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288 FORM Ka-ba ho . . ka-pi A . . A
FORM 289 Ka-ba ho . . ka - pi ^\Z7 ^-^z -J : ^ ^ ^^ Ka-ba ho . . ka - ^^ pi ^^ J. • S- 3 -J ^^ ai- ^ s^—T
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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
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RAGA 155 his mythology round them.
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RAGA 157 defined limits of the Rag
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: : RAGA 159 while the descent from
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: D.C.al . —; RAGA 161 Tu-mi ja -
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— ; RAGA 163 of rjf G Ab—a note
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. ' RAGA 165 the first is a Svardva
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RAGA 167 P Ki am - ri - ta tu - mi
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— ; ; EAGA 169 and goodwill some
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; RAGA 171 seiousness. Any one can
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: : : RAGA 173 But they avoid putti
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; RAGA 175 note of the scale may be
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^^rti:i^'lS^0î=^=^^^^ RAGA 177 ba
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: pure and simple is at a similar d
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: Bot. of it : CHAPTEE VII GRACE Th
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from its position ; GRACE 183 indee
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GRACE 185 and is probably intended
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: GRACE 187 and then singing or whi
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GRACE 189 ^ F?^ '—-'— i^^^^^^ =
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: : CHAPTER VIII TALA Language, Ver
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atodvam : the metre intentionally i
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is mandala atque TALA 195 dra lia,
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: TALA 197 There are many dozens of
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J TALA 199 1&2. ton . . Ji - vhe -
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: TALA 201 The Ttatndkara gives 120
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— TALA 203 If the explanation of
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TALA 205 the look of which frighten
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: TALA 2or 2nd half. ra - ra va - d
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singer and drummer from time to tim
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TALA 211 Rank B. 10 20 30 40 50 60
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) JRupaka is in idea Saraband rhyth
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TALA 215 t7lrf^J]j:\}ST7} J -IJTTT
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J J : J TALA 217 3 + 2+2 3 + 2 + 2]
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: TALA 219 two equal sections are m
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: TALA 221 Adagio. the phrases are
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: : TALA 223 genuine instance we ha
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PLATE 11 ' Tin The '. second finger
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226 DRUMMING little In Hindu music
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DRUMMING 227 mrddnga the driving in
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PLATE 13 pq p. be ^ -2 :3 ^ fQ P. 2
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230 DRUMMING Nor is much help to be
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J : ^ 232 DRUMMING which is very co
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234 DRUMMING jz jz n r: n r^j^ j^sz
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U I J""?S 236 DRUMMING next one^ ho
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: ; 238 DRUMMING The two oboes, alw
Page 286 and 287: 240 DRUMMING Ex.
Page 288 and 289: 6 : : 242 DRUMMING Similarly one Td
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Page 292 and 293: ;' CHAPTER X THE SAMAN CHANT It is
Page 294 and 295: : ; 248 I^HE SAMAN CHANT appog-giat
Page 296 and 297: 250 THE SAMAN CHANT ceremonial was
Page 298 and 299: — 252 THE SAMAN CHANT (mMd). The
Page 300 and 301: — ^ — 254 THE SAMAN CHANT — (
Page 302 and 303: : 256 THE SAMAN CHANT The system of
Page 304 and 305: 258 ^ CQ M •* lo to i> 00 o> o CO
Page 306 and 307: — 260 THE SAMAN CHANT melody ; wh
Page 308 and 309: ^ 262 THE SAMAN CHANT those of the
Page 310 and 311: : : ^64 THE SAMAN CHANT invention),
Page 313 and 314: lines 24 and 25 combine these, THE
Page 316 and 317: 268 THE SAMAN CHANT
Page 318 and 319: : : 1 270 THE SAMAN CHANT aceei. a
Page 320 and 321: : : murdhanam divo aratim prthivya
Page 322 and 323: 274 THE SAMAN CHANT half a dozen st
Page 324 and 325: — 276 THE SAMAN CHANT atihdra (ex
Page 326 and 327: I ' i 'I : —: : 278 THE SAMAN CHA
Page 328 and 329: — ; CHAPTEH XI FORM That principl
Page 330 and 331: MP 282 FORM This is the form in Sou
Page 332 and 333: 284 FORM /^b ^ !— 5 —\—H^
Page 334 and 335: ; 286 FORM to rest principally on t
Page 338 and 339: 290 FORM -^ -^ -*-• ka - pi
Page 340 and 341: ^ 1^1 : 292 FORM j y , u I _ ^ , ;
Page 342 and 343: 294 FORM
Page 344 and 345: 296 FORM gho a • wen-ge Ka-bahoka
Page 346 and 347: ' ^ ' \ ' i ' 298 FORM 3 3 _ » ^^S
Page 348 and 349: : 300 FORM pantomime or dancing. Th
Page 350 and 351: 302 FORM Ex. 384. Hamirkalian. Rupa
Page 352 and 353: 391. :^K"t' Ast. Kedara. Dhamar. |
Page 354 and 355: 306 FORM Kafi. Dh.imar. Dorian. Thr
Page 356 and 357: 308 FORM Ant. $ P==^ i^^ ^.^^^-r.-U
Page 358 and 359: -g^f> 310 FORM ^>Ar- r-rf^f=^^=crrT
Page 360 and 361: 313 FORM Ex. Bhairavi. i> ,bb Rupak
Page 362 and 363: 314 FORM Multanl. Jhamra. Shrlrag.
Page 364 and 365: J 316 FORM Lalat. Rupak. Mamva. Rup
Page 366 and 367: 318 FORM Kalian.
Page 368 and 369: -> : CHAPTER XII MELODY He will put
Page 370 and 371: : 322 MELODY for every time and pla
Page 372 and 373: 324 MELODY between is transilient,
Page 374 and 375: : ;' 326 MELODY To continue Schuber
Page 376 and 377: 328 MELODY "We feel also that Beeth
Page 378 and 379: —; 330 MELODY their goods in the
Page 380 and 381: 333 MELODY because of the frequency
Page 382 and 383: : : 334 MELODY part of the scale, t
Page 384 and 385: — 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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