\

/

'J

>X.

'A.

a

PRESENTED BY

The MusicMusical InstrumentsSoiitbcni 3^^ia anb cLbo X>cccaii.

^

'Flic

i/npn'ssio/icii'fisfs

of this 7voyk

is liinitcd to

joo copies

and jOi\'0

proofs.

fittuyc impressions unll be printed.

NOVELLO,

i:\VER

&

CO.

THE MUSICMUSICAL INSTRUMENTS^nutljcrn SlnMa anD ^\jc Otccan

C.

R.

DAYLight Infantry

Captain, Oxi-ordshire

WITH AN INTRODUCTION BYA. J.

HIPKINS,Y

F.S.A.

THE PLATES DRAWN

11

WILLIAM dlHB.

L0:N'B0C^^=^ #^^^3^^^1

^3=PS^|-^=S'adivedamangini.

rhJ=k^

:^

Sabhapantovarali.

No. 45.

No.

46.

I I./

i=;p* i^3^^^No.47.

h

il=:j=2z

=?S=|^Davyamani.No.!

-r3

?s-

Suvaranangi.

48.-^-

t:-S>-

~?c^3s|

|

GSmanas'rya.

No.

54.

^#=^=^=^=t^---^=

^

THE MUSIC OF SOUTHERN INDIA.Syamalangi.

35

No.

55.

S'anmukaprya.

No. 56.

^=^^-t-^S'rimhandra.

^

?-?)

^

C>_

^^^E^EE^.j Kio^ ?e-=Q=Hamo-vasantha.No.58.

No.

57.

iDharmovati.

=^^^PNo.59.

j-i>.^-^iL

d

?

Q60.

=)=?r-

-b

J

^^II

Nettimatti.

1^37^Kanlamani.

^=^^^^^^^^61.'

No.

No.

Rishavaprya.^Ji>TC''

No. 62.4?ji:

i^^^Latangi.

"'

Tt

.'J

g>

fl ,

^

^^No.64.

I^S=35=

Vrj

No.

63.

Vachaspati.

ii

_._

^

^No.65.

tei: ^

^^^

Q

32:

^ChintSmani. No. 66.

ft

4=^ Q

-

i*

Matsy^ikaliani.

^No.

67.

^^Ei=*=^

^Jotisvarupeni.

^^^No.68.

Suchantra.

=^Dhartov^rdani.

f=Sta -|7^-^?^=*= No. 6g.Nas'icabharna.

iffci:

-? >

'

Q-

No.

70.-f ej

iKosala.

JNo. 71.

41,1

J

1'^=^i^Rasikaprya.-f3

:c3z '

let

g^c

No.

72.

-*^In

^;=

4=

Hindu music usually three octaves

only, termed

Sthayis, are

taken

into consideration.

Instruments such as the vina, kc, have, however, a compass of nearl}- fouroctaves.

In order to sii^nify the octave in which a noteit.

is

to be plaved, a dot or

each musician or writer upon music apparently advocates some method of his own. Music is not, as with us, divided by bars of equal duration. Divisionsis

dots are usually placed above or below

There

no

definite rule for this;

styled

Gitalu are in use, and are signified thus

|

or

;

they can be placed

anywhere, at the composer's discretion, and denote parts or phrases so to speak.

They

are frequently

marked thus

||

or

=, when they denote

the repetition

of a part, or the conclusion of a strain.

3*5

THE MUSIC OF SOUTHERX INDIA.Thesign ofthelotus flower

G?)

is

used by some writers for the same

purpose.

Time, bv which

is

imphed the

relative values of a succession of notes,

cannot

be expressed with anv degree of accuracy without

indeed

so complicated anis

arrangement of signs as to be almostfully in

unintelligible.it

The method

described

the Sanskrit works, but from this reasonis

has fallen into disuse.is

The

value of the note

invariably taught orally by a master, and the ear

thereby

cultivated to a very high degree.

The

following signs (or their equivalentsin

if

the character

is

Devanagari)

are,

however, made use of

order to convey

approximately

only

whether

notes

are to be of long or short duration

:^musical characters,

Dirgha

:

This

sign, used in conjunction with the

signifies that they represent " long notes"

Votu

:

This sign

in the

same way represents

" short notes

"

Theless

different degrees of time arefive

each being sub-divided into

termed Talas, of which there are seven, "jatis," or kinds; so that there are in use nojatis will

than thirty-five distinct measures.

Byduration

the

annexed table the various talas and their respectiveat

be

understood

a glance, the figures signifying thein a bar.

number

of beats of equal

made

Name

of Jati.

Nameof

J

Tala.

THE MUSIC OF SOUTHERN INDIA.Talas can be denoted by the following signatures u denotint I unit of time. Anudrutha

37

Drutha

oI

-7

Lagu GuruPlutha

48

63-(-

12i6

Kakupatha

The

jati of

the tala

is

usually appended to the signature in words,is

Should

nothing be appended, then the Chaturushra

generally understood.

In order to employ these signs they should be substituted for the figuresin the table:

thus ion will denote the Chaturushrain

jati of

Druvatala.

Hence,cor-

when

written

European notation, therein

is

often

a

constant rotation

responding to the tala of bars of different time signatures.

Each

tala

can be playedof the

any orderto

i.e.,

4244 can be played 2444,Graha, andis

4424, or 4442.

Thekinds, viz.

application:

talas

an

air

is

called

of four

Sama" Whenof theair.

(i.)

the

first

beat of the tala

falls

upon the

first

note

(2.)

Anagata When the air commences which therefore falls upon a rest.Atiyita

after the first beat of the tala

(3.)

When the

tala continues after the air

is

finished, the last

beat therefore falling upon a rest.(4.)

Vichama

Comprisesjati

anv irregularity not included

in

the above

three, such

as the beat of a tala falling

upon the

first

note of a

bar tied to the last note of the bar preceding, &c.

The ChaturushraAditala, andis

of Triputa

Talainis

is

also

known byclefs,

the

name

of

a very

common

time for javadis, and other love songs.

There being practically no harmonysystem, are not employed.

Hindu music,

as in the

Europeanis

The kevnote

always Sa, and, as already stated,

taken of any pitch to suit the requirements of the performer or the nature of theinstrument.'

This term

is

also used to signify the strong accent.

CHAPTERKa'? dp C C B? A G F| EP? D? C

SCALE OF PAVANLChandrajoli

C D7 Eff F# G A G B C

C B G A G F# Ebb Db C

SCALE OF REGONPRYA.Ghandarva Ghomatti

G A| B G DbB C Db Ebb

E?b Db C

B G.

F|:

G A# B

F# G A* B C B G G Ft EP? Db C B C

SCALE OF BHAVAPKYA.Kalamurti

C Eb Db Eb F$ G C

C Bf Ab

G F#

Eb Db C

SCALE OF SABHAPANTOVARALLPanto-Varali

Rudra-mangen Bhaulamuki.

Saddaks'eri

.

Deviakanthala

KamaranginiGovirdani

Naga-PanchamiGarudavirdani Latamati

C D7 E? Ft G Ab B C C D? E? G B Ab C C D? E? Ft G B C C Eb D? E? F;: G A- B C C Db E? Ft G A? C C Db E? D7 Ft G Ab B C D ? E P G Ab C C Ei? G B C C Db It Ft B Ab Ft G a:' B C G Ft G A? G C C D-i. .

C C C C C C C C C C

B Ab G Ft Ab Ft Eb B A7 G Ft E? D? C B Ab G Ft E? Db C B Ab Ft E? Db CB B B B B BAb G Ft E7 D7 C Ab Ft E? Db Eb C Ab B Fi E? Db C Ab G Ft E.7 Db C

D!^

C

G Ft Db C Ab G Ft Ab Ft

Ei?

