The Music and Musical Instruments of Southern India and the Deccan c12: Chapter VIII

The Music and Musical Instruments of Southern India and the Deccan c12

Language: English

Chapter VIII

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Principal seats of music in Southern India—Famous Indian musicians of the South—Bibliography of Indian music—Sanskrit MSS. upon music.

FROM early times Tanjore has been the chief seat of music in Southern India and most of the best known Karnâtik musicians have either lived there or have received their musical education from musicians of the Tanjore school. Little information can be gathered as to what extent the art flourished there formerly, but it is certain that several centuries ago a regular school of music was established and patronised by the Maharajahs. In the reigns of the Maharajahs Sarabhogi, Surfogi, and Sivaji music flourished greatly, and the musicians attached to the palace received large emoluments. The native courts of Travancore and Mysore have also patronised music to a great extent, and it is believed that the art was originally brought to them from Tanjore. Some of the most celebrated musicians of Southern India will be found among the following:—

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TIAGYA RAJ. A native of Trivadi, in the Tanjore district; a pupil of a musician called Venkatraman Iyer. He was a great composer of kruthis, many of which are exceedingly popular all through India. Tiagya paid special attention to the requirements of melody, and his songs are mostly free from the monotony and intricacies of the râgas as practised by Hindustani musicians. He flourished from about 1820–1840.

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GOVINDASWAMI IYER. A contemporary of the above.

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SIAMA S'ASTRI. A composer of kruthis and kirtanas, about the commencement of the present century.

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SABHARAYYA S'ASTRI. A native of Pudukotta, a musician in the service of the Maharajah Sivaji of Tanjore.

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PERTABSINGH of Tanjore.

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SIVARAM IYER. A composer of "pallevi" in the service of the Maharajah Sivaji.

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SABHA RAO. Son of the above.

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DIKSITALU of Trivalur, in the Tanjore district. Many of his compositions are still popular.

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KSHETRYA. A poet as well as a musician. He was the composer of innumerable love songs called Pathams, which are widely popular. The words of these pathams are often very beautiful, and are full of imagery most poetical, set to music equally as plaintive and appealing to the senses. An example of one of these pathams will be found in the song “Yalla tella vara,” upon page 81.

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PAIDALA GURU MURTI S’ASTRI. A celebrated composer of “Ganarâga-gítas.” Many of his compositions are popular at the present day.

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NATHIVA VADIVELU. A singer of repute and composer of many Vérnams, Svarajotas. He is believed to have introduced the use of the European violin¹ into Southern India.

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¹ Tuned and held in the native fashion, like a sârangi.

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BIKSHANDAR KOIL SUBBAYAR. A pupil of Sabharayya of Andalur. A singer of repute.

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VARPAYA. A vina player in the service of the Maharajah Sivaji of Tanjore.

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MADHEO RAO. A contemporary of the above.

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PARIYA VAITI. A Malayalam musician of repute.

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CHAL BALKRISHNAYYA. A musician of Tanjore.

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KALASTRI IYER of Tanjore.

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NILKANT IYER of Chingleput.

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SABBHA KATTAYYA of Pudukota.

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SAVYASACHI of Mysore.

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SESHANA of Mysore. One of the best living performers on the vina.

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SHAMANA of Mysore.

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THE LATE MAHARAJAH KOLASHEKARA of Travancore.

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RAGAVAYYA of Coimbatore.

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SABBHAYYA of Andalur.

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NARASAYYA of Salem.

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KALYANA KRISHNA IYER of Pâlghât. Now in the service of the Maharajah of Travancore; a good vina player.

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SÚRYANARÁYAN RAO PANTULU of Sitapur. A vina player, now “ASTHANA PANDITA” in the service of the Maharajah of Vizianagram.

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VENKAYA of Vizigapatam. A vina player.

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TIRUVÂNAKÔDIKÂVAL KRISHNAN. A violin player.

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MAHADEVA IYER. Son of Parmísvara Bhagavata. A violin player in the service of the Maharajah of Travancore.

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PARMÎSVARA BHAGAVATA. A singer in the service of the Maharajah of Travancore.

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MAHAVAIDDI. A singer.

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Besides these there are numerous Hindustani musicians in Southern India, Maharashtra, and the North, such as Maula Bux of Baroda, Bhande Ali of Indore, Anna Gharpure of Poona, Balkoba Nataka Sahib of Bombay. But to give a complete list of them would fill a volume. A detailed notice of many has been given in Panchari Banerjea’s History of Hindu music, noticed briefly hereafter.

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The following catalogue of works relating to Indian music has no pretence to completeness; it is merely a list of the names of works and passages written upon the subject. The names of some which contain only allusions that would be of no practical use to the reader have been omitted altogether. Some of the books in the list contain no musical notation, but are nevertheless of great interest to the musical enquirer. An endeavour to notice some of the various Sanskrit works upon music, and in some cases tables of their contents, has been made. It has not been thought necessary to notice each in detail, as for the most part they are written upon a very similar plan, and, as far as arrangement of contents, differ little from each other. These Sanskrit works exist chiefly in manuscript, and are to be found in almost all the libraries—such as those of Tanjore and the Sarasvati Bhandaram of Mysore—attached to the palaces of native princes. Many copies are also to be found in the hands of Pandits and Sanskrit scholars attached to the temples and religious houses throughout India. There are a number of valuable MSS. in the collection of H.H. the Maharajah of Bikanîr. Many too can be found in the Bodleian, the library of the India office, and also in the University library at Cambridge.

