC ACADEMY [ VOV. X LV tI
Modita vlna vadini l {Svara sanglta laye J
16. “Sarasa sadaye sanglta priye” - Paradevate namaste in Todi
17. “Samagana lolQya" - Ramachandraya namaste - in Todi
18 “ Vimala rudraganika nartana vinoda bheda" - Sri TyagarajasyQ bhakto in Rudrapriya
19. “SaptamatrkH” -Sandhyadevim - Devakriya.
20 “Dasagamakakriya” - Minakshi me mudam dehi in Gamakakriya
21. “ Vimsati sruli svara rupini" - Vamsavati sivayuvati in Vamsa- vati. Goddess is of the form of 22 srutis which are the material for svaras.
22. “Dvisapatati ragcmga raga modinim” -
“Matanga Bharata vedinim**
The Devi delights in the 72 Raganga ragas (72 melakarta ragas) and is comprehended by Matanga and Bharata. The 72nd melakarta is Rasamanjari and it is significant that Dikshitar has immortalised as it were in the sahitya of this piece the ccnsept of 72 raganga ragas, inclusive of the 40 Vivadi melas.
Musical structure of Dikshitar’s kritis - Twin aspects o f Laya and raga :
Dikshitar’s compositions are noted for their ‘Purnatva’ which invests them with classic dignity and beauty. The conspicuous feature of his style of kriti is his adherence to the slow tempo or vilambita laya. This tempo serves to suitably reflect the meditative mood which has provided the inspirational source for the development of a solemn and serene picture of ragas in their entirety in his kritis. Each kriti of Dikshitar'[is' a natural rhythmic movement which is
vinodini Sri dumdurge in Sriranjani
in the raga Rasamanjari
neither loose nor artificial. The supreme mental tranquility of the composer is revealed in this Vilambita laya structure of his music. Laya being the inner pulse of the expressive physical movement is in fact the basic element of all music. And it is this underlying rhythmic control balancing the creative movements that the Dancing Nataraja symbolises. Thus the musical setting in his compositions is founded on this rhythmic structure. There is perfect integration o f the words, melody and rhythm.
P j^ JW V ] DIKSIUTAA AND VBNKATAMAKHIN’a TRADITION 119
The tempo of Dikshitar’s kritis has thus a greater musical significance in the creation of a total aesthetic bliss; unwarranted liberties with this Vilambita kala of his Kritis are as destructive o f definable character and spirit of bis compositions as of the essential beauty. These were composed during moments of conscious Inspira- ' tion emanating from his dhyana on the Divine form of the Raga devata and these are extremely profound as recording the spiritual experiences of a Yogin in a state o f laya or union with the Divine. The madhyamakala sahitya which usually succeeds the vilambita music provides a contrast and serves to enhance the suitability, nay, the indispensability o f the vilambita laya spontaneously adopted by the composer. It is on the background of this slow movement, that the relatively faster movements appear beautiful.
One is forced to feel that Dikshitar has indirectly prescribed, by the introduction of madhyamakala sahitya, the vilambita tejnpo as the essential base for his music.
If Dikshitar’s treatment of raga is noted for its grandeur, massiveness, solemnity with beauty of gamaka, it is made possible, primarily by the essential function of this tempo which is the appropriate medium for the expression of the musical line. As his conception of Laya and musical structure of his kritis proceed from the vast calmness of yogic consciousness, his kritis have the power of sublimation and evokes a tranquil state of mind in the minds of the listeners too.
1 2 0 THE JOURNAL OF 10B MADRAS MUSKJ ACAMMT ' [V o l. MLVU
H i s t o r i c a l
Survey o f the circumstances that led to the formulation o f 7 2 melakarta system :
A study of the history of raga and raga - clarification before the emergence of the mela janya system reveals ihe attempts o f musicologists at systematising the ragas extant during their times on the basis of some logical principles. The gr&ma, murchana and jftti system of Bharata was related to the harp vinas, as evident from his experiments with the Dhruva and Chala Vinas, wherein he has proved the theory of 22 srutis, the pram&na sruti difference between the sa - grama and ma - grama pa and the theory of consonance. The gramas provided the generic basis for the murchanas, having the special attribute of an ascending and descending scale, and gave rise to jatis in turn. The jatis are directly responsible for causing the ragas emerge as blossoms out of them, by introducing the special characteristics into them such as graha, amsa, ny&sa, audava, shadava, sampurna, tara and mandra, alpavta and bahutva. The emotional quality that was inherent in the concept of raga and which was found latent in the concept of jfiti brought out in the next stage of evolution, the birth of the raga-concept, and the first scientific mention and definition of it by Matanga in Brhaddesi.
Along with the concept of raga, emerged the fretted vinas and the idiomatic techniques of beautifying the sonal picture of ragas through styles of movments (ganakriya)-melodic patterns, alankaras and tanas. The systematic attempt to locate the notes of the newly developed ragas in the kinnari Vinas of the time was seen in the Ratnakara of Sarngadeva who mentions 19 (7+12) svaras in his svara system. According to Sarngadeva, if a svara is altered in its allotted position the contiguous note also gets modified, Vikrita. Bharata mentions antara and kakali with reference to Sa-grama and Ma-grama as sgdh&rana svaras. Chyuta shadja, Chyuta panchama and Chyuta madhyama o f Sarngadeva denoted Chuyta madhyama ggndhara respectively in the vinas of Ramam&tya. With the emergence of the Vina with fixed frets, the fixity of sa and pa notes completely removed the modification for these notes even in the theoretical discussion and sa became the tonic or idhara for all scales.
Even after the exit of the Grama system, the svara system and related nomenclature continued for some time. Kallinatha points out that sa was graha, amsa and ny&sa for all ragas belonging to sa and ma gramas. This makes clear that along with harp vinas, the two gramas and their distinction, the Vikrita nature of sa and pa disappeared in gradual stages. Sa grama remained as the standard scale of reference for all desi ragas born out of it.
The ancient conception of Suddha svaras had to undergo a change, when these were .given a location in the Vinas by# Am&tya, who found only 14 svaras in actual practice eliminating 5 o f &firfigadeva’s Vikritis. And* this circumstance led to his calling Mukh&ri, the Suddhamela, which as defined by his vina frets took the notes of the Kanakangi scale. But he recognised M&lavagaula as an uttamottama raga. And this Muhkari is found as a mela in the 15 melas of Vidyaranya also, and the first mein of Venkata- makhin’s 19 prasiddha melas andjthe 72 mclaprastara. It is immortalised as the Kankambari and Kanakangi in mcla-nomenciatares. The mela system of classification was thus definitely related to the fretting or melana of the Vinas of the times. The location of svaras used in the ragas under fixed frets brought changes in the svara nemenclature which in turn resulted in changes in the mela nomenclature. This led to the recognition of new mela systems, which may be said to have found a culmination in the 72 melakarta system. The emergence of the 12 tone structure and its incorporation in the Vina fretting suggested the 72 melakartas to Venkatamakhi.
The fact that Venkatamakhi opened his work with a chapter on vina proves its paramount importance in defining the svara system of the scales. The instrument was not only used during the author’s time for performing the chaturdandi compositions, gita, alapa, thaya and prabandha, the fourfold channels of raga-expression but was mainly the instrument that helped to solve the confusing svara nomenclature. The 12 svara systems as obtaining in the modern fretting is based not on the equal, but on the approximate semitonat difference between them. Chyuta madhyama ga and Chyuta shadja ni could be negotiated from the more stable harmonic notes of Antara ga and Kakali ni and these were accommodated in the Venkatamakhi’s fretting. Ramamatya’s usage of the terms Pancha sruti ri and Panchasruti dha and their being identified with
17
P tS . I - rV ] DIKSH1TAR AND VENKATAMAKHIN’S TRADITION 12T
Suddha ga and snddha ni continued, though the Vina frets designated them Chatusruti ri and Chatusruti dha: and this is obviously so as these are the lower of the two pitches, each of ri and •dha. In the description o f his melas, Venkatamakhi adopts this svara nomenclature and this is incorporated in the S a n g l ta S a m p r a d a y a
P r a d a r h in i raga lakshana material. The S a m p n ^ a y a P r a d a r s in i is the mounmental source material for tracing the history of music since the period of Venkatamakhi. The credit of having recorded the theoretical knowledge and musical practice available during his time goes to Subbarama Dikshitar. With six varieties each of ri and ga, and dha - na combinations and by having two varieties of ma (the suddha and Varali ma), the 72 permutation - combinations--of sampurna character were derived on the basis of 12 svarasthanas
•designated by his vina, with two sthanas having dual names.