Db C

SCALE OF SUVARANANGLRati.

Vrushabha-vahini

Mamachsheri Ratnamati

C C C C

D.-- E? Ft G A B C d: Ff G a B C D? E7 Ft G B C E7 Ft G Ft A B C

E?

.

.

C C C C

B A G Ft Eb D"" C H A Ft E? Db C B A G Ft E." F? D-' C A G Ft G Eb DP C

SCALE OF KAMAVIRDANLRamakrvaDipakaDevagiri t Vilambini Rudragandari

Vipramandara Svatambodi.

Pankaruham Viagranandanam ManmatalataPushpalalita.

KumudaprabhaNote.

C C C C C C C C C C C C

D7 E Fit G Ab B C E Ft G A!^ G C D? Ft G AC C Ft E Ft G B Ab B C D? E Ft B C B? Ft G A? B C Db E Ft G C Ft E Ft G B Ab B C D7 E G Ab C B C Db E Ft G A7 B C E Ft Ab B C Db E Ab B C. .

C C C C C C C C C C C C

Ab G Ft Db Ft E Db Ab B C E G Fi E D? Ab G Fi E D"* C Ab B GFt E C G Ft Db C Ab G Ft E D? C B AP G Ft E D: C B G Ft E Db C B Ab B Ab G Ft E D7 Ab G Ft E Db C B C Ab G Ft D? C G Ft E B C

B B B B B

Ragas marked

f

have two readings, the other readings are given

at the

end of

this chapter.

O

54

THE MUSIC OF SOUTHERN LXDIA.

SCALE OF GAMANAS'RYA.Nameof Raga..

Ascending Mode.

Descending Mode.

GamakakryaPartiravamS'ri-Lalita

Purvi-Kaliani.

Jeya-MohannafDarpa-Mangeri Maivra-Vasantha

C C C C C C C

D? li F# G B C D? D? E F| G A B C E F| G A C D? E D? F| G B A G C E Dt E F|: G B C D? E Ff G A B C.

EFfGABGABGC

C C C C C C

CBGABAGFitD> F#EDl>EC

B G Fit E D> C B A G F| E D7 C B A B G A G F;i E Ff E Db Ff C B A G Ff E D? C B A G F* E D? C B A G Ff E C

SCALE OF S'RIMHANDKA.Siimala Simanthini

.

Madhava-ManohariSuddha-raga fMara-jej'antham.

C El7 D Eb F|; G Ab B Ab C C D E> F| G A? B C C Eh D E7 F| G B A^ B C C D E> Ff G B C C D Ff G Ab B C. .

C B Ab G FS Eb C G Ff Eb D C D C C B Ab Ff Eb Fit E7 D C C B G Ff E-- C C B Ab G FS E'"- D C

CD

SCALE OF HEMOVASANTHA.Sinharavam.

Ciiandi'arckha

Sankaravam

.

Yeshaprta Sinhadvani Chackoradvani.

C D Ff G Bb C C D Et? Ff G A C C E7 D Eb F| G A B7 C C D F$ G B? C C D C Eb Ff G A B.7 C C D Eb Ff G A B? C.

.

C C C C C C

Bb G Ff D Eb D C Bb A Ft Eb D C Bb G Ff Eb D C Bb A G Ff Eb D C B? A G Ff E7 C Bb Ft Eb D C

SCALE OF DHURMOVATLRangini

C DC C

Ei?

DumyaragaArunajualita

D D

Ff A C

Eb Ff Eb f1

GAC ABC

THE MUSIC OF SOUTHERN INDIA.

55

55

THE MUSIC or SOUTH ERX LXDTt

CHAPTER:

V.

Taste of European and Oriental nations how differing Reason for non-employment of harmony Method of singing Of Indian melodies P'orm Classification of Rhythm Employment of mixed times Tonality often doubtful Resemblance of Indian music to that of other Examples of popular melodies Hindustani musical system how differing from countries Examples of Hindustani melodies Scales employed in the Hindustani system. Karnatik

:

THEclothedlittle

wide divergence of taste

in the

matter of music between European

and Asiatic nations has doubtless arisen from the fact that while ^Vestern nations gradually discarded the employment of mode, and and now,in

the melody with harmony, the Eastern nations in this respect;

or no progress

India, the

employment

of authentic

made modes

and melody typesSpeaking of

(or ragas) isthis,

still

jealously adhered to.:

Willard remarks

"

To

expect an endless variety in the

melody of Hindustan would be an injudicious hope, as their authentic melodv is limited to a certain number, said to have been composed by professors universally acknowledged to have possessed not only real merit, but also the original genius of composition, beyond the precincts of whose authority it would be criminalto trespass.

What

the

adapted themor

to their

more reputed of the moderns have done is that they have own purposes, and found others bv the combination of two

Thus far they are licensed, but they dare not proceed a step Whatever merit an entire modern composition might possess, should it have no resemblance to the established melody of the country, it would be looked upon as spurious. It is implicitly believed that it is impossible to add to the number of these one single melodv of equal merit, so tenacious are themoreof them.farther.

natives of Hindustan of the ancient practices."^

A

Treatise on the Music of Hindustan."

Capt. N. A. Willard.

Calcutta, 1S34.

58

THE MUSIC OF SOUTHERN INDIA.

This continued employment of mode, combined with the almost entire absence of harmony, has prevented Indian music from reaching anv higherpitch of development, such as has been attained elsewhere.It

stands to reason

monotony which causes Indian music to be little appreciated by, to, European ears. Since the early periods of Indian history, music would seem to have been cultivated more as a science than an art. More attention seems to have beenalso that thisis

the chief cause of theif

not repellent

paid to elaborate and tedious artistic

skill

than to simple and natural melody.pristine sweetness of

melody the must be attributed to the art falling into the hands of illiterate virtuosi. Their influence, which caused music to suffer both in purity of style and simplicity, is being felt less and less. The great aim of all music " Rakti," or the power of affecting the heart now asserts itself more and more, and is slowly but surely bringing about a returnrules that

Hence arose technicallife

marred the

very

of

all

real music.

To

a great extent this

to the early type of sweet, simple

melody.

good or classical music of India is heard b}' Europeans. What is usually played to them consists, as Colonel Meadows Taylor very trulv remarks, of modern ditties, sung by ill-instructed, screaming, dancing women, at crowded native durbars, marriages, and other ceremonials. And when this is the case, it does not cause much surprise to hear native music often described as abominable, and devoid of all melody. But music of great intrinsic beauty nevertheless exists, and only requires to be heard by an unprejudiced ear to be appreciated. Throughout India music and poetry go hand in hand. Their influence may be seen and felt in almost every phase of native life, from the Music has there been palace of the rajah to the humble dwelling of the ryot.Verylittle

of the

developed to a degree far greater than has been generally recognised in Europe.It is

there

felt to

be a

means

of passionate expression, such as

is

apparently

unknown amongst nations farther East. And indeed the very soul of all Indian music may be said to be raga which in its literal sense means that which creates passion. And that this has been fully appreciated in Europe would seem to be

evident, for a musical

reviewer writing in the

A thenccii in, and:

contrasting the

music of India with that of Japan and Siam, recently wrote " In the Indian Peninsula we are really in another world. We exchange a music in which

and dry executive skill prevail for one vibrating with sentiment and passion, and that combines a refined execution with the highly nervousnoise

organization thatplayer {beenheard, at a

makes the

poetic

artist.

Such a one washeard, but

a Jeypore been

a

kind of vina),

who was'

to be

we

fear

lillle

exhibition called

India in London,' in iS86.

was not much To go from one

THE MUSIC OF SOUTHERN IXDIA.atmosphere of a desertscale,

59

of the clever Siamese ranat players of the Inventions Exhibition the year beforeto this

man, was

to quit the

for

one redolent of sweet

air

and flower scents.

