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yzTjTZ : ^ ; 204 TALA syllables and only secondarily weighed them also, the number of syllables in a unity of any sort came to have a greater importance than we should naturally have attached to it. Hence, when only three syllables were taken together (leaving aside kj \j kj and which we have already disposed of), the trisyllabic forms — «^ v^ and ^, for instance (of four and five mdtrds), seemed to be more nearly related to each other than the trisyllabic — v^ ^ and disyllabic (each of four mdtrds). Similarly, it being possible to proceed from — \j \j (four mdtrds) to ^ (five mdtrds) or to — «-- (three mdtrds), the former step which kept the number of syllables seemed more natural than the latter which changed it. This may give a hint as to the hitherto unexplained delight of the Greeks in five rhythm but it would be going too far to assert that it is the origin of five rhythm in general ; for this appears quite independently in places as remote, in more than a geographical sense, as Finland and the Malay Archipelago, and others. Reckoning hy matra, that is, by the time unit and its multiples, or the principle of ' equivalence \ launches us into the domain of III. Musical Time. The simplest unity after the solitary beat [dclitdlak) is, as we saw, dvitiyah (y \j —, \j — ^^ — \j ^). This gives us the three ordinary distributions of the longs and shorts (crotchets and quavers) within the four-unit foot (beat), a certain number of which, generally four, make up the bar [dvard) or section of common time. The name Adi is used for common time (transferred from the solitary beat). Further development within the beat takes place by resolving any long or short into any one of these feet. Thus J J J and similarly with and ^ J / j=n.^^ ^"^ J JT2 J=SZ J J J J J J So that such a combination of notes as II J r: I 1 J >5 ^^ j I J ^
TALA 205 the look of which frightens us and the sound of which does not particularly appeal to us, appears to an Indian as quite an ordinary distribution of his accepted metrical units in an dvard ^ of Adi tdla. In fact, the main difficulty of realizing and enjoying the nice distinctions of Indian rhythm is that we have not acquired the habit of resolving mentally every unit into any distribution of its constituent elements so that we could sing them at a moment^s notice or that they would instantly appeal to us when we heard them sung. Here are some instances of Adi : Tala Adi. Eag Jhinjoti. Kx. 308J ^.Jj/. .5|fefta73 - | ^^ | _^ Jl?^gj|î|ri^:^ Ma - ri - ya da ga du-ra ^^ p c cr^*^^ i^^-£U-vj^TH43gp^^ Ma - ri - ja da ga - du-ra :&c. Ma - ri - ya da ga 1 This word is translated by ' bar ' or ' section ' as the context seems to require : its literal meaning is 'enclosure'. The smaller unit, or bar or half-bar, is a vibhdg (lit. division). Sanskrit, dvarta and vibhdga.
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K -rryr'rnM-t
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THE MUSIC OF HINDOSTAN
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'^m \t \
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2599;. 1 ^')o>J: uÂoAUli:^, 7 /
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vi PREFACE appear also in the Index
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TABLE OF CONTENTS INTRODUCTION The
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X TABLE OF CONTENTS CHAPTER X THE S
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; 2 INTRODUCTION were under sentenc
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4 INTRODUCTION it, had been in the
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6 INTRODUCTION converse is never tr
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; 8 INTRODUCTION preserve names and
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10 INTRODUCTION a skin may be stret
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13 INTRODUCTION form a dim cluster
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; 14 INTRODUCTION our short and for
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' INTRODUCTION 15 days, must be sou
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CHAPTER I A MUSICAL DIARY The follo
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A MUSICAL DIARY 19 whom we actually
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A MUSICAL DIARY 21 and wheiij after
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: : : : A MUSICAL DIARY 23 d = 60.
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: A MUSICAL DIARY 25 ^^=^S-^^ Choru
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; A MUSICAL DIARY 27 Most of the ph
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A MUSICAL DIARY 29 dancing, with Ra
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PLATE 2 o p. 30
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1 : 33 A MUSICAL DIARY of course to
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Dr:-. KA.Û3^- j. : • f : : 34 A
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: 36 A MUSICAL DIARY They are quite
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: LJ—-U-^ 38 A MUSICAL DIARY Ex,
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J 40 A MUSICAL DIARY Solo. Ex. 72.
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42 A MUSICAL DIARY 1st version, ins
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44 A MUSICAL DIARY Padi. Puranlva.
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46 A MUSICAL DIARY India shaJmai),
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^ r A MUSICAL DIARY 47 Tonic E|7. -
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: A MUSICAL DIARY 49 11. A mixture
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! — A MUSICAL DIARY 51 'Still, I'
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Ex.(»^: ,n ,n-- IJJ \JJ A MUSICAL
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; ! A MUSICAL DIARY 55 ^might ^^ ^'
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-r ' A MUSICAL DIARY 57 To such tun
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A MUSICAL DIARY 59r B.C. CODA.