T h e t r a d i t i o n o f V e n k a ta m a k h in T :
Venkatamakhi was born as the second of son of the illustrious -Govinda Dikshitar and Nagambika and was an heir to a highly scholarly tradition in Sangita and S&hitya. He is perhaps one of the very few musicologists who could claim erudition in Sanskrit and authority on subjects like Mim&msft, Tarka, Jyotisba and Alankara, He was author of such works as S a h i t y a S a m r a j y a ,
S u lb a m im a m s a , K O r m a n ta V a r t i k a , a work on trigonometry and V d r t ik a b h a r a n a , besides the precious treatise on music. His unique
-attainments as a scholar attracted the highly intellectual disciples like Rajachudamani Dikshitar and Nilakantha' Dikshitar to study
a t his feet. It is said that he learnt Vina from his father and also his brother Sri Yagnan arayana Dikshitar. He has referred to one Tanappacharya in highly respectful terms as his p a r a m a g u r u while dealing with the topics of raga, alapa and thaya. He further' -attributes a number of thaya, prabandha and gitas in more than fifty ragas to his guru.
Further Venkatamakhi appears to be an ardent worshipper cf Lord Tyagesa of Tiruvarur whom he has invoked at the commencement of C h a tu r d a n d i P r a k a s ik a in a beautiful sloka. It is said that he has composed 24 astapadis in praise of §ri Tyagesa. It is 1
1. Dr. V. Raghavan’s Paper on Venkatamakhin and his seventy -two melakartas as published in the Journal of the Music Academy 1941.
1 2 2 THE JOURNAL OP THB MADRAS MUSIC ACADEMY [ V o l. XLVII
.relevant to mention th a tS ri MuthuswamiDikshitar steeped in Advaita Bhakti was specially drawn towards Goddess Kamalam- bika and Tyagesa of Tiruvaiur, bis birth-place, in praise of whom, he has composed the famous Kam&lamba Navdvaranam and Siva-navavaranam, (a set of nine kritis addressed to Lord Tyagesa). Dikshitar in his Gaula piece in this list refers to “ Vlthi Vitanka Somaskanda Tyagesa. Further the concept of raga is the central theme of Venkatamakbin’s work, the title of which is meaningful. That which is.made manifest through the fourfold channels of gita, alapa, thaya and prabandha, Caturdandiprakasika, is raga. The raga shines in different' contours in each of these four,, methods of expression and the svarupa of the raga according to Venkata- makhi’s conception is thus to be grasped from them which were composed in large numbers during the author’s time. To Muthuswamy Dikshitar, the raga is the sanctum sanctorum in each of his kritis and the delineation of the essence of raga in each phrase is superb. Dikshitar was first a Vainika and then a gayaka. The reason for the descriptive and solemn picturisation of raga in his kritis with depth of gamaka and couched in the smooth Vilambita laya, may be due to the inspiration of Vina, which is a wooden counterpart of human voice - Sarira Vina, with its 9 adharas or chakras. That Venkatamakhin was also a vainika is clearly borne out from his working out of 72 melakarta scheme on highly aesthetic principles.
His frequent reference to lakshyagha, vainika and gayaka sampradfiya in the context of fretting of the Vina, description of ragas, and the treatment of sapta talas, is again a testimony to his musical genuis. True to his statement at the commencement of his treatise, his small work in 10 valuable chapters continues to provide perennial source of inspiration to Vaggeyakaras and is a treasure to Vidwans. The svara nomenclature he has coined after the name of the ragas for the first time, to denote Uteri - ga, dha - na svaras used in his 72 melakarta scheme, again goes to prove his eagerness to establish its melodic worth.
P tS . I - IY ] D IK W r^D . A>ff> VEN^ATAMAKHIM’8 TBtADrWQN 1 2 J
Lakshana name Lakshya name1 . Suddha ri Gaula ri2. Panchasruti ri Sriraga ri3. Shatsruti ri Nata ri4. Suddha ga M-ukhari ga
1 2 4 TOVMHMMAI. OP ItBB MAMAS MUHC A t A D B iT [ V 0». XLYTl
It most be noted tin t Venkatamakhi calls Gaula ri and Gaula dha as suddha rl and'suddba dha respectively and not Mukhari ri and dha; which according to his description, takes all the suddha svaras in terras of old suddha svara conception. Further it is easier to remember the kind and expression of the note from the mention of the raga in which it occurs. The purpose of his formulation o f the scheme of 72 melakartas as explained by Venkatamakhi himself is to define the Iakshana of the following categories of ragas:.
(a) those new ragas created by the experts in music.
(b) those ragas which were being created.
(c) those ragas which were referred to in texts alone anddid not have practical existence.
(d) those ragas which were not known to the authorhimself and others.
(e) those desi ragas with already accepted Iakshana.
(f) and those desi ragas like Kalyani and Pantuvaralifor which melas had to be fixed.
In order to channelise the growing musical practice in respect o f the raga system, and to scientifically codify the ragas on a logical and aesthetic principle, Venkatamakhi worked out the possibilities of the 72 scientific scales and his objective has been successfully realised in course of time.
The raga chapter of Chaturdandiprakasika states in unmistakable terms, that of the 72 melas as scale possibilities worked out by the author, only 19 melas were prasiddha as conforming to Lakshya ■and Lakshana during the author’s time. And he accords rank numbers to those melas in the scheme of 72 and these were •expounded by him with the kinds of notes in terms of sruti values
5. Sadhuraaaga6. Anturn ga7. Suddha dha8. Paschamrti dha9. Shatsruti dha
Bhairavi ga Oaufa ga Oaula dha Sriraga dha Nata dha.
and sbo the lakshana o f 54 janya ragas. Tulaja iq his Saramrita accepts the 72 metakarta scheme o f Veokatamakhi and also make* •explicit mention of the melas only as being popular during the time of Prakagika and that Yenkatamakhi himself described only these 19. He further adds that he would therefore omit these unknown, thereby referring to the remaining 53 scales of the 72, ■and would proceed to deal with those melas that were known as .such with names. That Venkatamakhi did not know all the 72 scales is further supported by the evidence of d&haji’s Raga Lakshana work and Tulaja’s Saramrita. The former neither refers to Venkatamakhin nor does his work give illustrative prayogas from the Chaturdandi pieces for definition of his mela and raga lakshana. These two writers mention only 20 and 21 melas with however an increased number of janyas about 112. This circumstance points out to (he fact that even after the lapse of nearly a century, the remaining melas did not come into vogue as sack with names.
Thus the nomenclature for the 72 melakarta scheme logically represents the next stage and the scheme remained in the form of Prastara only in the pages of Prakasika for a fairly long period. Sahaji and Tulaja have not mentioned a nomenclature for the 72 melas in their work which must have been thought of immediately after the period of Tulaja. It is quite meaninglul to suppose that the remaining melas were suitably selected from among the large number o f janya ragas with well defined svarupa as defined by proper iakshya current during the period of Tulaja and this paved the way for the emergence of the 72 melas with names as such. If will be interesting to note the list of 72 mela ragas in the Anubandha to Chaturdandi, the list of ragas in the lakshana gitas and the ragas described in the[Sangita Sampradaya Pradarsini fairly correspond to the janya raga list of the Saramrita. It may also be conceded hat the Kanakambari-Pkenadyuti nomenclature (without the Ka(a- payadi prefixes) came into being before Govindacharya’s period. The authorship of this is not known. Govindacharya has recorded this nomenclature in his Sangrahachudamani (late 18th cent. A.D.) and thereby has indicated its date. Immortalising the sampuma •character of the mela concept, he gave the Kanakangi - Ratnangi
. nomenclature as a logical list.
f t * . f*!V J DIKSHlTAK AMD VHNKATAMAKHIN’S TRADITION 125
Raga is a well definable melodic personality with characteristic tonal content. It is born out of psychic inspiration, which obeys at the same time melodic norms. Mela represents the scale form of the raga and is by itself not aesthetically expressive but has a significant classifying and defining role. The scientific principle underlying the formulation of 72 melas never underwent change. The selection or the choice of the name of the niela ' from the extant janyas caused confusion and this has resulted in recognising many 'janya’ ragas as the melas. The attribution of sampuraa character as a requisite in a mela helped in removing the janya ragas from the scheme and in the fixing of ‘sampurna’ melas in their place.