The Hindu chromatic

from which the numerous

modes and melody types are selected, does not appear to differ from our own. As there is no harmony, slight differences may pass without notice. Very much of Hindu music impresses the European as being in the minor scale but deflections in the stringed instruments, and possible accommodations in the;

wind, introduce an enharmonic elaboration that defies notation.'"'"

And

here

it

might be interesting to quote the opinion of a learned native gentleman } " Manv of the Hindus themselves," he writes, " labour under a false impressionconcerning thethedifterence

between Indian

and

European music, even assoto

to

employmentthat

of

tones

and semitones.

natives,

pieces

played

upon the

piano:

The opinions held by or harmonium are

manythem

discordant, can be easily accounted for thus

they are simply confused

melody when they hear five or six notes The chief difference seems to me to be that the Hindus played in chords. prefer melodj' simply, while to European ears melody is preferred when clothed, as it were, with harmony of some sort." unaccustomedto anything but simple

being

Comparatively few Indianthat thereor the

airs

have found their way to Europe.

Those few

that have been published are mostly from either Bengal or Northern India, sois

but small resemblance in them to the national music of the Deccan;

South

for there is a

parts of India, which to

marked difference between the music of the various even the most casual observer is evident.

The

following examples of

songs thoughin filling the

a mere handful from so vast a

storehouse

will,

it is

hoped, aidcare to

vacancy, and thereby afford some

help to those

who may

makein

further research.

Many

of these

melodies

themselves are extremely beautiful, and their

simplicity adds

an additional charm that no words can express

the

airs

of

of

and feelings of the people to whom they belong. Some are pathetic and melodious music that exactly reproduces the feelings inspired bv the words others are gay and bright true accompaniments to the daily pursuits and occupations of life and in manvdifferent country districts are but a reflex of the character

;

;

them may be found

a vein of repose, slightly tinged with melancholy, that

offers a curious contrast to either of the

former

;

indeed, so

much

varietv

mav

be

^

The

Ill-own,^

New

Athencsum, Jan. York.

4,

i8go.

Review of

" Musical Instruments

and

their

Homes."

M. E. and \V. A.

T. M. Venkatas'esha S'astri.

6of'dund thatit

THE MUSIC OF SOUTHERN INDIA.is

unnecessarv to notice

in detail

merits that must he evident to the

musical reader.

Butthat

vet,

though the melodies themselves are sowell

beautiful,

it

is

but seldom

we hear them

sung;

;

indeed, singers of the ordinary type often entirelyfor native singers

ruin the effect of the music

appear to have an idea that the

highest form of their art consists in introducing as

much

grace as possible,they try to disguise

whether

it

adds to the beauty of their songs or not

;

in fact,

the real melody as

muchit

as possible by embellishments of their own, and so inquite impossible to follow either the air or the

nine cases out often

isis

words of a

sone, since the sinsrerskill.

onlv anxious to exhibit what he fondlv imagines to be his

Native

singers

rarely

practise,

for

they think

that

practice, to

even

a

moderate extent, ruins their voices. The treatment of the voice, too, is quite different to what experience in Europe has proved to obtain the best results. The voices of Indian singers are almost always weak and deficient in

volumetoneis

one

result doubtless of their

system of training, by which atheir

full

clear

singing

made to give way when much too young,shrill.

to incessant small inflections.

Girls, too, are taught

so

that

voices either break or

become

harsh and

A

singer rarely stands while he sings, and instead of using his proper range

of voice, he prefers a

which he can rarely control, and his endeavours to make himself heard generally cause him to make the most ludicrous grimaces. Singers of this kind it is who bring Indian music into

most unnatural

falsetto,

disrepute, and cause

it

to be regarded with

contempt by European audiences.are wonderfully sweet, and

But

still

there arc singers intheir

India whose voices

when they sing

own songs

in their

simple form, no hearer can doubt that, like

other national music, that of India possesses a

charm

peculiarly

its

ov/n.

The various

styles of Indian compositions, consisting as they

do entirely

oi

melodv, do not present to the casual observer differences as clearlythose of European music.cally,

marked as

in

Nevertheless these melodies are classified systemati-

andall

in their

construction are subject to certain definite rules of composition.

Almost

consist of a burden or refrain called Pallevi, a kind of answer to this

refrain styled Anupallevi,

and stanzas

(called

Charanam)

of

which there

is

usually

an uneven number.

These parts are in the several compositions arranged in different wavs, and bv this means the style of composition is determined. Rhythm is usually very marked, but differs largely from that of most Europeanmusic from thefiict

that the times are iVequently irregular.is slight,

Between

vocal and instrumental music the difference

the vina, the

THE MUSIC OF SOUTHERN INDIA.only instrument of anyor reproduction of thelart^e capability,

6i

being considered to be but an imitation

human

voice

;

and

if

an

air

be accompanied by that

instrument,

it is

usually only played in unison with the voice.

The

different exercises, compositions, &c., are usually classified:

under the

following heads

Saralas

Kruthis

Gentuversis

Kirthanas

AlankarasGitas

VernamsS'ankavernams

Prabhandas

PathamsJavadis

ThanasSvarajotas

Ragamalikaitself,

Aand(ii.)

raga,

when performed by

contains two movements

(i.)

Alapaandis

Madhyamakala.upon some theme aboundingall

Pallevi, a kind of fantasia

in imitation,

with a well-defined rhythm.

The rhythmother nations.is

existing throughout;

the different styles of composition

worth careful notice

and

it is

The

similarity

compare it with that employed by of that of the Turks and other Eastern nationsinteresting toinitself,

remarkable.

As in European music each period is complete marked by the talas, which divide the different periodssections, as the

being clearly

into regular or irregular

case

mayif

be, following

each other

in definite

The

periods

differ

only from those

that they

may

consist,

necessary, of an uneven

commonly found in number of sectionsemploymentofin

and regular order. European music inor measures,

the tala itself often being irregular, owing to the

mixed times.will

Hence when Indian music

is

written

ordinary notation

there

be a

regular rotation corresponding to the tala, of bars each of which may have a different time signature. A reference to the list of talas upon page 36 will explain this more readily than any words can. These periods or phrases areoften extended

by the addition

at the

commencementphrase,either a

of a few notes leading a

up

to

the

commencing note

of the

or by being terminated withrepetition

small cadence or

codetta which

may be

or

imitation of

what has gone before, or may lead up to the next phrase. The rhythm of the Pallevi and Anupallevi is usually a great deal more marked and regular than that of the stanzas, where the phrasing is frequently irregular,the periods being interwoven by means of, as it were, abbreviaturas, or extended by the prolongation and " rekhu," a species of turn or transient shake upon a

Q

62

THE MUSIC OF SOUTHERN INDIA.all

note in the middle of a roulade with which

Hindu music abounds.

This

is is

especially the case in the performance of raga as a solo, which in certain cases

absolutely timeless.

Hence the greatordinary notation.

difficulty of

expressing such music correctly by means of

The

peculiarity of the scales or

modes employed

in

Hindu

difficulty in determining the real tonality of many of the melodies, the Hindu Sa, taken by native musicians as the " Khuruj " or keynote

music often raises aot their scale,

not necessarily corresponding to what

is

the real tonic of the scale.

