A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th Centuries c5.71

c5.71

Later on it appears, the distinction between the mela and the Murchhana gradually disappeared and there was no restriction observed as to the 'udgraha' or the start Murchhana then merely meant perhaps the Aroha and Avaroha of the raga and it always started from the shadja In the Southern music system, even now, murchhana merely means the aroha and avaroha and nothing more Its starting point is 'always the same as that of the पहज Mela, which therefore coincides with it In the northern or Hindusthani system of the present day, the term murchhana has lost all its ancient significance The murchhana coinciding with the mela became indistinguishable from it The mela directly produces the raga by the process of aroha and avaroha, strangely enough some of our modern Mahomedan professional artists are known to use the term in the sense of a kind of 'gamaka' too It will not be necessary to go into the raga-adhyaya of the Raga Tatva Vibodh, because there the author borrows the whole of his material 'from the Sangita Parijata It is noteworthy that in the time of all these three or four authors that we discussed all music was based on the well-known twelve notes only Sri Nivas emphatically disallows the use of the remaining ten srutis in the composition of the melas He says :—