It is Subbarama Dikshitar’s contention that
(a) Venkatamakhi was not only the architect of the 72 meJa prastara but be also knew the names ’and lakshanas for all the 72 melas.
(b) And the Kanakambari - Phenadyuti nomenclature with Katapay&di prefixes was that of Venkatamakhi himself.
(c) The 19 melas were prasiddha only before Venkatamakhi’* time.
(d) Venkatamakhi was again the author of all the lakshana slokas describing the 72 melas and their janyas, and also the lakshana gitas furnishing in all these details of the mela or raga, kinds of notes in terms of ra, ri, ru etc, names of Chakra, syllables to indicate the melas in the Chakras, the bhashanga and upanga janyas.
Section II
The Raganga Raga lakshana gitas published in ihe Sangita Sampra-daya Pradarsini and the anubandha to] Chaturdandiprakasikcand the light thrown by them on the mela nomenclature 1
1 First and foremost, the lakshana gitas in the 72 melakartas published in the Sampradaya Pradarsini have been expressly stated therein as the compositions of Venkatamakhi, who as is evident from the Chaturdandi Prakasika, has described only 19 melas as being popular from the point of view of both lakshana as well as lakshya
126 THE JOURNAL OF THB MADRAS MUSIC ACADEMY [Vol. XLV1T
2» Further, the list of janyas, upanga and bhaahanga grouped under each mela, aa given in these git as includes a number of ragas which were not in vogue and hence perhaps not mentioned in Chatur- dandi Prakasika by Venkatamakhi.
3. But the upanga and bhashanga list of janya ragas mentioned in these gitas are suprisingly found in almost in the same order under their corresponding melakartas in Tulaja’s Saramrito and Sahaji’s Saga Lakshana work. A comparative study of these lists of janyas makes it clear that these gitas must (have been composed after the period of Tulaja’s SHrOmrita. For example, the {blipwing instances are useful in the context.
(a) Venkatamakhi never mentions Todi as his mela and Bhupala is the 8th mela in his 72 Mela Prastara. The Raga chapter of Saramrita, being incomplete, does not explain Todi. Sahaji in the Raga Lakshana mentions Todi as the mela with Nagavarali and Punnagavarali as janyas. Bhupala figures in Saram- rita, Sahaji’s work and the Lakshana Gita as a janya under Bhinna Shadjo.
(b) Lalita panchama is a janya under Vasantabhairavi mela in Saramrita, Raga Laksahana, Lakshanagitas and the Anubandha to Chaturdandi.
The Anubandha giving the list of 72 melakartas with Kata- payadi prefixes i-e. Kanakambari, Phenadyuti — is published at the end of Chaturdandi Prakasika and is ascribed to Venkatamakhi. These raga names have been adapted by Dikshitar in his songs and again hive been immortalised in the 72 Raganga Lakshana Gitas, which are again ascribed to Venkatamakhi. Naturally, the lakshana of these ragas as found in the Anubandha is exactly identical with that found in the corresponding Lakshana Gitas. The list of janya ragas grouped under the melakartas are also same in the Gitas and the Anubandha. What is interesting to note is that most of these janya ragas mentioned in the Anubandha and the Lakshana Gitas are not found in Chaturdandi Prakasika, but are
found in the Saramrita and Ragalakshana of Tulaja and Sahaji respectively. So there is thus a continuity of tradition which proves that the Kanakambari list of melas without the Katapay&di
P ta .J -IV J DIKSHITAR AND VBNATAMAKHIN’S TRADITION 127
prefixes must have come into existence titer the period of TuUjg who has not mentioned the nomenclature for 72, as he himself had expounded only 20 Melos with as many as 112 janyas under them. It is these janya ragas growing and becoming popular, that were included in the list o f melas and were thus immortalised.
(c) Vegavahini (16) is a mela according to Sahaji, Tuiqja, Anubandha and Lakshana Gita with the janya, Bhairavam. Venkatamakhi never mentions this raga at all.
(d) Nariritigaula is called the 20th mela in the Anubandha and Lakshana Gita with Bhairavi as a Bhashanga janya under that. But Venkatamakhi, Sahaji and Tulaja call Bhairavi a mela' with Ritigaula as a janya. Subbarama Diksbitar while describing Bhairavi raga, remarks that the Gita listing Bhairavi as a Bhashanga janya of Nariritigaula could not be a composition of Venkatamakhi as the author of Chaturdandi Prak&sika speaks of it as the 20th mela.
(e) Hindolavasanta is a janya with Sa graha, amsa and nyasa under Ahari mela according to Venkatamakhi. But the Gita, and Anubandha put it under Nariritigaula.
(f) Kambhoji is cited as the Bhashanga janya in the Lakshana Gita, Anubandha, while Chaturdandi and Saramrita call it a mela.
(g) Sama is cited as the janya of Kambhoji by Tulaja while the Lakshana Gita and Anubandha class it under Sankarabharana.
Nilambari and Devagandhari are not given in the list but the lakshana is given by Subbarama Dikshitar in his Pradarsini. And these two are mentioned by Tulaja.
(h) Mohana is cited a6 a janya under Santakalyani in die Gita and Anubandha, while Tulaja and Sahaji put it under Kambhoji mela (28) with alpa ma and. have qualified it as a very melodious raga. Though there are slight differences here and there regarding the assignment of janyas to the melas, there is on the whole a methodical agreement as far as the janyas and their numbers are concerned between the Gitas, and Anubandha with that of Shramrita. Be it remembered at the same time that the number of melas as expounded in Tulaja’s and Sahaji’s works was only 21, with a large and increased number of janyas.
128 1HB JOURNAL OF 1H 8 MADRAS MUMC AfCADHMY [ VoL XLV»
Su ctio n I I I
Gitas with the Venkatamakhi Mudra
Since Venkatamakhi cannot be the author of the list of names for all the 72 melas by any stretch of reasonable argument as evidenced from the treatises, Chaturdandi, and Tulaja’s Sdrdmrita, it is still more hardly reasonable to make him the author of the famous lakshana gitas in the 72 melakartas described as Raganga ngas in ihe Anubandha and the Lakshana slokas in Sangita Sampradaya Pradarsini. It has already been seen that the lakshana ojf ragas set out in each of the Lakshana Gitas mentioning the name of the raga in the first place etc. does not find even a mentioo in Venkata- makhi’s work. The Gitas in Malavagaula, Nariritigaula, Hari- kedaragaula, Saokar&bharana, &ri r&ga and other Raganga ragas mention a list of janya ragas of which only some are found in the Raga chapter.
It is to be pointed out that Venkatamakhi had great reverence towards his father Sri Govinda Dikahitar, the great exponent of the Advaita system and mother Nagambika. This can be seen in his colophons and signature at the end of the works written by him. Even in his gitas he has mostly introduced his name in association with his parents. It is most unlikely that he had not signed his Gita compositions and we do find mudras of Venkata- makbi in some of the Gitas and Prabandhas published in S.S. Pradarsini. We find Gitas ascribed to Venkatamakhi In raga which the author had not even mentioned, much less describe them in his work. But the Gitas in mela ragas ascribed to Venkatamakhi have no mudra either. About 25 Gitas are available with the mudra of Venkatamakhi in the ragas expounded by him in the Raga chapter of Chaturdandi in the manuscripts belonging to the Nayak period and these are probably his compositions. And one or two of these are found in S.S. Pradarsini
The Gitas and Prabandhas having the Venkatamakhi mudra published in Sangita Sampredaya Pradarsini:
1. Umatilakaprabandha in Huseni-eka tala, has the following Sahitya:—
p s a ff i jr iru irw (SM TsSJ^e^euifl(gsuiii*i—U)<S io jtebGleo a~uiafieo»ui[UfigieutrdhQggfim rear ex
Pts. MV] DIKSHITAR AND VfiNKATAMACHlN'S TRADITION 12
i t
130 THE JOURNAL OF THB MADRAS MUSIC ACADEMY [Vol. XLVIl
2. Lakshya Gita in Sftlanganftta without r&ga mudra is ascribed to Venkatamakhi-
Umatilaka prabandha in Mechabhauli raga, Triputa tala.