Indian music has been compared to that of Scotland, but the resemblance can

be traced principally to the frequent employment by both nations of a somewhatsimilarscale

of five

intervals, the

fourth

andis

seventh

being omitted

possibly also from the fact that a similar motivefirst

often found in both,

and where the;

note has one-fourth of the duration of the second, as

^^

In reviewing the national music of

with the wa}- in

any country, we cannot help being struck which special scales are employed, special graces worked in, all

more or less varying in the music of different nations. In the music of India, owing to the multitude of scales or modes which it employs, a resemblance here and there can be traced to the music of nearly every country. The chief characteristic, for instance, of Hungarian music is that it usually employs a scale with two superfluous seconds, or the harmonic minor with asharp fourth.

This scale

is

in

every respect similar to the Indian scale called

S'rinhandra, and nearly similar to onetovarali, both of

which

will

be found

much employed and called Siibhapanamong the list of scales upon pages 32-35.

ManyHungarvseventh

of the graces and embellishments employed in the gipsy music in

are to be found in Indian melodies.

Mr. Carlin

Engel' has drawn attention to the employment of the minorServian,VVallachian, and

bothin

Scotch

music.

This interval

is

emploved both

Arabic and Indian music.it

Some

idea of the plaintive and

impressive effect of which

is

productive can be gained from the song, " Seki

yenaka thake," given upon page 80. Mr. J. A. Kappey, in his collection of " Songs of Eastern Europe,'"' draws attention to the characteristics of Turkish songs, and to the fact that they employ a scale having a minor third with an augmented fourth, and a minor si.xth'

^

" All Introduction to the Study of National Music." Carl Engel. London, 1866. "Songs of Itastcni l'".iH(jpc." Edited by J. .\. Kappey. Lundoii, 18S1.

THE MUSIC OF SOUTHERN IXDIA.with a major seventh.India willis striking.

63

comparison of the examples he gives with songs of be of great interest and the similarity of both melody and rhythm;

A

One;

of the songs quoted

ain

song of sorrow by Nihad Bey

mightalso to

be from Indiabenoticed

it

appears to be writtenit

much

the%

same form, and\,

it is

that

employs a mixed time of

and

precisely the

Indian

Triputa Tala, already noticed.In a previous chapter attention has already been drawn to the resemblancethat Indian music bears to that of Greece,

and

this is

still

by a careful study of modern Greek national

airs.

In a

more fully borne out work not long published,

by M. Bourgault-Ducoudray,'' the construction of the peculiar scales found throughout the East have been made the subject of most careful research, and the use of what the author terms the " chromatique oriental" is especiallyits

Mayamalavagaula, and to M. Bourgault-Ducoudray's work to students of Eastern music is especially interesting, and the careful analysis that is given of each air renders the work most valuable. The between Indian songs and the examples of melodies from the resemblance Levant is so striking that, in many cases, it is difficult to believe that theirnoticed.is

This scale

no other than the Indian

frequent use attention has been drawn elsewhere.

origin

is

not identical.calls attention to the fact that

Mr. Engel

Chopin,5),

in

one of his studies for

the black keys (Douze grandes Etudes, No.beautiful effect that

may;

has given some idea of the be produced by a melody which employs a limited

number

of intervals

only in this case he notices that as the accompaniment

employs other

intervals, the pentatonic effect of theis

whole

is

somewhat marred.

In Indian music, too, a frequent use

made

of the pentatonic scale, as has been

already remarked.

Again,

in

constant occurrence,

especially in

Spanish national music, embellishments are of descending the diatonic scale the same; ;

predilection can be observed in Indian melodies

indeed, a further resemblanceof

can be tracednature

in

the

occasional

employment

endings of the following

^XT'

iSEg=g=^=ilsuchas are heard in the jungles and countryare not unfrequent.

which

in

the

districts of

common songs, many parts of India,

The'

following

observations

by

Captain

Willard

are

short and to

the

Trente Melodies Populaires de Grece

et d'Orient."

L. A. Bourgault-Ducoiidray.

Paris, 1876.

64 point,

THE MUSIC OF SOUTHERN INDIA.and seem:

to

apply

equally well

to

Southern as to Northern

Indian

melodies1.

2.

The melodies are short, lengthened by repetitions and variations. They all partake of the nature of what by us is called a Rondo,being invariably concluded with thefirst strain,

the piecefirst

and sometimes with the

bar, or at least with the first note of that bar.3.

A bar

4.

measure or a certain number of measures are frequently repeated with slight variations, almost ad libitum. There is as much liberty allowed with respect to pauses, which may beor a

lengthened at pleasure, providing the time be not disturbed.

The times employedfrequent

in

Indian music are peculiar

;

simple times are of most;

occurrence,is

mixed

times;

are

largelyis

employed

true

triple

time,

curiously enough,is

of the rarest

but there

a time, the accentuation of which

upon the

first

(although in

and second beat, which may be said to be a kind of triple time reality a mixed time of % and C), and is much used for love songs.in

The tempo

which the various melodies are sung

is

sometimesor

irregular,

and

from being exactmiddle of a song.

sometimes changes

into

a

recitative

ad libitum

in the

The

peculiarities in the

working out of the motives areis

striking,

and the employment of

rests of short duration

noticeable.

The endings are often not definite, the last few bars leading up to commencement the reason for this is probably that it is usual to repeat melodies, and when the performer wishes to end, he generally leads up to note upon which he wishes to conclude, and prolongs it in this manner;

the

the the

m 3Indeed,differentit

^^F^g?

seems more natural

to regard all

endings of Indian melodies rather as

forms of

Da

capo than as real closes, the object in most cases beingof the song.

a return to the

commencement

The

fact so often noticed

by those

who have endeavouredof

to collect Indian airs, that almost every interval of the

scale can be found used as a close, can possibly be thus accounted for.

The words most of these songs, particularly those sung by the common people, such as lavanies and javadis and svarajotas, are generally a long ballad, so that a definiteendingis

not required after each stanza.

Many

singers indeed, as a variety,all

improvise their words, so that after each stanza closes on intervals ofare found.

kinds

real ending is what he regards as the key-note of the Indian scale. Judged from a European point of view, it appears that closes on the intervals of

But when the

reached, the performer frequently leads

up

to the key-note, or

THE MUSIC OF SOUTHEKXthe third andtonic chord;

INDIA.

6S

fifth

should be regarded more as

//i^//

closes

upon the

intervals of the

those on the second and seventh as upon intervals of the dominant

chord; whilst those on the sixth or minor third betray the relative minor; sometimesthe third

may

be looked upon as the

fifth to

the relative minor.

This view can ofit

course be equally well applied to the national airs of any country, butto be specially applicable to those of India.

appears

Somefound

of the melodies in their conclusion imply a modulation into the relative

minor, showing thereby a trace of the old pentatonic scale.

Examplesfifth,

will be

among

the following melodies of endings with the(like

the

si.xth,

the

seventh, the second, andfourth are rarelyif

those of the Servians) with the third.

Closes on the be foundin the

ever employed.

An example

will nevertheless

Khyal upon page 88. In the examples following an endeavour has been mademelodies are composed.

to point out

some

of

the chief peculiarities and characteristics of the different ragas in which the

Thescale of

first e.xercises

taught to pupils are called Saralas, they are always in the;

Mayamalavagaulaeachtala.

similar exercises

called Gentu-versis,

containing

repeated notes, are next taught, after which Alankaraslearnt, several in

exercises upon time are

The

simplest melodies are called Gita, and are of two kinds

Pillarigitahymnsfollowingtois

and Ganaraga-gita. andit is

The

first-named are four in

number andin

are

the god Pillari or Ganesha.

The Sangita

Parijata mentions four Pillarigitas,still

believed that these are the four that are:

use.

The

an example of one of these ancient PillarigitasAndante.

(

Raga Malahari.Tala Rupacca.

=^=^

T'^ir:'*

^S

^TJt

-^*-i

^-^^are

r7r

2*

Ganaraga-gitas are very similar to the above.