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14)9,m^^jj-ji^-'jj Ex. i A MUSICAL
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PLATE 4 ^ Rri2ri-srrinclin,ac. vliP
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; 64 A MUSICAL DIARY Rararo. J =90.
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66 A MUSICAL DIARY Adagio. J = 80.
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68 A MUSICAL DIARY ^scent of the pa
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T — 70 A MUSICAL DIARY The Gurkha
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: 72 A MUSICAL DIARY Imitation at d
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— CHAPTER III LEGEND, HISTORY, AN
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LEGEND, HISTORY, AND THE PRESENT DA
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PLATE 6 n t-i •^ p: =4-1 o
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: 78 LEGEND, HISTORY, AND THE PRESE
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: LEGEND, HISTORY, AND THE PRESENT
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PLATE 8 Dancing girl, South India.
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82 LEGEND, HISTORY, AND THE PRESENT
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LEGEND, HISTORY, AND THE PRESENT DA
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; LEGEND, HISTORY, AND THE PRESENT
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PLATE 10 Seshanna, vlnu-player, Mys
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l j . 96 LEGEND, HISTORY, AND THE P
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' 98 LEGEND, HISTORY, AND THE PRESE
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; ; CHAPTER IV THE SCALE You can wo
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102 THE SCALE Mute scales. Approxim
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104 THE SCALE Also, in no case (unt
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— 106 THE SCALE The Rdgamhodha of
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—; 108 THE SCALE rarely used the
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no THE SCALE 2-24 respectively.^ Th
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112 THE SCALE s The A of the Sa-grd
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;, 114 THE SCALE We will now digres
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: > 116 THE SCALE in ratios^ their
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: ''^ 118 THE SCALE It may be notic
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THE SCALE 121 therefore, for two of
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: THE SCALE 123 (Incidentally, the
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THE SCALE 125 but only by calculati
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THE SCALE 127 But the D and A scale
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: : THE SCALE 129 In these instance
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! : THE SCALE 131 Ex. 204. ,1',',.
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— THE SCALE 133 X 3 = 42 cents).
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MODE 135 Ffl's the exception, we sh
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: : as merely weird and fanciful. M
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: MODE 139 Bilaskhanl Todi. 218.^ -
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—; ' MODE 141 mention of it, and
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: : —; MODE 143 which would still
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MODE 143 because, if we emphasize t
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MODE 147 stantive to passing chord
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MODE 149 now, conscious of absolute
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HINDOSTANl RAGS GujarSl- GujCkraJ-
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; 152 RAGA the mordents show where
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154 RAGA So that there is a real mu
Page 195 and 196: RAGA 155 his mythology round them.
Page 197 and 198: RAGA 157 defined limits of the Rag
Page 199 and 200: : : RAGA 159 while the descent from
Page 201 and 202: : D.C.al . —; RAGA 161 Tu-mi ja -
Page 203 and 204: — ; RAGA 163 of rjf G Ab—a note
Page 205 and 206: . ' RAGA 165 the first is a Svardva
Page 207 and 208: RAGA 167 P Ki am - ri - ta tu - mi
Page 209 and 210: — ; ; EAGA 169 and goodwill some
Page 211 and 212: ; RAGA 171 seiousness. Any one can
Page 213 and 214: : : : RAGA 173 But they avoid putti
Page 215 and 216: ; RAGA 175 note of the scale may be
Page 217 and 218: ^^rti:i^'lS^0î=^=^^^^ RAGA 177 ba
Page 219 and 220: : pure and simple is at a similar d
Page 221 and 222: : Bot. of it : CHAPTEE VII GRACE Th
Page 223 and 224: from its position ; GRACE 183 indee
Page 225 and 226: GRACE 185 and is probably intended
Page 227 and 228: : GRACE 187 and then singing or whi
Page 229 and 230: GRACE 189 ^ F?^ '—-'— i^^^^^^ =
Page 231 and 232: : : CHAPTER VIII TALA Language, Ver
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Page 235 and 236: is mandala atque TALA 195 dra lia,
Page 237 and 238: : TALA 197 There are many dozens of
Page 239 and 240: J TALA 199 1&2. ton . . Ji - vhe -
Page 241 and 242: : TALA 201 The Ttatndkara gives 120
Page 243: — TALA 203 If the explanation of
Page 247 and 248: : TALA 2or 2nd half. ra - ra va - d
Page 249 and 250: singer and drummer from time to tim
Page 251 and 252: TALA 211 Rank B. 10 20 30 40 50 60
Page 253 and 254: ) JRupaka is in idea Saraband rhyth
Page 255 and 256: TALA 215 t7lrf^J]j:\}ST7} J -IJTTT
Page 257 and 258: J J : J TALA 217 3 + 2+2 3 + 2 + 2]
Page 259 and 260: : TALA 219 two equal sections are m
Page 261 and 262: : TALA 221 Adagio. the phrases are
Page 263 and 264: : : TALA 223 genuine instance we ha