** 0i)Qeo suaraeBpr swrsro diptbuGp* ^areSjhpu>£pirartbiSmirsto^p 8ajwai_r£anfl jr 6or«i>3«D(tu*0edt 8ia0 tu jbpr tS ^p e tb a tutor 0 to a t9 ru p g i. **
3. Lakshya Gita in Nadarimakriya - Eka tala.sBsQp w p p ............
1. Saranganata was once a very popular raga and many gitas, thaya and prabandhas are available in this raga. The one given in S. S. Pradarsim does not have the mudra; The following gita in Matya tala contains his mudra :—
3. Nata - Rupaka aw aw wjflfli<ln atftpW TOT 3^1 \ *
4. Sankarabharana - Triputa :—
..................... 3\<w ■ armuras? t o p*...........9ife <tt% i
Pts. I-1V ] DlKSnTAK AND VENKATAMAKMN'S TRADITION 131
5 . S v a r a m is r a p r a b a t d h a - ft B k a ir a v i - D k n n a m .
* • • • ^ v u f t ’w e . - . »erca ihgzmnv fatfaw ewtfiiapppqg m
6. Ritigauia gita - Jhampa :—
JJTOlfwistT-weft faswro ||
7. . . . wwifamr ^fewfag* m«nfV f tw w fwifiH ii
8. Narayana gaula-Kaivara Prabandha: —fw r sftot . . ^rt*-rnertf a wt gw ^ y a if e ’v ir fteT*w&
«wenw Vt u
9. Sri Vitasa prabandha in PantuvaraK-Ata tala with Venkata- makfai’s name. But V. Makhi in his iaga chapter baa emphatically stated that Desi ragas are innumerable and of them Pantuvarali and Kalyani are most unfit far being used for Gita and Piabandhas. It is therefore likely (hat the Gitas in these ragas ate the work of some admirers of Yenkatamakhi who have introduced his name in order to ascribe the authorship to Venkatamakhi himself.
A Gita by Venkalamakhi in praise of Tanapppa alias Venkata mantri - Padi Prabandham :— vnnfsRW Igzwfe a? sfantgnifeww W f* *KVn\wn e r ip w fc f t
132 m WUKNM. O f tH B IU U U S MUSIC ACADHiY [Vol. JCLVB
133
Meekabmdi Prabandham VRI91% *fl»W% PW g« ^fZTwrfi
Bauli Gita:- Jhampa :—<n>n%m ***% ^ p w f t «fid grafift ^ sw ^ u
The Lakshana Gitas with the mudra o f Venkatamakhi found in the manuscripts do not contain the name o f the raga. Chakra name, kinds o f notes, and list o f janya ragas. These instead have the signature o f the composer as the son o f Govinda Dikshitar and NdgOmbika. There is no difference between Venkatamakhi's treatment o f the janaka and janya ragas in his Gita compositions unlike those Gitas which are ascribed to Venkatamakhi byS. S. Pradarsint.
Pts. WV] DlfCSWTMfa AND W K«*W W »'« TMOCTWH
Section IV
Evidence of Raga Mudra used in Dikshitar’s Compositions in the72 Melakartas
It is seen from the compositions that Dikshitar for the most part followed the Kanakambari list of names with Katapayadi prefixes. However in tho case of certain mclas given below, be had adopted the names from the Kanakambari list without the Katapay&di prefixes. In one or two cases, he has used the corresponding names from the Kanakangi list. It is quite strange that the composer who has introduced the raga mudra in each of bis kritis in the 71 mela ragas had not incorporated the raga mudra in the 8 kritis in the 8th mela, Todi, (Hancma Todi or Jana todi), And the mudra is carefully introduced however in the kriti ‘Sadachaleswaram’ in Bhupala raga - a janya of Todi mela of Sahaji and Tulaja. It is to be remembered that Bhupala had been assigned the 8th rank by Venkatamakhi in his mela prastara.It is not known as to why Dikshitar has not introduced the raga mudra in his kritis in Todi raga.
134 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [Vol. XLV1I
Name o f the melakartas Names with the Dikshitar'swithout Katapayadi Katapayadi CompositonsPrefixes used by
The raga mudra found in the kritis has again revealed thathe has composed in iall the 55 ragas (19 melas and 36 janyas)expounded by Venkatamakhi in the raga chapter of Chaturdandi)PrakOsika
A study of the characteristics of Venkatamakhin’s ragas shows his unique treatment of them. It is the special melodic notes, Amsa, Vadi, Samvadi that are emphasised and not merely the scale in its ascent and descent. The omission of one or two notes is considered not as an imperfection in the raga. The taga is treated
by Veokatamakhi » a whole and aot la individual parts in terns of uohaoa and avarobana alone* M u th u s w a m y L f k j k i t a r h a $
f o l l o w e d t h i s c o n c e p t io n l i t e r a l l y and ewrs i n t k e a o m p u r m w a g e s , he deliberately introduced phrases in irregular sequence, which are at the same time the mort beautiful in die rages. Thus for bringing out the raga, the characteristic prayogas with Vakra mid Varja com* binations have been freely used by the composer than the tegular straight progression sanctioned by the arohana and avarohana.
Vadi, SamvQdi, Anuvadi and Vivadt:
V*di, Samv&di, Anuvftdi and Vivadi are the four terms which express the relation of the notes, in terms of intervals between subsequent notes in our music. Of these, the Vadi note is the one which is frequently used in a raga and happens to be the amsa svara. It is as it were the melodic pivot of the raga expression (Raga pratipadakatva)
Those two notes which are related by an interval of nine or thirteen srutis from each other are mutually consonant like sa and pa; ri and dha; ga and ni in S - grama. If the upper sruti in not counted, then the intervals between the notes are mentioned as eight and twelve. Anuvadi svaras seek to emphasise the beauty of the raga by following the Vidi an<TSamvidi.
When two notes are at an interval of two srutis, these are Viv&di, for example ri and ga, dha and ni and so on. Intervals less than two srutis cause the Vivaditva between them. Whereas (he melodic function of Vadi, Samvfidi and Anuvadi is to generate melody and its beauty, the Vivadi justifies its concept by destroying (he effect of melodic beauty achieved by the three. In the description of the ragas, Venkatamakhi had given details for each of the Vadi, Samvadi and Vividi, graha, amsa and nyasa as the essential jakshana. Greater emphasis on the effect produced by the Vidi and Samvadi relation, takes naturally into consideration melody of the interval relations figuring in the scale and not their regular sequence alone as indicated by the iroha or avaroba, though it is this material ihat helps to identify the scale structure of the raga. Once the effect of Vivadi is nullified in the phrase, the beauty of the raga
- as produced by the Samvadi combinations will endure and shine in
IH&. M V J tHESHRAtf AND VtNKArAMAKHft’* TRADIWOW 137
19
contrast. The Vivgdi combinations successfully handled, on the other hand enrich the effect of the SaihvSdi prayogas employed in the ragas. The large and frequent use of Vadi and Samvidl prayogas is an essential feature of Dikshitar’s compositions. He opens the kritis deliberately on the most appropriate Samvftdi phrases as seen in the following ragas:— .
Dikshitar has emphaised the Samvadi interval, and the V&di svara in his kritis by (a) frequent references or use of it, (b) prolonging or sustaining, staying on the Vadi or Samvadi svara for a fairly considerable duration (c) by introducing the langhana or leaping overnotes just to introduce the Samvadi phrase, (d) Opportunity taken to dwell at the slightest chance to employ wherever possible the beauty of these pleasing combinations in his unique handling of his ragas. Similarly with Vivadi combinations, he has created a marvel out of them, by transforming the Vivadi combinations into one of quite enjoyable effect against the positive and pleasant Samvadi background. By avoiding a straight and regular progression of Vivadi svaras in succession, he was able to bring down the Vivadi effect to one of beauty. However the following facts have a relevance herein. :
(a) The melas and janyas with Vivadi svaras are to be handled by those with good knowledge and experience of svara and gamaka, rasanubhava of the raga and vast experience in the handling of traditional ragas having well defined bhava.
