A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th Centuries c11.50

c11.50

The rest of the commentary is unnecessary for our purpose The portion cited here shows that only one grama was practically recognised in the time of Kallinath All the murchhanas were started from the madhya shadja The difference of the two panchamas in the two gramas was ignored In the definition of Shri raga, although shuddha ga and shuddha ni moved one sruti higher, the next following notes ma and ni remained stationery and thereby violated the shastra rule which says that in such a case they must become chyuta In the case the ri and dha remain चतुःश्रुतिक but move one sruti up All this indicates to a careful student the fact that Kallinath followed a system not unlike the one followed by Rama Amatya and Somnath (Quacre —Was the music of the Sangeeta Ratnakara actually practised in Kallinath's time? Did he fully understand it? He wrote his commentary nearly two hundred years later. We all know that Kallinath was in the service of Raja Deva, Raja of Vijayanagar, about 1412-1425 A D and wrote his commentary at the request of his patron)