The music of Hindostan - Ibiblio

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J 40 A MUSICAL DIARY Solo. Ex. 72. Chorus. B3=^B S:it*i Coda (in unison.) When the sails are spread we jjray to Allah and Mahomet. There is an interest attaching to this. In Bourg-ault Ducoudray's 2Ielodies cle Basse-Bretagne on p. 21 is a tune *Le Sabotier'. Ex. 73. Solo. Chorus. Solo. Chorus. It seems possible that^ since French sailors are chiefly Bretons, these boatmen may have heard this tune at the French port of Pondicherry which is not far from Negapatam; if so, their treatment of it is interesting ; they have smoothed out the articulations of its rhythm, and bridged the leaps of the melody. Ex. 74. Ê Lifting by derrick. J I J ^ ^^ Ex. (r,): ,t,.j"^r"£F^ 75. Carrying passengers through the surf. Ex. 76. ^"^^-tLF^^ ^ "^ ^ ' - =^=f3^^=^f^^^^
A MUSICAL DIARY 41 Unloading cargo. The superfluous fiftli bar in No. 76 which dislocates the rhythm was really there. Ex. 77.
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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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Page 12 and 13: vi PREFACE appear also in the Index
Page 14 and 15: TABLE OF CONTENTS INTRODUCTION The
Page 16 and 17: X TABLE OF CONTENTS CHAPTER X THE S
Page 18 and 19: ; 2 INTRODUCTION were under sentenc
Page 20 and 21: 4 INTRODUCTION it, had been in the
Page 22 and 23: 6 INTRODUCTION converse is never tr
Page 24 and 25: ; 8 INTRODUCTION preserve names and
Page 26 and 27: 10 INTRODUCTION a skin may be stret
Page 28 and 29: 13 INTRODUCTION form a dim cluster
Page 30 and 31: ; 14 INTRODUCTION our short and for
Page 33 and 34: ' INTRODUCTION 15 days, must be sou
Page 35 and 36: CHAPTER I A MUSICAL DIARY The follo
Page 37 and 38: A MUSICAL DIARY 19 whom we actually
Page 39 and 40: A MUSICAL DIARY 21 and wheiij after
Page 41 and 42: : : : : A MUSICAL DIARY 23 d = 60.
Page 43 and 44: : A MUSICAL DIARY 25 ^^=^S-^^ Choru
Page 45 and 46: ; A MUSICAL DIARY 27 Most of the ph
Page 47 and 48: A MUSICAL DIARY 29 dancing, with Ra
Page 49: PLATE 2 o p. 30
Page 52 and 53: 1 : 33 A MUSICAL DIARY of course to
Page 54 and 55: Dr:-. KA.Û3^- j. : • f : : 34 A
Page 56 and 57: : 36 A MUSICAL DIARY They are quite
Page 58 and 59: : LJ—-U-^ 38 A MUSICAL DIARY Ex,
Page 62 and 63: 42 A MUSICAL DIARY 1st version, ins
Page 64 and 65: 44 A MUSICAL DIARY Padi. Puranlva.
Page 66 and 67: 46 A MUSICAL DIARY India shaJmai),
Page 69 and 70: ^ r A MUSICAL DIARY 47 Tonic E|7. -
Page 71 and 72: : A MUSICAL DIARY 49 11. A mixture
Page 73 and 74: ! — A MUSICAL DIARY 51 'Still, I'
Page 75 and 76: Ex.(»^: ,n ,n-- IJJ \JJ A MUSICAL
Page 77 and 78: ; ! A MUSICAL DIARY 55 ^might ^^ ^'
Page 79 and 80: -r ' A MUSICAL DIARY 57 To such tun
Page 81 and 82: A MUSICAL DIARY 59r B.C. CODA.
Page 83 and 84: 14)9,m^^jj-ji^-'jj Ex. i A MUSICAL
Page 86 and 87: PLATE 4 ^ Rri2ri-srrinclin,ac. vliP
Page 88 and 89: ; 64 A MUSICAL DIARY Rararo. J =90.
Page 90 and 91: 66 A MUSICAL DIARY Adagio. J = 80.
Page 92 and 93: 68 A MUSICAL DIARY ^scent of the pa
Page 94 and 95: T — 70 A MUSICAL DIARY The Gurkha
Page 96: : 72 A MUSICAL DIARY Imitation at d
Page 99 and 100: — CHAPTER III LEGEND, HISTORY, AN
Page 101 and 102: LEGEND, HISTORY, AND THE PRESENT DA
Page 104 and 105: PLATE 6 n t-i •^ p: =4-1 o
Page 106 and 107: : 78 LEGEND, HISTORY, AND THE PRESE
Page 109 and 110: : 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
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240 DRUMMING Ex.
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6 : : 242 DRUMMING Similarly one Td
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' : I I I I I 1 II 1 I ?44 DRUMMING
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;' 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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