(b) Samv&di intervals are naturally beautiful. The Vivadi combinations are rather difficult to be rendered by the voice on account of their being “ unnatural” intervals producing repulsive effect. It is therefore easy to play these combinations on instruments.
138 THE JOURNAL OF THB MADRAS MUSIC ACADEMY [Vol. XLVU
(c) Hence proficiency in the handling or an instrument helps' in the beautiful rendering of the combinations of Vivid! svaras.
(d) Venkatamakhi remarks that from out of 72, the possible number of melas thought of by him on the basis of 12 svarastb&nas, and melas suitable for the voices (^irira- nuguoa) may be taken up for development. Perhaps he had in his mind the 40 Vivadi melas. Sub- barama Dikshitar remarks about the difficulty involved in singing the Vivadi interval in straight Sequence. Discordan intervals may be converted to yield musical appeal if they are sustained and their relationship felt against a note of reference. Viv&di combination in Nata, the shatsruti ri is sustained in a long shake. Even concordant notes sung in a very rapid manner would amount to noise. Just as noise can be created out of musical notes, beautiful music can be created out of combinations of vivadi svaras by a sensitive musician with experience.
The accredited musical practice having the sanction of S&stra becomes the sampradaya or tradition of a subsequent century* Venkatamakhin’s theories and the material found in his work as available in print have formed the basic material for further development during the subsequent centuries in the light of growing musical practice and emergence of new ragas and new interpretation of them due to the influence of other systems of Music, at the bands of musicologists. Admirers of Venkatamakhi in their attempt to relate the new developments to the views of Venkatamakhi have attributed evolving progress to him even as the practice continued of ascribing many desi ragas (Kedaragaula) and other new concepts like IS gamakas etc. to Bharata and who, as is well known, has not mentioned raga in its melodic sense, and gamaka as seen in almost all later works. Even Venkatamakhi has referred to Bharata in his treatment of Kedaragaula raga, which he says according to Bharata was a very melodious raga ! It is obviously done out o f reverence for the tradition of Bharata, the great pioneer Sage Musciologist who gave the theory of 22 srutis, the theory of the
- consonances and the theories of generic scales. Matanga, who
Pta. MV] DIKSHITAR AND VEHKATAMAKHIN’S TRADITION 13?
defined raga and raga rupa, with an emphasis on the contributary significance of tto subtle gamakas, melodic phrases, alankaxas etc. is rightly the next landmark. No doubt Diskhitar and Tyagaraja also pay obeisance to Bharata and Matanga. The aesthetic and scientific worth of Venkatamakhi’s formulation o f the scheme was responsible for all later related musicological developments to be ascribed to him out of deep admiration of his valuable scheme and to perpetuate it in the light of modern practice.
The substratian of the system of 72 melakratas has remained intact, though however the names of some of the melas underwent change. • Once the svarupa of the raga is imprinted in the mind, the name of the raga will not detract the concentration and comp* rehension. For scientific enquiry, the nomenclature and its significance can never be underestimated. Though biksbitar and Tyagaraja have followed different nomenclature, the raga content in their kritis is similar with a few exceptions in the case of ragas having double names like Suddha Saveri and Devakriya. The musical tradition set up by the compositions of Trinity has at its base the rocky but musically flexible 72 melakarta system.
References:
1. Chaturdandj Prakasika — Music Academy Edn.2. Sangita Saramrita — „3. Sangita Sampradaya Pradarsini— Vols. I, II, 111 and IV.4. Journals of the Music Academy.
140 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [ Yol. XLVU
(co n td . o n th e n e x t p a g e .)
S. N
o. o
f th
e M
ela.
\
Section VCompositions o f Dikshitar in the Vivadi Melas
o 5 Name of the Z o Mela. v i ■S.
Aroha & avaroha as given in S. S. P.
Dikshitar’s Composition- Opening words
Remarks — Phrasesrspecial prayogas.
(1) (2)1 Kanakambari
(Mukhari according to Venkata- makhi)(ra - ga - ma - da - na).
(3)s r M p d s s N d p m G r R s.
(4)
Kanakambari - Karunyamrta iahari Tisra Eka.
(5)s r g m and p d n s are not used. Only s r M and p d s - p d d s - r p m P - M p d S - s d n d P - Prayogas are used, n d N d S - s r M p m 6 r s - P d m g r s r g r R - r p m P - M p d S - p d d S .
2 Phenadyuti(ra - ga - ma - da -ni)
s r m p d d p n n ss n d d p m g g r s
£ r i Dakshinamurtim isam - (Adi).
p d p n N s - s p d p m g g r s M p m p d p n n S P -p /dd- P d p n n S - n n s d P d - M p m g r r S- M / g r r S p d i#*/ N s n s - s r g s R - s n s / P d - p D p N S r M P / d M.
PtS. I-IV]
DIKSHITAR AND VBNKATAMAKHIN’S TRADITION
3 Gina Samavarali s r m p d n s(Sama Varali - s n d p m g r sVenkatamakhi)(ra - ga - ma - da - nu)
4 Bhanumati(ra - ga - ma - di - ni)
s r m p d n ss n d p m G r s
5 Manoranjanira - ga - ma - di - nu
s r m p d N s s n d p m m p m r g r s
6 Tanukirti s r m p n s( ra - ga - ma - dhu - nu ) s n d n p m g r s
Bfhadiswaro rakshatu s M g r s - s m G r s - ' g r g S • mam s r s M - s p m p < d n s
(Tisra Eka) . M g r g s D N s p - S s r M -D N s r N d p - m p d n S n -
(1) Brhadamba - a d l p m r g s r g s - n d N s - m /(2) Guruguhaswami G r - g r M S n n d m p d -
bhaktim • s r g s - R m m p p s s -(KhandaTriputa) r m P d p n D p - s n d n P n
d s - p m / N d n S - n d n n S r M - P N s - s s P p n d N -
Balambike pahi s R P d - S P p d p - p M p .(Matyam) S m g R - p r m p - S r g g r s N
m g r s - m r g g r s - r r / m m p r m - m r g s r n - s d S r m m p r M r / g s n s .
Chidambara Nataraja murtim - (MisraEka)
s n P - s n d n p N » s n d n s • m g r g r s. s R m p r m / G r - S s a d o > s n P S r N - m G r r S - p N p s n d n s - a n p n p m •
142 THB JO
URN
AL O
F THE M
ADRAS MU
SIC ACADEMY
[ Vol. XLVU
1 Sena grant(ra - gi - ma-da - na)
s r g g r m g m p n D Ss N d p m g M g g r s
12 Rupavati(ra - gi - ma - dhu - nu)
s r m p s s s n d n p m g s
13 Geya Hejjujji s r m g m p d s(Hejjujji according to s N d p m g r s Venkatamakhi)(ra - gu - ma - da - na)
18 Jayasuddhamalavi s r g m p □ s(ra - gu - ma - dhu - nu) s n d n p m g r s
(1) Gnanambike(2) Palaya mam
(Tisra Eka)
r r P * s / N d s - s d n d - p d n d s - p d s. n d p s - p n d s r n d p s - s d d p P . r r P - d n d-P - N d p M p a d d s - S / n d P S d d p P *
Sri Krishnam bhaja re(Tisra Eka)
P n p p M - g s R m p • d a s n P - s n d n s - P p m g S - R N f p n P p m m G m g s n - P o p p M - g s R m p s n d n S - d n s n P - p M G S - S r m g s . M N P s m -
Ramachandrabhaktam bhaja manasa (Adi)
p d d s - S r s m M g r g m - m P / n D P P - p d d S r n d p S ■
Naraharimasraye - (Triputa)
m r s - p d n s - s n d n s - r G m - s n s - P n s n / r - ssfM / n p d n s m g r s - s a p n S - d n s n P -
PU.I-TV
] DIKSHlTAR AMD VFNKATAMAKHlN’S TRADITION
Jhankarabhraman
(ri - ga - m i - dha na)
Vlravasanta(ri - ga - ma - dhu - nu)
Saravatl(ri - gi - ma - dha - na)
Nagabharanam (Samantha according to Venkatamakhi)(ri - gi - ma - dhu - nu)
s r g m p d n d p d s s n d p m g R G R r R S (very beautiful raga among those taking su. ni)
r r m p n d n ss n p m m r g s
s m g m p d n d ss n d p m g r s
s r g m p n d n ss n p m g m r s m g r s
HimbchalaknmQrimbhaje(Tisra Eka)
One of the beautiful ragas taking Sud - ni - according to Subba- rama Dikshitar.rM p d p m - n d S - r M p d / m p d S - R M g r g g m . S P - p / n d d p - M g m P -
Vira vasantha Tyaga- p n d n p n d n s - S n d n s - raja r m p n P - p N d n s r -(Adi) r r r g g s n P - p r r g S -
r p m r g S - n d n P -r r g s - m r g S -
Saravati tatanivasini (Tisra Eka)
p D S R - s n d d p - P d / n d - P d s - s / N D P d p g m g s - N d d S - N d s m g - m p d N d - p d s m r G m g r S .