Page 266 and 267: PLATE 11 ' Tin The '. second finger
Page 268: 226 DRUMMING little In Hindu music
Page 271 and 272: DRUMMING 227 mrddnga the driving in
Page 273: PLATE 13 pq p. be ^ -2 :3 ^ fQ P. 2
Page 276 and 277: 230 DRUMMING Nor is much help to be
Page 278 and 279: J : ^ 232 DRUMMING which is very co
Page 280 and 281: 234 DRUMMING jz jz n r: n r^j^ j^sz
Page 282 and 283: U I J""?S 236 DRUMMING next one^ ho
Page 284 and 285: : ; 238 DRUMMING The two oboes, alw
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Page 288 and 289: 6 : : 242 DRUMMING Similarly one Td
Page 290 and 291: ' : I I I I I 1 II 1 I ?44 DRUMMING
Page 292 and 293: ;' CHAPTER X THE SAMAN CHANT It is
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: ; 248 I^HE SAMAN CHANT appog-giat
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250 THE SAMAN CHANT ceremonial was
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— 252 THE SAMAN CHANT (mMd). The
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— ^ — 254 THE SAMAN CHANT — (
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: 256 THE SAMAN CHANT The system of
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258 ^ CQ M •* lo to i> 00 o> o CO
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— 260 THE SAMAN CHANT melody ; wh
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^ 262 THE SAMAN CHANT those of the
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: : ^64 THE SAMAN CHANT invention),
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lines 24 and 25 combine these, THE
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268 THE SAMAN CHANT
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: : 1 270 THE SAMAN CHANT aceei. a
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: : murdhanam divo aratim prthivya
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274 THE SAMAN CHANT half a dozen st
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— 276 THE SAMAN CHANT atihdra (ex
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I ' i 'I : —: : 278 THE SAMAN CHA
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— ; CHAPTEH XI FORM That principl
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MP 282 FORM This is the form in Sou
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284 FORM /^b ^ !— 5 —\—H^
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; 286 FORM to rest principally on t
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288 FORM Ka-ba ho . . ka-pi A . . A
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290 FORM -^ -^ -*-• ka - pi
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^ 1^1 : 292 FORM j y , u I _ ^ , ;
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294 FORM
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296 FORM gho a • wen-ge Ka-bahoka
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' ^ ' \ ' i ' 298 FORM 3 3 _ » ^^S
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: 300 FORM pantomime or dancing. Th
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302 FORM Ex. 384. Hamirkalian. Rupa
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391. :^K"t' Ast. Kedara. Dhamar. |
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306 FORM Kafi. Dh.imar. Dorian. Thr
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308 FORM Ant. $ P==^ i^^ ^.^^^-r.-U
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-g^f> 310 FORM ^>Ar- r-rf^f=^^=crrT
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313 FORM Ex. Bhairavi. i> ,bb Rupak
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314 FORM Multanl. Jhamra. Shrlrag.
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J 316 FORM Lalat. Rupak. Mamva. Rup
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318 FORM Kalian.
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-> : CHAPTER XII MELODY He will put
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: 322 MELODY for every time and pla
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324 MELODY between is transilient,
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: ;' 326 MELODY To continue Schuber
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328 MELODY "We feel also that Beeth
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—; 330 MELODY their goods in the
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333 MELODY because of the frequency
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: : 334 MELODY part of the scale, t
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— 336 MELODY In the Andante of Br
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: : — 338 MELODY and the scansion
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—; 340 MELODY other a vivid insig
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: 342 MELODY When all composition i
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— 344 APPENDIX I Again, is there
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BIBLIOGRAPHY OF WORKS IN EUROPEAN L
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348 BIBLIOGRAPHY (Panjabi), the boo
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: 350 BIBLIOGRAPHY 34. Hermann Jaco
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352 BIBLIOGRAPHY Musicians and Styl
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354 GLOSSARY AND INDEX augmentation
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356 GLOSSARY AND IXD1^,X European r
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: 358 GLOSSARY AND INDEX Localities
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) 360 GLOSSARY AND INDEX Rd(j Bilas
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362 GLOSSARY AND INDEX .•^tohhu,
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364 GLOSSARY AND INDEX vadT, unison
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SBâiMibkiiuawaMiaaMaa ill
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