The Music and Musical Instruments of Southern India and the Deccan c10: Chapter VI

The Music and Musical Instruments of Southern India and the Deccan c10

Language: English

Chapter VI

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Musical Entertainments—Music and the Drama—Influence of the latter upon songs of the country—Of the Indian orchestra—Religious music—Temple music—Employment of bells—Street music—The Nahabet—Nautch music—Dancing.

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MUSICAL entertainments among the higher classes are very popular and much in vogue. Upon such occasions a company of musicians are hired for the evening. The Vina is the favourite instrument, and is generally accompanied by either a Mathala or Tabla, or else by a kind of earthen pot called Gátha, much like the ordinary “chatty,” which, in the hands of a skilful performer, is beaten with wonderful dexterity. Sometimes, but rarely, two vinas of different sizes are employed. In this case, if the players are skilful, the effect is very pleasing, especially in the performance of an Alâpa, a kind of rhapsody or fantasia impromptu, in any râga; each instrument keeps its part distinct, and the theme is cleverly imitated and tossed about from one to the other much as is done in a modern orchestra. Such imitation is, however, purely at the fancy of the performers, and not contrapuntal imitation as understood in Europe.

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Throughout Southern India the native drama is exceedingly popular; the actors are generally well educated and of a high caste, and a good company always attracts full houses. Music is largely employed upon the stage, and there is a kind of orchestra attached to every native theatre. The songs sung at performances of the kind do not, as a rule, differ much from the ordinary music of the country, and of late years there has been a tendency to imitate foreign music, such as Arabian or Persian, and the English, Scotch, or other airs played by military bands at all large stations. These naturally find their way from the theatre into private houses—boys learn them and sing them in the street—and so their influence gradually extends and makes itself felt upon Indian music in general. The old melody types, or râgas, are being less jealously adhered to, and the better educated classes of Hindus are beginning to see that music is not necessarily confined to one or two particular systems, but that, like nearly everything else, it is capable of improvement and further development.

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A marked change for the better in the manner of singing is evident. This, indeed, could not fail to be the case when it is remembered that if a voice is intended to be heard by a large audience in a theatre or other building of the kind it must be thrown out to the full extent of its volume, instead of being contorted and its sweetness spoilt by the continued small inflections of tone and unnatural falsetto notes so much practised by native singers of the ordinary class.

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The native orchestra is usually made up of the following instruments, or of a somewhat similar combination:—

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| Sârangi (string) | .... | .... 2 | Mathala or Tabla (drums) | 1 |
| Tamburi (string) | .... | .... 1 | S’ruti (drone) | .... | .... 1 |
| Mukavina (native oboe) | .... 1 | | | |

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The use of the Sârangi in Southern India—except in conjunction with Nautches—is rapidly being discontinued, and an English fiddle tuned as a vina or sârangi is often substituted for it. Farther North the instrument appears likely to hold its place for a long time to come. A clarinet is sometimes preferred to the Mukavina.

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In musical performances cymbals and bells of different kinds are used, according to taste, and the occasional use of a harmonicon of little bells or plates of metal (Septaghantika), or of porcelain cups or glasses (Jálatharángini), is much admired.

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It is a common custom for the members of particular castes, sects, &c., to meet together at stated intervals for the purpose of worship, either in each other’s houses or in temples. On these occasions music forms a prominent feature, and consists of hymns of different kinds, accompanied by a variety of instruments. Music of this nature is called Bhazana, and its use is almost universal.

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Among the higher castes great trouble and expense is incurred in procuring good performers for this purpose. The songs are generally pretty and well sung to the accompaniment of the vina or sitar and tamburi, with, perhaps, a small drum to mark the rhythm. The Bhazana of the common people is a great contrast to this, and in their assemblies melody is often sacrificed to mere noise. Each man, in order to show his devotion, sings in turn, frequently with no regard for time or tune, whilst the others beat drums or blow a kind of whistle called Sillu, with other instruments, just as it pleases them, and, as can be imagined, the effect of this is discordant in the extreme.

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The instruments commonly employed in Bhazana consist of one of the following combinations—

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| Tamburi | .... | .... | 2 | S'ruti | .... | .... | .... | 1 |
| Sârangi or Fiddle | .... | 2 | Sitar | .... | .... | .... | 1 |
| Mathala | .... | .... | .... | 1 | Tabla | .... | .... | .... | 1 pair |

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| Tamburi | .... | .... | .... | 1 | Sitar | .... | .... | 1 |
| Sârangi | .... | .... | .... | 1 | Tâla (cymbals) | .... | .... | 1 |
| Mathala | .... | .... | .... | 1 | Tabla | .... | .... | .... | 1 pair |

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Or, if the means of the worshippers be very limited, a single tambouri, with, perhaps, one pair of little cymbals and a common drum, or tabor such as Khanjeri, is found.

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The music performed for Bhazana usually consists of kirthanas, gítas, and kruthis.