Nagabharanam raga- jabharanam.
R G m r S - r r r g mg - r s n d n S - n p p m - s r G m P - r s n d a P - p N d n S - r g m r s n P m g m r a m g /
iA-m
*l®
A]
bifti
K s
vwitn
m ad
TYN
anor
mi
Kalavati S r g m p d n d p d S(ru - gu - raa - da - na) S N d p m r g m r s
Ragachudamani (ru - gu - ma - da - ni)
S m r g m p m p n n ss n d p m m r s
Gangatarangini (ru - gu - ma-da - nu)
s R g M p d n S s N p d in in g m r S
Bhoga chayanUta (ru - gu - ma - di - ni)
S r g r g m p n n S s n d n p s n p m m r s .
SQiladesSkski s m g p d s(Desakshi according to s n d s n p m r s Venkatamakhi)(ru - gu - ma - di - nu)
Kalavati Kamalasana yuvati (Adi)
Svetaganapatim(Tripats)
n d p d d s - s m r s / m m p D / N N d D / d / N m G r g m m r s -
S m g m r s - s p p m R s n - d d P - s m G m r s - p d p N n s s - S m r g mP - p n n n d P - m p d m p n n d P -
Varadarajavava vQnchitadt (TiSra Eka)
d m g m r s - N s m P - N s m P - m r s - P d m p - p r S - m r R s S - m m r r s s - d p d M g g / m m r r - s r g m r g m r s - s n P d m g G m r S n P d m g .
BhogaehayanatakaPriys(Adi)
S G S M - S n p d n p S - p s s n « p / N r s - s r s r s n d u - p s s n - p m r r - r g m p -
Sri SQlinim srita pctlirnm
(Adi)
s n d s n P - d d i n P - p m-r S n - d s g s - s n d s m r s - s n p p m m r - m g p D s n - s n d s n p m R.
PgS. MV
] D
IKS
HR
AK
AN
D V
ENK
ATA
IIAK
DIN
’S TEAD
ITION
36 Chaia rtaia (Nata according to Venkatamakhi)(m - gu - ma - dhu - nu)
37 Saugandhini(ra • ga - mi - da - na)
38 Jaganmohanam(ra- ga - mi - da - ri)
39' Jhalavarali(Suddha Varali according to Venkatamakhi) (ra - ga - mi - da • nu)
i r g m p d n s s n p m m r s
s r m p d s s n d p m g r s
s g m p d d n ss n d p m g r s
s g r g m p d n ss n d p m g g r s
(1) Swdmindtha pari - S R G M p n P m m m r s N -palaya (Adi) p p m R S.
(2) Pavanatmajdgac- hcha(Thampa)
Kamakotipitha vasini( i d i )
n d p d s - S m g r g m p d d p m - P n d , s g r m -
p d m / g r - S m g r m - P n d S S - m p g r -
Sn Vidyarajagopalam s r g r s - p n N S - m p d s - (Tisra Eka) S g g p p d d s s D n d p M -
p G r r - p D S - s D p - p n N s -
( 1) Mimavaminakshi p m g g r s - s g r g m - (Misra Eka) s r g m is also found g o p D -
(2) Seshachalanaya- kam(Yupaka)
&Q:
04
40 Nabhomatii(ra - ga - mi - di - ni)
g g r m p d p n ss n d p m g r s
41 Kumbhin \(ra - ga - mi - di - nu)
s g r g m p n d n ss n p m g r s
42 Ravikriya(ra - ga - mi - du - nu)
s g r g m p n d n ss n p p m G r r s
43 Girvani(ra - gi - mi - da na)
s r g m p d n d p ds n d p m g g r s
48 Jivantika(ra - gi - mi - du - nu)
s r g m p d n ss n p m g r s
Nabhomani chandrQgni- nayanam . (Triputa)
Sacchidanandamayavijrtanbhinim
(Adi)Himagirikumari
(Adi)
g r m g r - d g r s p m - P m g r - d d / S d p ni p s n d n s - p d p N s - p g r s .S o dn / M d m g r - s r / G t s - m / d / m p m - m d / P m g r S - r id n s n p - s 9 P m -
p m g g r r / g t »- ,, s N d N s - S m g . j > g r g m - s n P P m - P N S - g p r r g r s - n p m g« s n P • " f ' ‘ n n s p m p - p N n n S g r.
NamonamaUe nadabindu kalQi-
reni(Triputa)
Bfhidlhaka^kshena (Tisra Eka)
p n d p d S - p g g r s - S d p M - d / G r G r S -
s P S s g S S - A S p N P - s R i n d n S - p p m m O G r S N jp,p S n p n P m - g r S- n s n p - n / d a s J p U ' k / p S s - p R r d n s r g r m g r j n s r s /
feL
o
3
49 Dhavatangam(ra - gu - mi - da - na)
* r g m p d « s n d p m g r s
54 Vamsavati(ra - gu - mi-P-du - nu)
s r g m p d n s s n p m g r s
55 Samala(ri - gi - mi-p- da - na)
s r g m p d s s n d p m g r s
60 Nishadha(ri - gi - mi - du - nu)
s r g m p d n s s n p m g r b
61 Kuntala -(ri - gu - mi - da ■ na)
s r g m p d s s n d p m g r s
SfhgStradinavarasbhg] (Khanda Eka)
R G / M p d / n d P - P n d - n d P - G r s d s - N d p d / R S - n d / n / d S - p d n d / p d s s -
(1) Vamsavati siva yuvatl(Adi)
(2) Bhaktavatsalam abhisheka (Adi)
P s a P - P s n d n S *p n p m G r - G r s s r -s n d n S -
i
S amalangi matangi (Adi)
NishadhadidesUdi(Triputa.)
P m g r - m m p d P - p n D P- p m D n p S - p s n d p - p d n - D d r / G g r s - d S g r - p m d p • n d • ».n d n S r / g r / g s - n d n S - s N p m / P - m g g r r • P N7 S n p m p p m P s -
Sri Sugandhikuntalitm - bike•(Tisra Eka)
m p g r g r s ; p d m p r r S -
m p g r g r 8*
§
OF THB M
AM
AS M
USIC
66 C haturangini(ri - gu - mi - du - nu)
%
s r g m p d n s s n p m g r r
67 Santhcmamanjari(ru - gu - mi - da - na)
s r g m p d s s n d p m r s
68 Joti raga(ru - gu - mi da -ni)
s r g m p d n s s n d p m g s
69 Dautapanchama(ru - gu - mi - da - ni)
s r g m p d n s s n d p mi r f l s
Guruguhabavanta • ranginim (Triputa)
s r r p m n o s - s n p f f l p r g i - n s s N p m p r i - s r p m r g s - N p m s r g r S . s r g s o O * s r s o D - p m p m g / M - p N d N *r - s n P s N - g S N - d N / P -
Santhanamanjari sattkari -(Adi)
S R s M p D i - i n D p D / m P g m r s - m P m n - p n d n / f f l p - m p d d s - s n N d 1 M' p D p s s n d.
s p m p s n s - s n p n s - p d n p s - p d n p m R S - S R G M p / D p p m G p m M g s - s p r s / s d m g s p S n N n d p M p.P s N - p N s R s R s p m p S N d N .