Somewhatlonger, andSkilful

similar

to

gitas

Prabhandas, only that they are usuallyin

are divided

into

two or three parts by breaks called Khandam.order toexhibittheir

performers are fond of playing such pieces

proficiency to an audience.

Thanas

are studies for the vina, teaching special styles

and

difficulties

metK

with in the performance of the various ragas.

They

are particularlv intended as

66

THE MUSIC OF SOUTHERN INDIA.difficult

an introduction to the

movement called Madhyamakala ofGreat attentionis

a raga.left

Thanasa great

are in no particular talas, the time heing taught orally, and

in

measure

to the performer's discretion.;

bestowed upon proper

accentuation and grace

the tempo

is

usually very rapidRaga Nata.I

^f^--

^4-i-t^-gJ-^|/^'

V^

"^

1-MI f?4ii

C

b/F

^^

hH

L^

1%^

^^=1RagaArabi.

^^rr

g^

^Some

t^^

S g^#-^ ^ ^Raga Gaula.

^l-^J-^i-l-^Qof the

iy

^Sri *-* r-

5=^4.a^^a^&^=^1

s S^;

^

r

I

most popular ballads of Southern India are called Svarajotas, and are sung by almost everyone. The words are usually odes to some deity or popular hero of the country. A song of this kind commences with a kind of following in quick succession is the anupallevi, a kind of refrain termed pallevi short stanza, the words of which are an addition to a comment upon those of the The stanzas, which may be After this the pallevi is again repeated. pallevi.dissimilar both in metre

and melody, follow

in order,

each concluded by a repetition

There is an almost entire absence of superfluous grace in these songs, and their marked rhythm renders their execution within the attainment of nearly all. The following examples of these melodies are interesting, and display theof the refrain.fluent

and decisive nature so characteristic oi themFine.

all

to the greatest

advantageRagaBilahdri..\di.

Allegyo modcrato.Pallevi.

Anupallevi.

Tala

THE MUSIC OF SOUTHERN INDIA.

^rl

i

|j"3?

J?S

^^ ^ ^^:?2=z

$ ^

g_^

.

ji,^

I

J"^a^ffl,^=j^^^:T^^^

^^ .TTJ^^^^J^^^aj-^^^gfe^ P^^^iSacred songs, called Kruthis, are very popular.

E

The

airs of

some

of thesefor

hymns

are very old,

and have been handed down by successive generationsKruthis are, asarule,

hundreds of years.

in

theis

morestanza.

difficult

ragas, the

characteristics of which are

made

as prominent as

consistent with the melody.

They

consist

of

a

pallevi,

anupallevi,

and

one

Some

few

have

three stanzas, and this

number is never exceeded. The pallevi is sung at the commencement, then the anupallevi, after which the pallevi is repeated witha slight variationat

the option of the

singer,toiipo

followedis

by the stanza, andcon

concluding with the pallevi again.vtoto,

The

rather of an Andante

and the whole

is

sung

in a

dreamy way, with a great deal of expression,of Tanjore,

and as much grace as

is

wished.

These hymns were revived by the Rajah Sarabhoji

and were

greatly improved in style by the celebrated musician Tiagyaraj

of that place,

who composedSubbaraya

a large

number which

are

still

popular.S'astri, Diksitalu,

Other famous composers of kruthis have been SiamaS'astri.

and

As

will be noticed

from the following example, kruthis have a curious mixture

of pathos and hilarity, and the words are always in accordance with the emotions

expressed

by the music.

Thereadily

peculiarly

plaintive

effect

imparted to theseusual

melodies by the employment of grace embracing intervals less than semitones,

and

its

special

charm so

shown upon the vina

to these

hymns

no notation can be found'

the

companion

capable of expressing'

Upacharam Chesavaru.

Andante.Pallevi.

J

Riga

Bhairavi.

.\nupallevi.

^

(Tala Rupacca.

72

THE MUSIC OF SOUTHERNStanza.

INDIA.

1st time.

1 1

2tid time.

agq^pS^PpMF^^^J^^^^-^-^^^g^Thescale ofthis

melody

is

" Nata-Bhairavi,"

which,

as

can be seen,

corresponds exactly to the ancient Hypodorian mode. The peculiarities of the raga Bhairavi, in which it is composed, admit of E being taken eitherash

or b at will.

Henceif

this

melody, although partaking partly of the nature

of a minor key, should be regarded as founded

upon the dominant of the major

harmonised to preserve its character, WTitten in one flat only, and harmonised with the triad of the dominant as the principal chord. The vibrato upon Bb is characteristic of the raga, and is never omitted.key;

and, therefore,

The composer of The compositionpopularity.

this

melody was Tiagyaraj.

of the next

melody

is

attributed to Kolashekara, a formerin

Maharajah of Travancore, which, perhaps, accounts

some wayis

for its

wide

Oneinsertion

great peculiarity of the compositions of the Maharajahof

the copious

what

are called " Svaraksheras " in them.

To make my meaning

clear the Hindu gamut, as has been stated, is signified by the syllables " Sa, The composer has adroitly introduced these syllables ri, ga, ma, pa, dha, ni." at the very place where the notes signified by them occur in the song, without This is the more difficult to do when interferine: with the sense of the words. we remember that in Hindu music the notes must follow each other in aparticularorder,

according to

the

raga,

and

not

exactly

according to the

composer's fancy.para nava7rt," &c.

In the following piece the words are " 5rtrasa vSrtmamukha

Sa and Ma are introduced at the very points where the notes C (Sa) and F (Ma) stand in the song. The Hindus regard, in this song, C and not F as the key-note, though the latter is clearly the real tonic, and there is apparently no difference in the tonality of this and the

The

syllables

**,

The melody " Smarana Sukam," in which they allow the tonic to be F. other two melodies, also from Travancore, are compositions of KolashekaraMaharajahSARA5A SaMAMUKHA. "Moilftlttu.I'.iUevi.

Kamachi. fRSu'a Kama (Tala Adi.

^--^^iEijEga^;i:3^:

THE MUSIC OF SOUTHERN INDIA.Anupallevi.

73

p^SJ-JJ^^

m

i^ n,i\

r-

r;

i

J

J'^G^

Stanzas.

pr

f.

^

'''^^\^^=^^^nu ;'J^

^aJJ

^rp^2nPallevi.

r>/JU^^^I

jJlJ.l^tz^

i:i

\

P-^-^rf\f r J

r.jviir

r.r

^Sl f.-^^^RagaBilahari.

i

pztUj:; N ^ -*i-^-^^ ^i^i

^

Melopy from Travanxore.

mi

Anupallevi.

tefe*

^

e

f

g-

i^j^=^

Stanzas.

^r g -

i

fefe

^

m

^fe^

^'^i^

^

mRaga Mohanna.i

Melody from Travanxore.Pallevi.

Anupallevi.

hShH^^^SmiMir^l rjStanzas.

1

r

rrlrrr -j^ LI

Q

[,ri

Cfe^

rtf^r r ii=i=i^

rI

^Gfrg

^ ^^j

^'

feSmarana Sukam vo Ramanam.'

^^^;^^Raga Garudadvani. ITala Eka.

Modi'ynto.

^SPallevi.,

^^^=3:

^

^5=1^^^J

^

^^-gj^

3:^|:^-.l

Jl/^^^^

ffi

74Anupallevi

THE MUSIC OF SOUTJHERX INDIA.