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In temples, chiefly those of Lingayet or other Saivite sects, there is a peculiar kind of music in use called Kâradísaméla. It is so-called because a large conical kettle-drum called by that name is the principal instrument employed in it. The Kâradísaméla carries with it a special rhythm of its own; for lively airs—[Figure: ]—; for those of a mournful nature—[Figure: ]

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A system of music called Sopânam is found in Malabar, where it is confined to temple services. In every temple of any importance in Malabar and Travancore it is usual to have both instrumental and vocal music at the steps leading to the principal shrine during the performance of certain services. The word sopânam, in its literal sense, means “steps,” and hence gives its name to this particular kind of music. The Sopânam system varies in many respects from both the Karnâtik and Hindustani; a detailed description of it would, however, be unnecessary, since it is much akin to the Karnâtik system and differs only in technical points, which would be uninteresting to the reader.

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The use of the gong and bell in temples is universal. Colonel Meadows Taylor, in speaking of this, remarks that the gong is not used as an accompaniment to any but the loud crashing and generally dissonant music of the temple ceremonies. No ceremony of sacrifice or oblation is ever performed without a preliminary tinkling of the bell, repeated at certain intervals according to the ritual.

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There can be no doubt that the practice of using it is as ancient as Hinduism itself, and the ritual liturgies and works on ceremonial observances define the use to be made of it.¹ In fact, the use of bells for religious purposes seems to have been from the earliest times so universal amongst almost all nations that it is only necessary to point out that the exact counterpart of the Hindu Ghante is to be found at the present day in the Sanctus bell in use in Christian Churches, and it is perhaps worthy of note that in the great sculptured Trimurti or Hindu trinity at Elephanta one of the figures holds a bell.

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¹ “Proceedings, Royal Irish Academy.” Vol. IX., Part i.

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The Dasaris, a mendicant class of temple servers of Vaisnavite persuasion, usually employ a little side-drum, with one head only, called Dinni, not unlike the modern Egyptian “Tabl Shâmî”; other mendicants, called Andis, outcasts from Saivite sects, play upon a small gong called Semakkalam, which they beat with a stick. Both Dasaris and Andis often carry a horn as well, and support themselves by singing doleful ballads or hymns at street corners and by begging. Work of any sort they decline. The ordinary native band of discordant wind instruments, drums, and cymbals found throughout Southern India is called Méla. The players in these bands are mostly taken from a caste of Telegu-speaking barbers called “Mángala-vândlu,” who make this their special profession and provide the music, so-called, commonly heard at temple ceremonies, weddings, festal gatherings, and all street “tamâshas.” The composition of these bands varies greatly, the number of instruments in some cases being as many as thirty and in others perhaps only three or four; generally one or two nâgasâras—a s'ruti or drone—a drum such as the dhol—and a pair of cymbals (called Jhanj), about ten inches or a foot in diameter, are found. Sometimes a méla, consisting of a single mukavina, a flute, a flageolet, a drone, and a small side-drum called Dhanki is employed.²

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² Preference seems to be given to instruments of European manufacture, and it is not unusual to find old clarinets, flutes, and fifes used in these bands.

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The effect of a méla can hardly be called pleasing, unless to those whose chief delight is discordant noise. The air, such as it is, is generally drowned by the clanging of cymbals and the incessant drumming, which, added to the prolonged and shrill drone of the s'rutis, produce an effect considerably imposing. But, as Captain Willard pithily enough remarks,³ it is heard to advantage “from a distance.”

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³ “A Treatise on the Music of Hindustan.” Captain N. A. Willard. Calcutta, 1834.

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A peculiar institution of Indian music is known as the Nahabet,⁴ and is so called from that being the name of the largest drum associated with it. There are certain persons—Hindu or Mahomedan noblemen—who are privileged to have attached to their service bands of professional musicians, who perform at certain stated hours of the day or night. This privilege is sometimes extended to certain temples and shrines of saints, or to spiritual princes—gurus or swâmies. To these bands the name of Nahabet is given, and they are usually placed in balconies over the gateways of cities or palaces, or in other elevated places elsewhere, and these places are known as the Nahabet Khaneh. The music played is, of course, traditional, but it possesses a distinct character of its own that is entirely different to any other music heard in India, and the effect, especially among mountains or in the hill fortresses, such as are found in Central India or Rajputana, is very striking. Usually care is taken to retain the services of the best performers for the Nahabet, and when heard from a little distance upon a still Indian night, and the sound is subdued, there is a good deal of wild beauty about it that possesses a charm peculiarly its own.

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⁴ This word is commonly pronounced “Nōbut.”