Matangi marakatAngi M pJD N / m P r g / S - (TisraEka) D M / p m M / r g / M
s p m P -
Paranjotishmati(Adi)
PtS. MV
] D
KSH
ITAa AM
D VSN
KA
TAlfA
KHIN
’S TRADITION
N&sQmani(ru - gu - mi - di - ni)
Kusumakara (ru - gu - mi - di - nu)
Rasamanjari (ru - gu - mi - du - nu)
s r g m p d n s s n d p m r g s
s r g m p d n ss n d p m r g s
s r g s s m p n s d ns n d n p p m p s r g
Sri ramdsaraswati (Adi)
Kusumakara iobita (Tisra Eka)
p n d S - p n d n S - p m p s r g S - r s M s P - s m r g s - S P n d - n d s s - s rfG / S.
s p n l d p - D p g m / P - d p m r g / S s n s s M r G / S - m r G / S .
SringSrarasa manjari (Tisra Eka)
p p r g / S - p N d N - s R R s n d n - s r G / S -s p m p n n d n - p m Po d o S .
$
I
!AL OF THE MADRAS MUSIC Al
Dr. V. RAGHAVAN HIS SCHOLARSHIP & SERVICES
Sri K. Chandrasekharas
To assess the extent of the late Dr. Raghavan’s scholarship and .the innumerable services which he had rendered the various bodies with which he had been associated, cannot be an easy task, consider* dng want of competence of the writer or the limitations o f space in a Journal. Yet there is no doubt, whoever else deserves prominent notice or not in the recent decades for progressive activities, none will be more remembered by a grateful public than Dr. Raghavan. For, many were his achievements in a variety of fields, such as
'Sanskrit learning, music, dance, drama, translations from one language to another and in writing, especially in the sphere of -editing valuable Sanskrit texts connected with musical lore and in rgathering striking material regarding great composers and their legacy of classical song. Particularly to the Madras Music Academy his whole-hearted devotion in trying to gain for it an international status as well as stirring its activities to new dimensions made him indispensable to a degree not measurable.
Indeed, it will be no exaggeration if he could be described as the ‘ ARCHITECT of its SUPER-STRUCTURE’. The services of. Sri K. V. Krishnaswamy Aiyar belonged to placing the Academy on a firm foundation, augmenting its financial resources, planning its programmes and regulating its activities on set lines. No doubt his work at the initial stages were of a substantial kind which tended to increase the Academy’s reputation for .soundness and high standards. And it was he who was responsible, even as early as 1935, when he himself took up the reins of conduct of the body as President, for introducing Dr. Raghavan into the main work of publishing the journal under the editorship of Sri T. V. Subba Rao. Sri Subba Rao’s name proved enough, in the world of music, as a guarantee for the accuracy of information about traditions and
•classical methods of rendering kritis. Soon Dr. Raghavan’s stamp as an editior for selecting correct type of research articles and processing the compilation of printing matter for the Journal of the Music Academy became a normal feature of the Academy’s activi
ties, apart from arranging programmes of concerts and useful discussions for the progress of the academic side of the Conference session.
While quite young, emerging from the college with distinctions in Sanskrit learning, he nourished an aptitude for intellectual work and a penchant for the fine ails. His interest in drama, music, dance, etc. naturally claimed from him greater application of his mind. His instinct for research wais phenomenal from the beginning, and so his attempts to peer into manuscripts connected with music and the desire to unearth valuable information gained an upper hand in his pursuits of services to the Academy. If at all anything that stood by him, as a mighty source of strength it was bis deep knowledge of Sanskrit. He was conscious from his early experience, that Sanskrit is the key to opett up treasures in the allied fields o f aesthetics and Arts. Just as Mathematics is very essential for all avenues of knowledge in Indology, Sanskrit proves a very necessary equipment for unravelling of any kind of information available in our heritage of arts and culture. More than everything else, it was his unsparing energy for hard work of any kind that allowed him to pile up enormous achievements to his credit. Editing old texts, collecting material for fixing significant landmarks of progress in our arts such as dance and drama; reading the proofs with no disinclination or exhaustion; arranging, organising and publicising results of discovery or revaluation of original works; visiting foreign countries in search of manuscripts germane to the respective fields of investigation; noting down rare evidences of crafts and arts peculiar to the countries and places visited; communicating the results of his findings either by speech or writing to persons interested in such subjects—these and more constantly engaged him. in the fifty years after his collegiate days till his sudden death. Perhaps, none else among Sanskrit scholars would have so much travelled abroad as he did. It may not be incorrect to view that no Continent of the globe would have escaped his itinerary for hunting of rare manuscripts.
The zest for propagating studies in Sanskrit mainly, actuated his spirit for speaking and writing facilely upon different subjects closely knit with Sanskrit learning. It was not a matter for treating it as either casual or accidental if he was responsible for the
152 THS JOURNAL OP TBH MADRAS MUSIC ACADOCY [VohXLVn
DR. V. RAGHAVAN - SCHOLARSHIP AND SERVICES 1 5 5
discovery of the missing portions relating to dance in the text of the- SANGITA-SARAMRITAM of Tulaja Maharaja published by the Academy in 1945. Not only the discovered portions were added to the voulme but an English translation as well as an introduction explaining its discovery and utility was also rapidly made available by him. If the Journal of the Academy became a source of reference to any student in the field of music, Indian and foreign experts as well, it was not sa little due to the prodigious, labours, for gathering materials and presenting them in proper light that characterised one of Dr. Ragh&van’s ambitions. It proved no ordinary surprise to some of the earnest students of music to find the precious memory always ready with references from texts whenever anyone sought of him such help. Again, it was his habit to hasten to correct slips or mistakes of other workers in the same field. I f I remember right, there was an occasion for him to set right the language in an extract in Sanskrit occurring in the footnotes of one of the works of the famous savant, Dr. Ananda Coomaraswamy, which was duly acknowledged by him in a letter to Dr. Raghavan. There was no motive in him to embarrass others in an attempt to correct them if mistakes occurred which he knew to be misleading to co-workers on such subjects. In the same way, if anything fresh which had not met his eyes earlier but which emerged in any of the information gathered by others, would not wait a moment longer than try to get acquainted with such an information, should it prove valuable. If information was sought of him from any quarter, however important or otherwise the seeker of such knowledge, he would be ready to render it with little fuss. I remember once Dr. K. Venkataraman of the Institute of Chemical Research, Poona, required to know whether in our ancient texts there was any reference to ‘colours' and how they were made. Instantaneously Dr. Raghavan referred him to Bharata’s text on Natyasastra, especially the chapter on ‘make-up* for the dancers. It was a matter of pride to Raghavan that our Sanskrit sources never failed anyone in any matter of research in the allied spheres of arts and culture.
The desire to make Bharata Natya more basically understood wax the chief inspiration for him to collaborate with Smt. Balasaraswati in bringing out a Tamil manual on the art of classical dance. Frequent detailed articles from him on the various types of dances of
21
1 5 4 THE JOURNAL OP THE MADRAS MUSIC ACADEMY . [ \f o l . XLVII
■our country found a plaice ip many of tfee souvenirs and special numbers of similar associations or'organisations for the spread qT -correct data of our arts among the uninitiated and the specialist^.
v - - - ;-
The Drama 'equally was one of his constant engagements for improvement along lines known for their originality dnd educative value. Himself capableof producing new dramas, one-act plays, farces etc. hfe, by founding of the ‘Samskrita Ranga', gave an impetus to the healthy growth of the Sanskrit stage. It Was his firm belief that spoken Sanskrit on ihe'stage can have certainly greater influence in germinating a desire in people for learning the language than mere exhortation to them to learn it.
Many scholars of other countries, along with others coming from different parts of our own country, never felt it beneath their dignity to own his services to them as well as to the prevalence of research of a high standard due to his method of investigation. Perhaps, in recent years no publication of Indologists could be found to be lacking pointed references to their indebtedness to Dr. Raghavan in some aspect or other of their writings. His name has been very widely known among savants the world over. It was his familiarity and sometimes even close acquaintance with some of the outside scholars that enabled him to invite them to the Music Conferences held under the aegis of the Academy.
For an erudite scholar usually practical employment of <he mind in the ways and means of doing propaganda for our heritages in music, dance and drama will be something foreign to perform. Dr. Raghavan was just the opposite of such an inanity disabling scholars from participation in the actual implementation of their ideas and theories. He was not only full of fresh ideas in advancing the causes espoused by him, but would not lag behind in experimenting in ever so many ways the fresh methods suggested to him. Combining in himself the wholesomeness of our past ideals with an ever alert mind for pushing forward the borders of our gains in extensive proportions, he remained to the last an optimist of a rare type. Never could he be found cynical in any of his expressions. May be the conviction of our culture never proving itself wanting, drove him to undertake whatever struck him as calculated to make the knowledge obtained more widely understood or appreciated.