^music, andeither

^is

.^:^-

"^

-r-r5iit

^ ^is;

itfc

^mThe twofirst

An exampleconsist of nine

of an irregular

melody

shown below.

periods

and seven bars respectively. This frequently occurs in Indian probably produced simply by rests having in course of time beenor by a baris is

lengthened or disregarded;

imitated,

repeated, or over-

lapping

so that a symmetrical periodof bars.

transformed into one of an unevenoriginal,

numberThat

Thefully

effect

produced

this

has been

recognised by musicians in

and often very pleasing. Europe is well known, and

many examples might be quoted from

the works of classical composers to prove

that this has been largely appreciated as an important element of variety

Andante.Pallevi

Nanna Gan.na Talli.

Raga Manohari. Tala Eka.

f^T^rrj^^Anupallevi.

^^r

?=^^^

$Stanza.J?

sf\

I

fs-

*

*

^

,

w^=,

^^-

^^^zj\bothin

^mit

^ ^

:

r

\

'Ja

^

^* ^^

The two melodies gaula. The intervalswhenallis

following areof the

the scale called

scale are so peculiarit

jMavamalavaand so manv harmonical

combinations can be formed from them that

well deserves attention, especiallv

remembered that

this is a scale largely

used by the Hindus, and thatof.

elementary exercises taught to pupils are invariably upon this scale, insteadis

as would be supposed, the diatonic major, whichnatural.

by us commonly regarded as

THE MUSIC OF SOUTHERN IXDIA.;

75

are

These melodies are again irregular in construction the ragas in which they composed, though much alike, differ, in that the third is not admitted as aascending mode of the second example.in the

real note in the

A

characteristic of the

raga Purviof thefirst

is

shown air

" glisse " from

D

to

G

in the sixth

and seventh bars

'

Trii.oka mata.

Pa'levi.

iE1=

.^. ^ ;hi ^ .^. hI

SC=s:

^^

Anupallevi.

i

i^=1=Sian/a

^

^^

m^ r* ^

ZMUK.

F mI

*I

'i

^

=S^

rj ^ ^^^i^l'^g-

^=^=

'

Nagadhera.

(Raga NadirAmakrya.I

Taia Rupacca.

zt=a:

:^tt=6

f

=P=5:

^

*==*=

-*

g^^-i^^^^Lj \^\^'^^^=^I

1 11= -

-

. fr ltcj-

^

i"^

*:^ iSp^^C

:Ie

Sr-

i&

~^=r^Cju^ i

5=*=

~-:X=-

^^sg;i^^a^rt^ p-rn^-g(without words.)

rx^^xir-fjrr^m

:'T

r

f^^^^^^^^^^^s^

poco accel.

$

3:

U^^ fJ-U^^i1

sfStanzas adlib.i.

^

^^

*-i?-

^

f4^^^?

^^^^^^fe^g^^^ilg^g#^^

Pallevi (at end of each stanza).

ff^T-&1f^^g agggF#^F^^^=gE^r=Fr^fe^^^^

P

i

Q=c=ra:

^-^1-

feg^-

^

g^F=f=g=

&^

EfeSEE3E ^. ^^ " ^^^^Eg fU^^N^a^ ^=SE #Xp^^-g UJ L^= ^^ ^^^^^^1.J

^

:^=^

^

^

S'anka-vernams are somewhat similar to vernams, only that the tempo is less rapid. They are usually very elaborate in style, and abound with graces of allare commonly sung at Nautches and are intended to give full scope " bhavas " the gestures and sentiments conveyed by the dancer as she to conveykinds.

Theyand

sways

to

fro to the

music.

Javadis are songs of a light and pleasing nature, such as love songs, cradle

THE MUSIC OF SOUTHERN INDIA.songs/ &c.

79all,

They

are

of the higher classes

much sung by both Nautch They are in domestic life.

girls

and

especially

women,ballads

of two

kinds ordinary

and songs of a more or less indelicate nature, sung during the performance of a peculiar dance called Karwar. Javadis consist usually of a pallevi, anupallevi, andstanzas, sung in the usual

and are chiefly in popular The tempo is in accordance with the words, and not too slow, the ragas. Consequently, many of these songs bear a favourite measure being Rupacca.

manner

as described before,

resemblance to a waltz, only that they are taken

at a slightly;

slower pace.

The words of javadis are often very beautiful and Krishna and Radha are always popular. Musicians asmorein theiris

those upon the loves ofa rule sing these songs

stanza

naked form, and with sung to the same air.

less grace

than

is

their usual custom.

Each

These songs are of comparatively recent introduction, being first sung by the Kanarese musicians of the Court of Surapuri, a petty state near the celebrated Humpe ruins. The popularity of songs of this kind increased rapidly, and they are now to be heard throughout almost the whole of Southern India, where theytake the place of the

Tappa

of Hindustan.is

Among

the following examples the air " Anthalona Telavari"tala fallsit

perhaps the

upon the first and accompanied by this is much noticed when second beat of each bar instruments, such as the small tinkling cymbals and drums, which mark the time strongly. This song seems to be known throughout Southern India themost popular the accompanying rhythm of the;

is

;

version varies slightly in different places, but, on the whole, the air

is

much

the

same everywhere.

The

air " S'ri

Saratha "

is

very popular both in Mysore and Tanjoreis

the

modulation into the relative minorpentatonic scaleAndante.Pallevi.'

noticeable

as

it

shows traces

of

a

YlVANA PIRDIDU."

fI

Raga Biag.Tala Adi.

^

s==Stanzas.

=*

*

^

^I I

p ^E^

gsrKayalaga

f f

SI *IW=W=W^^^^^s^RagaJanjuti.

''^'ir

.tiu

^

dAvana.''

Tala Rupacca.

'

Simple cradle songs, called " Palna," are very common, and answer to the lullaby songs of Europe,

8o

THE MUSIC OF SOUTHERN" AnTIIALONA TKLAVARl."Pallevi.

INDIA.(Raga S'ank4rabharna.jTala Rupacca.

m

hi^^ "XZE ^^'Tr-^

^^m3==f^

^E#

Anupallevi.

m^p-^^

-P-

f^^-

::?=*=

Stanzas.

^m W

^TV"^ -t^

l=i:

ggsfe|^g^^^fe^^^g^:

s

rail.

n tempo.3-TN

^p^*^n

v

~j>~^~

af

" Jenaka

Vaneanatha."

Raga

Janjuti.

(Tala Rupacca.

^is=sg3

P

*

Q

|-:f=4:

-F-t-

ii:

|fe^^-#1-*

:=t

^J^F-F^1

S^ niQ e Iarm-

m-

*,,--* Pi3^

?=-=p=r-&

^

tt.^fc

^o

'

>i^

g

pg^^^S^j^^M^j^^P^'

*'

n(Raga Kapi.(Tala Eka.time.

SeKI YENAKA THAKft."1st time.

Pallevi.

Anupallevi.

m^, *

\\

2nd

1 J J

T*^-*c

^~z^-^

t=f--=[-

^

i^^^m^^m-

L.

i^-

SiJ

^

p-

I>f>

^

^=i=^-li'

Ez

iJzzzfirrCzizifcStanzas.

^

*

atlit

o

-

-:sr-*-

^-T^ Ti

^

^=

4-

^pi4-^1=Fine.

2S^f,

Se^

^ ti

ll

^

=*=^

g^ig=B3=5

-d

^

4-

THE MUSIC OF SOUTHERN INDIA.'

8i

S'ri

Saratha."

Ra^a Kamachi. Tala Rupacca.

f\\

r

^'t

u-

* m

^'^^

-iS^

S2

**-

mS^

i^

Lji.