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In the time of the Mogul Empire, we learn from the “Ain-i-Akbari,”⁵ the Nahabet was held in great esteem, and the Emperor Akbar himself was even a performer. There were then in the palace Nakkera Khaneh some eighteen large Nahabets, twenty smaller kettledrums (Nakkeras), four Dohl, four Kurna or large trumpets, nine Surnais or pipes similar to the Nâgasâra, and their accompanying drones, two S’ring or horns, and three pairs of cymbals of large size, besides several Nafirs (a smaller kind of trumpet, similar to the Tuturi); and in those days the performances of the Nahabet occupied a prominent place in the daily palace routine. The general practice then was that the Nahabet played first at midnight and the second time at dawn. An hour before sunrise the musicians commenced to play the Surnais, an hour later there was a short prelude, which in turn was followed by pieces introducing the Kurna, Nafir, and other wind instruments, with the occasional use of the largest drum of all (Damama or Nahabet), but which did not introduce the Nakkera. After this the Surnais and Nafirs were played alone; an hour later there was a general crescendo, and then followed seven distinct performances, brought to a conclusion by the chanting of various prayers for blessings upon the Emperor, and then the day’s service was finished by the Surnais players playing softly to a *pianissimo* of the drums.

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⁵ “Ain-i-Akbari.” Translated from the original version by H. Blochmann, M.A. See Vol. I., Ain. 19.

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In the present day the large number of different instruments formerly found in the Nahabet Khanehs of fortresses and palaces do not exist, and the effect of the modern Nahabet is therefore less imposing. There are, however, to be found in most Nahabet Khanehs one pair of large Nahabets, a couple of pairs of smaller kettledrums (Nakkera) and possibly other drums with a Kurna, one or two Tuturi, a pair or two of cymbals, one or two Nâgasâras and their accompanying drones, with perhaps a couple of Nuy or flutes-à-bec.

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The Kurna is not always found, for only nobles of the highest rank are considered able to use it; and by Brahmins it is still held to be the most ancient and sacred instrument of music in existence, and they consequently give it a prominent place in their temple ritual.

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Nautch music is termed Taffa or Kéylika and is performed exclusively by a caste of Nautch people called in Southern India Mélakâra-jâti. This is a composite class of dancing women and male musicians, distinguished by a marked social division from the higher orders of the musical profession. The dancing men and women of the Mélakâra caste, who together form a complete chorus, constitute what is called a Chinnaméla (or smaller music), in distinction to the Peryaméla (big music), which is a band of male musicians who play upon the Nâgasâra with drums and accompaniments differing from those of the dancers.⁶ The Peryaméla, or Pathamélam as it is also called, is the ordinary native band formed by the Mángalavândlu caste and already described.

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⁶ "Manual of the Tanjore District." T. Venkasami Row. Madras, 1884.

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At Nautches the usual arrangement of instruments is as follows:—

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| Sârangis, or English fiddles tuned in the native manner | .... | .... | .... | .... | 2 |
| Mridang or Tabla (drum) | .... | .... | .... | .... | 1 |
| S'ruti-upanga (drone) | .... | .... | .... | .... | 1 |
| Tâla or jálra (cymbals) | .... | .... | .... | .... | 1 |

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The Hindu art of dancing is treated of at great length in the Sanskrit work "Bhârata S'astra." Its origin is ascribed to the god Brahma. The science of dancing is usually considered under three heads—viz., nritta, vatya, and nrittya. Of these nrittya is what is understood by dancing as seen at a Nautch; nritta comprises only rhythmical movements without gestures; vatya has to do with stage action only. The masculine and feminine aspects of each of these three heads are fully treated of, and are styled Tandava and Lasya. There are rules for numerous motions of the head, eye, brow, and neck, to say nothing of those of the body, arms, and feet, that have to be carefully attended to. Each movement or look is described with an exactness that is almost incredible. All these various gestures and expressions are regulated by the tâla or rhythm of the dance, and are centred in the stamp of the feet upon the ground at intervals, or in the tinkling of the bells worn by the dancer. Indian dancing, like that of most Oriental nations, consists of gestures, slow, and more or less dignified, in time to the music, rather than actual dancing as understood by a ballet. To an Englishman a Nautch is therefore apt to be a rather disappointing entertainment, there being little real grace or symmetry of movement about the performance.

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And like Indian music, Indian dancing should be judged entirely from an Oriental standpoint. A Nautch usually commences with the singing of a Mangala or “song of hail” (generally in the Râga Nâta), the words of which are intended to do honour to the principal personages present. When this is concluded, the leader or conductor of the troupe, who invariably plays the tâla or jâlra, hums or sings a kind of accompaniment, called Konnagólu, to this one of the girls dances, keeping time with the soft tinkling of the bells tied round her ankles. During this the other instruments are independent of the leader and are played softly and without time in any râga that may be chosen, the chorus, if any, being much subdued. And when the dance is finished, songs—such as javadis or pathams—follow, one voice singing the solo and the whole of the voices taking up at intervals a soft refrain. Dances or gestures, in character with the words of the song, are made by the girls performing in front of the musicians.