DR. V. RAGHAVAN - SCHOLARSHIP AND SERVICES 155
Much could be added to prove Dr. Raghavan’s unforgettable ability to meet the demands on bis time and energy from others- aeeking information and enlightenment. He showed a conspicuous spirit for advancing anything worth its sustenance in keeping the world of scholarship acquainted /with. fresh scope for many o f our waning inheritances being rejuvenated with vigour. It may not be doing justice to confine him in a short ' article like this. He really needB a wider. canVas for receiving unalloyed appreciation. To any casual observer too, ■ the Bibliography o f bis writings published in 1908, at the time of his Shashtyabdapufti, and as an Appendix to his feliciation Volume published by M/s Motilal Banarsidas, Delhi; in 1972, would provide an astounding amount of productions from .his untiring pen. To these lists additions will have to be made for the intervening period between 1972 apd his death on the 5th A pril, 1979.
The future alone can supply the necessary perspective to- adjudge the unsurpassed merits of his vast output in every field of our ancient learning and culture. Beyond any whisper of doubt, his services will not pale into insignificance at any time: by any stretch of imagination. He was a unique personality encased in the frame of an inimitable SAVANT.
Dr. V. RAGHAVAN
We record, with profound grief, the sudden passing army a t Madras o f Dr. V. Raghavan, m -a . , ph .D ., Editor o f th is Journal -on April 5,1979. He was connected with the Music Academy continuously for over four decades and has made substantial contributions to building it up as an institution of international repute. He was a Committee Member o f the Academy from 1938 aad one o f its Secretaries from 1944.
Born on 22nd August 1908 at Tiruvarur, the birth-place o f the Musical Trinity, Dr. Raghavan grew up in the background of the vich heritage of music and dance of Tiruvarur and the Tyagaraja temple. He was proud of the fact that he hailed from that h i Ho wed town and had an encyclopaedic knowledge of its temple l&ri and traditions. He became interested, early in life, in the bhajana sampradaya about which he published many papers in later yeys.
Dr. Raghavan’s renown as a Sanskrit scholar of international stature is well-known. Dr. Radhakrishnan said of him in 1968, “ his interests are not confined merely to Sanskrit literature and criticism. They are as wide as Indian culture itself” . He conducted extensive researches in Sanskrit literature on music and dance and published numerous papers and also editions of texts. His thesis in the ‘Spiritual Heritage of Tyagaraja’, his book on Bharata Natya and his edition of the ‘Nrittaratnavali’ of Jaya Senapati are only a few examples of his vast learning and prodigious industry. The Sanskrit Kavya, the ‘Muthuswami Dikshita Charita’, his personal homage to the illustrious composer, earned for him the title of ‘Kavikokila’ from His Holiness of Kamakoti Peetha. He was awarded the distinction of Padma Bhushan in 1962 and was elected a Fellow of the Sangita Natak Akademi in 1964, and of the Sahitya Akademi in 1978.
Dr. Raghavan was associated with the Music Academy from 1931. A sa Research student in Sanskrit in the University of Madras, he read before the Madras Music Conference in 1931, a paper on “ Some Names in Early Sangita Literature” and followed i t up next year with another paper on “Later Sangita Literature” .
DR. V . RAGHAVAN 157
Hie two paper* cover, respectively,. the periodsfirora Bharate ta Saragadeva and Saragadeva to modem times. The surveys stand as monuments to his extraordinary industry because the data presen* 4ed in them were collected not only from printed'books but also from manuscripts scattered in libraries at Poona, Bikaner and Nepal.
From thefifth volume of this Journal onwards, Dr. Raghavan was closely associated with its publication and was its sole Editor from 1958 till death snatched him away this year. During this long period, he brought to bear upon the editorial work (to quote his own words) "all my . enthusiasm, background of research and ■contact with scholars and writers” . The journal is acclaimed today as the only one of its kind in Asia devoted to the advancement of the science and art of music and as an authentic chronicle of Indian classical music and allied subjects.
I had the privilege of knowing Dr. Raghavan from the early 1930s when I was a college student at Calcutta. After my migration to Madras in 1936, I had more opportunities of coming into close contact with him.
Elsewhere in this issue, we publish an article on Dr. Raghavan and his work by Sri K. Chandrasekharan, his close friend and associate in the twin causes of Sanskrit and Music.
/T. S. PARTHASARATHY
Editor
Statement” about?" ownership and' oth& i-eSrding.
Names and addresses of indivi-')duals who own the newspaper and | The Music Academy partners or shareholders holding )- 306, Mowbray’s Road, Madras-14 more than one per cent of the | total capital. J I,
I, T. S. Parthasarathy, hereby declare that the particulars given are true to the best of my knowledge and belief.
OF
T H E M USIQ A C A D E M YMADRAS
Publisher’s Name
Place of publication
Periodicity of its publication
Printer's NameNationalityAddress
F O R M I V(See Ryle 8)
... The Music Academy Madra^M.
... Once a year> \
... V. T. Rajan ' t... Indian... Rajan & Co., (Printers)!... 1, Goomes Street, Madras-1.
... T. S. ParthasarathyNationalityAddress
... Indian
... 306, Mowbray’s Road, Madras-14.
... T. S. Parthasarathy ... Indian... 306, Mowbray’s Road, Madras-14
Editor’s NameNationalityAddress
Dated, 15th December, 1979,(Sd.) T. S. Parthasarathy
(Signature; of the Publisher)
T l» RAGATATTVAVIBODHA AND SANQITA PARtJATA 3 7
6. Some Notes on. AkoMi’s R&ga-descriptftm:—
Froto the discussion in the bygone pages it seems that resemblance between Srinivasa and Ahobala is beyond doubt.' But in the description of Rfigas; in some cases, Ahobala’ differs from Srinivasa. This difference of opinion deserves attention and therefore it should be stated.
‘ , .*
In Karnatikinadi Sriniv&sa uses the note dha as subordinate (Dhangata) whereas Ahobala opines that this should be ended as this note. 1 Ahobala mentions that Megha and Mallara are one and the same Ragas and does not accept Mall&ramegha or Megha mallara as Srinivasa. 2 The Raga Takka of Srinivasa, Ahobala mentions as Dhakka and tells to avoid the note Dha in Aroha as opposed to the former. 3 In Savari,- the exclusion of Ni Srinivasa accepts in Aroha and Ahobala in Avarohi and it is interesting to note that neither of them uses Ni in Arohi or Avarohi. 4
(1) RTV 34=Parijata 384(2) RTV 40= „ 360(3) RTV 48= „ 432(4) RTV 51= „ 443
Like Srinivasa, Ahobala in Malavagaula, fails to mention the use of Ga and Murchana of Ma. 1 Natanarayani is the Mela in the Sangita-Darpana that accepts the use of Tivra Ga. 2 Srinivasa tells us that Natanarayani (RTV 60) is produced of Velavall Mela. In Deogiri Mela, the use of Tivratara Ma by Ahobala, responds to the nature of modern Yamani Bilavala. 3 To the Devagandharl of Srinivasa, Ahobala adds a verse saying that its’ Udgraha note is S a ; when it is started from the note RI ‘ Ga should be excluded in the Arohi. 4 In Varali (Suddha), Ahobala’s additional mention of Tivra ga as the verse concerned already indicates that Ri and ga are Komala. 5 In Todivarali Ahobala accepts Pa and Dha as Udgraha notes instead of Ga and Dha. * In the Raga Saudamini the mention of Vikyta Ma by Srinivasa is doubtful. 7
This sort of differences, mostly rare, may not cause disturbance to general concept that both the authors agree, almost in all the cases. May it further be added t9 conclude that the text o r RTV, with minor changes, additions or omissions owes i t existence to P&tjata and that the former is indebted to the latter.
38 THB RAQATATTVAVIBODHA AMD SAN OITA PARDATA
(1) RTV 64 = P&rijata 427(2) Darpana 2/99.
(3) RTV 72 = Parij&ta 457
(4) f f 73 = I S 458(5) ») 77 = = I S 391(6) si 79 * 1 1 392(7) RTV 45
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