^^

=i=^

ggss

^i^ac

= :J^^

Very similar to javadis are songs called Pathams they are exclusively songs, and are sung largely both in the native drama and by Nautch girls. music is very much varied, and the performers frequently leave the air improvise cadences and embellishments, rejoining the melody at will.;

love

Theand

The

tempo

is

slower than that of javadis, and;

is

varied according to the expressionis

the singer wishes to put into the words

the tala

generally irregular, a mixed

time of

and C is the commonest. The most popular composer of pathams was Kshattrya, whose songs areI

and contain some of the most beautiful and poetical sentiments that can be found but, like all Oriental love poetry, they employ imagery toolargely sung,;

luxuriant for exact translation'

Valla tella vara."1st time.

jRaga S'ankarabharna.2ndtime.

Moderato.

^-P-u

\r~i a" *It

:mf)

^'\

3C=S3t

g

' r *

^>

jTSla Druva.

^^S ^^

r' ' r .

f^^f'^

.'

82

THE MUSIC OF SOUTHERN

INDIA.

tsj

-.=-

^^shown.peculiarity

^^r=M:

T '^ U U

!

i

U-

iit

^^

-PI

P#^ LI

pL^

,

\

p

>I

'l>

-sii

1^

/

^"^

^Cis:

:C5f

ig ^-^^.^^

In the above melody the characteristics of the raga S'ankfirabharna are well

The;

glide to the upper

never omittedat the

in

thisit

raga.

Anotherfret,

of this air should be noticed

sign \

will

be seen thatso a trembling

B

is

tied

the string

is

hvice

slightly

deflected

and shaken upon the

as to sharpen the note to a degree less than a semitone, witheffect.

Mysore country. The pace is moderately is sung in a soft, dreamy manner, that, coupled with the gestures of the singer and the tinkling of the accompanyingis

This song

very well

known

in the

quick but not hurried, and the melody

cymbals,

is is

peculiarly fascinating, especially

when heard

for the first time.

Here

another example of these songs(

Raga Mukari.Taia Triputa.

Andante.

^231

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1

Religious hymns, called Yallapathams and Tathvams, are largely sung bv

They

are very lugubrious and monotonous, and are invariably

the raga

Yedukula-Kambogi

The former

are

funeral

dirges,

the

latter

THE MUSIC OF SOUTHERN INDIA.allegorical chants

83

sung at religious gatherings. Yallapatham shows the nature of these songsAntlante.

The

following example of a

(Raga Yedukula-Kambcgi.{I Tala Adi.

The

ordinary

folk-songs of the

country are called Lavanis, and

will;

bethe

familiar to everyone

who has heard;

the coolies sing as they do their work;

womenare

nursing their children

the bullock drivers; dhooly bearers

or sepoys on

the march.

The

airs are usually veryin

monotonous.praiseofin

a sort of historv or ballad

The words, if not impromptu, some warrior or " burra Sahib."

Some haveThereis

a kind of chorus, each

man

turn singing an improvised verse.

no employment of raga.

At the time of thelavaniespartiescalled

Kamaare

festival in

Saval

sung.

honour of the Indian god of love, special The words of these are sung by two

one

called Turaihis mistress

and the other Kalki

intended

to represent the

god

Questions of a metaphorical nature are sung by one party and answered by the other. These were formerly sung extempore,

Krishna and

Radha.

but their performance

is

now

usually rehearsed beforehand.

This species ofof Kabi.

entertainment

is

The two following are examples of popular lavanies Allfgro vioderato,n

also practised in Northern India under the

name

No.

I.

1

~r * 0^

:^:i^

=^

^^No.

2.

^E? BE^-fs

^at

^^^ ^VI

IT-^tf^

tr

I^T^'""^is

Aheard.ragas.is

composition called Raga-malika, or " garland of ragas,"

occasionally

As

A

song that modulates into many different raga-malika consists of a pallevi or refrain, and stanzas. The pallevithe

nameat

implies,

it

is

a

employed only

the beginning and

the conclusion.

The stanzas

are

84

THE MUSIC OF SOUTHERN INDIA.

Each stanza employs a different raga, the name must be mentioned in the words, in order that the audience be able of which The tala remains the same to follow and appreciate the performer's skill.usually uneven in number.

throughout.

Somewhat

similar to the above

is

a Pallevi.

This word

signifies literally

"a creeping plant," and hence the name is given to a kind of fantasia upon some theme worked out in accordance with certain rules, and containing a large amount of grace and imitation. As this kind of composition is extremely popular it well merits some attention. A stanza or sentence of some poetical nature is sung to any air that the performer may improvise, and in anv raga and tala. This opening melodv is taken as the theme of the pallevi, and is varied, imitated, and answered subsequently according to the skill and inclination of the performer. Occasionally of counter theme is introduced, and a skilful musician will keep the a kind two parts distinct. If this is done the counter theme is, as a rule, introduced upon a fourth or sixth lower. But it is not intended to imply that there is any employment of counterpoint as understood in Europe for though in certain cases these two parts may be actually going at the same time, yet the native musician is guided by no contrapuntal laws, but by his ear, and the rules of rdga,;

entirely.

Much

greater license

is

given as to raga in a pallevi than in any

other composition.

There are usually three movementsallegro or scherzo.

viz.,

an adagio, a moderato, and an

Theavatar,pallevi

first

or tala that

movement commences with the subject being given out in any raga may be called for. The space of time occupied by this is termed an

and constitutes the chief rhythmical division or period into which the is divided. Each succeeding avatar, though consisting of several

short phrases, either linked together or separated by rests,

must be

of equal

length to the original.

and

if

the voice

is

Each avatar differs essentially from those preceding, employed, commences invariably with the first syllable or wordfollows withor without

of the original theme.

The second movement

a short pause between.

The measure remains the same, but the duration The third, or concluding movement, follows the tempo is much increased. In this it is usualspecial characteristics of each shall bein the original raga.

of the;

movement

is less.

the only difference being thatfor the

performer to modulatehowever, ended

into different ragas (called for at the time by the audience), taking care that the

madeis

clear; each avatar

is,

This movement

brought to a close by a repetition of the

THE MUSIC OF SOUTHERN INDIA.original

85in the

theme

in the original tempo, after

which a few bars

same raga

are

given ad libitum by

way

of a Finale.

In the performance of a pallevi no harsh or discordant instruments are

For marking a rhythmical accompaniment the hands are employed, Occasionally another performer hums or sometimes a Mridang or Gatha. softly a kind of accompaniment to syllables (ta, di, ti, ka, &c., as if sol-fahing)employed.intended to represent the beats of a drum;

this is called

konnagolu, or talavinyasa.at

Songs of salutation orof orall

hail,

called

Mangala, are sung

the conclusion

performances.

Melodies of this kind are usuallyfollowingis

in either the

ragas Surati

Saurelshtra.

The

one of the mostis

common Mangalas.

The

chief peculiarity in songs of this kind

evident here

the beats of the tala falling

upon

tied notes at the

commencement

of a barRaga Saurashtra.Tala Adi.

Paramana Suttu battu padara."

I

A dngio.

:S=^ ::?;Hindustani musicdescribed, and whichlatter,is

---

^^^some respectsKarnatik.

>

mof

i^

iis5

l^^Tl

in

differsIt

from

the

system previouslycopied from the;

called

has been

much

butof

its

professors are not often

men

much

education

and thoughis

manyis,

them

are skilled executants, their knowledge of the theory of their art

as a general rule, but small.

In Hindustani music more attention

paid toitself.

the minute distinction between the various ragas than to the actual melody

To

melodic form the same importance

is

not attached.but

The nomenclature

of

Hindustani and

Karnatik ragas

differs,

musicians everywhere quote the

Sangita Ratnakera as their principal authority.prevalent in the North and South of Indiathe former that of

They

also say that, apart from

Arabian and Persian innovations, the difference between the S3'stems of musicis

accounted for

b}-

the fact that inis

Hanumanmusic

is

preferred, while the Southern music

a relic of

the earliest system of Narada. In

Hindustaniis

the

elaborate;

arrangement of scalesnames,in

previously

describedarein

not used, but merel_y twelveuse,

all

of which, however, are found,

and

commonor

though under

differentin

the Karnatik system.

The

talas,

measures, employed

Hindustani music are similar to those

previously

describedin place

melodies,

of

upon page what has

36.

As regards the formstyled" pallevi,"

of

HindustaniY

been

" anupallevi," and

86

THE MUSIC OF SOUTHERN INDIA.or

" charanam,"

stanzas,

all

their

songs

consist

of

distinct

parts.

pallevi is styled asthayi

the

anupallevi antara

and

the

charanam ahhog.

The As the

differences

between the two systems consist mainly of technical points, whichslight interest to the reader, the following observations will, perhaps,

would be ofbe suflicient.

The Dhrupad perhapsIt

the most admired of

all

Hindustani songs

is

a

heroic song, with a slow and dignified style, and sung almost exclusively bv men.i.e., asthayi, antara, and abhog. Great scope is given upon the actual theme, and the time cadence is very complex. Other songs are called Tilanas and Sarigams (or svaragramas), and are in particular talas they contain onlv two parts. Ghuzals songs of the same nature as Kshattrya's pathams of the Karnatik are very popular; they consist of only asthayi and antara. Of a similar form to ghuzals are Tappa, resembling the Karnatik javadis, and consisting of two parts. There are also Thungri, Dadra, Hari; Gurbah, sung at the Dassera festival; and Palna, or cradle songs. Songs called Khyals, somewhat like the Karnatik kruthis, which display a great deal of grace, and have a slow time cadence, were introduced by Sultan Shirki of Jounpur; they consist of two Many Hindustani lavanis are very pretty, though most parts only.

consists of three parts

to

variations

;

melancholy.

The tuning

of instruments

used by Hindustani musiciansin

differs

from thatis

employed by Karnatik professors,admitted upon the open stringsis;

that the interval of the fourth

always

the modulation therefore of these instrumentsitself is less

less confined

;

hence frequently, though the melodysongs are preferred toin the

pleasing,

accompaniments to Hindustani

the

ordinary

Karnatik

accompaniments, and music playedthus

Karnatik style upon instruments tuned

much liked. Karnatik. They haveis

Hindustani musicians practise singing more thanbetter voices,

doidea

Karnatik

singers,is

as

has

been

and take more pains said before, appear

to to

cultivate them.

have

an

that practice

hurtful to their voices,is

and from attempting

to sing

when

too;

young, before the voice

formed, they are apt to ruin their singing entirely;

while Hindustani singers practise much, and sing in a more manly style

hence

Hindustani musicgiving

is

much admireditself,

in

Southern India, chiefly as a varietyit

the

softness of the languageit

and the ease with which

lends itself to singing,

an additional charm.

A

careful study of the

Hindustani melodies

given below will amply repay the time given up, and their great beauty andinherent passion can hardlyfail to

enchant one.

The

following examples, gathered principally from the Deccan, Guzerat, and

THE MUSIC OF SOUTHERN IXD! A.Rajasthan, display some of the chief characteristics of these melodies.

87

namesinto

of their respective ragas have, in

some

cases, been omitted, the

The names ofinterest.in

Hindustani

ragas being different fromragas.

Karnatik.are

Several

of

them modulateis

different

Such

technicalities

not

of nuich

general

Examples, however, may be found below.Guzerat, andItis

The ghuzal given

popular

sung quickly, but with great expression and varying tempo.inall

should be remembered that,

cases in performance, the airs are

much

varied by grace, and rarely are sung in their naked form.

All singers, both

Hindustani and Karnatik, make great use of aGhuzal.Allegretto.i >

slide akin to the portamento.

.

.

.

^^=^

S^7^^r-\

M

is

^

Efed.*-

^M^

-^

^mRaga S'ankara.

=5;=

In

Andantf

niosso

Lavani.

Andante4j

#

z^

M

d-

TT =aL

^^r ^^

^-i4J^

i

^

^^Tr *-

qaot

^

^ ^a^^i^gzf.

^^.^^^E^^^

88

THE MUSIC OF SOUTHERN INDIA.Thungri.

*jj

^

A ndanle.-tofc^^"

^1^~

pFF^s^gi

-

f-

^P^^^fF^g

* y

I

fO

gg a

Ifl

/oco accct

a tempo.

Khyal.

Raga Kedara.

^

S^*

4==?:

^

S^' -Tt-

^^H-X^^;i^

:p=r

).C.

iAndanteniosso.

^Patham.

a

fiij

J'j?.j

i

j7:i.^-g^3jgJj

^

s cz

EIj-JJIbB^Fine.

^^m

J.71

J^LJ^J^

^R4gasPilu

Thungri.CoHcspress

and Dcsh.

f^-

n ;;-j-uJr=r^rrT221=P5F

:^=d J

l=t^

-at-*-

m ^atirf:>l^tib

A

\-

r=^

^

J^

^"J

41.

J

I

'J-^

THE MUSIC OF SOUTHERN INDIA.

89

i i

f

T=r 'i

;

i

f

J r?=^I

mE ^=t^

=*=:

r^

^mTirm-

=^^P^S- r->I

a^

P

-1

* ^

=

^ ^

^Khyal.

atzit

^ ^mRiga Kalian.

Cos

esprcss.

^iJJ

I

j'i. U.J.J

^s? *-=

r-

J

j'l

J

;'b7^

* s

:=

t ^ fazjzrh-^^^M3J-^--M=5

^

g''

*

F

g^JN1

nr^-

rnrij ;jr7^4^L^N /fi"^Dadra.

Ragas Kafi and Desh.?s

^.

CoH

espress.

m^' 0S m*I

rn->r

'r

u-u'

l

-^^^l^---M^t"r1

^'^

;

i

iiJ^^.^^J / j.ji

#f r

f.

r

,r

I

r

u

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r^f^f^n^TTTr

WmRaga Gauri

Lavani.Allegretto.

l^lf^ ^^l^g^^^tJ^a^f^^rt^

^

***

^

ii

>-^^-j

:^;|

-

^ijN^j|^/j :^ d

morcndo.

go

THE MUSIC OF SOUTHERN IXDIA.GURBAH.RSgaK&fi.

^pgp ^ ^^^^^m ^Andante.

J^^j^-J

J

J

J.

J-

I

I

at

^^

I

J bJ *

1^ ri

fet2=st

=3^^=l=*

*^iJbJ ^*

s

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EE ^H^7^^J???

l

J

rj'

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f

^mpTp^-^^NN

i ^^ft

Modcrato.

^^

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3=:S==*=;i=5

GuRBAH.Andante.

^a=

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I

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J^T

^^T^i^-N^

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^->a^d-

^^Modcralo.

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Thunori.

5^EB,

U^^:

U

r

ir-r^

:J=cJ=fe

y^^^ ^UP-l

^sr^n Mtf e^^r

rr

THE MUSIC OF SOUTHERN INDIA.Scales usedKalingra(151.

91

in

Hindustani music and styledBhairavi(S).

"

Thats.

UTodi(45).

5sJTirr

3^

~rj-

-I=[:

^^=f

^f=^^^

^^

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3

i^^

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J

?Q

1=

^^^-Q-

Sinda-Bhairavi \2o).

zj:

JZS2Z

o

^-

J2Z

^'^- BEd

Bilaval (291.

Janjuti ^28l.

I

-o-

-c*

s*-

SDinkapuria(51)

^

Kafi (22),

i ^^^Shamakalian(53).

-rj

o-

,^^^^^^=[

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J

^(65).

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