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BANERJEA, PANCHARI. “History of Hindu Music.” A lecture delivered at the Hooghly Institute, Bhowanipore, 1880. Contains a good deal of interesting information, also an elaborate table of râgas and râginis, with the essential notes entering into their composition.

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BROUGHTON, Th. D. “Selections from the Popular Poetry of the Hindus.” London, 1814. 8vo.

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BOSANQUET, R. H. M. “On the Hindu Division of the Octave.” “Proceedings, Royal Society, March, 1877, to December 20, 1877.” London.

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BROWN, M. E. & W. A. “Musical Instruments and their Homes.” New York, 1888.

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BURNELL, A. C., Ph.D. “The Saman Chants from Arsheya Brāhmana.” Contains descriptions of the Sama Vedic chants and examples of their notation in plain chant. Mangalore, 1876.

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BIRD, William Hamilton. The Oriental Miscellany, Calcutta. Printed by Joseph Cooper, 1789.

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BIGGS. “Twelve Hindu Airs, with English words adapted to them by Mr. Opie, and harmonised for one, two, or three voices, with an accompaniment for the pianoforte or harp, by Mr. Biggs.” London, printed by Rt. Birchall. N.D.

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BIGGS. “A Second Set of Hindu Airs, with English words adapted to them by Mr. Opie, and harmonised for one, two, or three voices, with an accompaniment for the pianoforte or harp, by Mr. Biggs.” London, printed by Rt. Birchall. N.D.

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BLOCHMANN, H. “The Naqquerakhaneh and the Imperial Musicians, from the Ain-i-Akbari.” Translated from the original Persian.

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CAMPBELL, A. “Notes on the Musical Instruments of the Nepalese.” *Journal of the Asiatic Society of Bengal.* Vol. VI., p. 953. Calcutta, 1837.

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VON DALBERG, F.H. “Ueber die Musik der Indier. Eine Abhandlung des Sir W. Jones, aus dem Englischen übersetzt und mit erläuternden Anmerkungen und Zusätzen begleitet von F. H. von Dalberg. Nebst einer Sammlung indischer und anderer Volksgesänge und 30 Kupfern.” Erfurt, 1802. 4to.

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“Dramatic Amusements of Natives of India.” *Asiatic Journal*, New Series. Vol. XXII., p. 27. London, 1837.

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Dutt, Toru. “Ancient Ballads and Legends of Hindustan.” London, 1882. Contains no music, but some songs which for imagery and Oriental colouring are delightful.

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Engel, Carl. “An Introduction to the Study of National Music.” London, 1866.

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Ellis, Alexander J., F.R.S., F.S.A. “On the Musical Scales of Various Nations.” Paper read before the Society of Arts, March 25, 1885. See *Journal of Society of Arts*, No. 1,688. Vol. XXXIII.; also reprinted for private circulation by the author, with additions and corrections. April, 1885.

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Fowke, Francis. “On the Vina of the Hindus.” “Asiatic Researches.” Vol. I., page 295, Calcutta, 1788.

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Gladwin, Francis. “Ayeen Akbery.” See Vol. III., “Sungeet.” Calcutta, 1783.

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Grosset, J. “Contribution à l’Étude de la Musique Hindoue.” Paris, published by Leroux. (Extrait de tome VI., de la Bibliothèque de la Faculté des Lettres de Lyons.) 1888.

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Hendley, T. B. “Memorials of the Jeypur Exhibition,” 1883. Peckham, W. Griggs. See Vol. III., plates clxxv., clxxix.

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Heymann, W. “Ueber Bharata’s Natyasastram.” See Nachrichten von der Kœnigl. Gesellschaft der Wissenschaften und der G. A. Universität zu Gœttingen, February 25, 1884, pages 86—107.

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Hipkins, A. J., F.S.A., and Gibb, W. “Musical Instruments. Historic, Rare, and Unique.” Edinburgh, 1887. Contains descriptions and very beautiful illustrations of several Indian instruments.

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Jones, Sir William. “On the Musical Modes of the Hindus.” See “Asiatic Researches.” Vol. III., page 55. Calcutta, 1792. Also republished in “Works of Sir W. Jones.” 6 vols., and Supplement, 2 vols. London, 1799 and 1801; together, 8 vols., 4to. See Vol. I., page 413.

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Mateer, Rev. L. “Native Life in Travancore.” London.

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Mahillon, V. C. “Catalogue Descriptif et Analytique du Musée Instrumental du Conservatoire Royal de Bruxelles.” Gand. 1880.

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Naumann, Emil. “The History of Music.” Translated by F. Praeger, and edited by Sir F. A. Gore Ouseley. London, 1888.

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Ouseley, Sir W. “An Essay on the Music of Hindustan.” Contained in “Oriental Collections illustrating the History, Antiquities, Literature, &c., of Asia.” London, 1797-1800. 4to, 3 vols. See Vol. I., p. 70.

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Portman, M. V., Mus. Doc. “Andamanese Music, with Notes on Oriental Music and Musical Instruments.” See *Journal of Royal Asiatic Society*, New series. Vol. XX., Part ii. London, April, 1888.

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Rowbotham, J. H. “The History of Music.” London, 1885.

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Sahasrabadhe, B. T. “Hindu Music and the Gayan Samaj.” Published by the Gayana Samaj, Poona and Madras. Contains information respecting the recent revival of Indian music. Poona, 1888.

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Schroeder, L. von. “Indiens Literatur und Cultur.” Leipzig, 1887.

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Solvyns (Balt of Calcutta). “The Costume of Hindustan elucidated by sixty engravings.” London, 1804. Folio. Contains drawings of a number of musical instruments, chiefly those of Northern India and Bengal.

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STACK, G. A. “The Songs of Ind.” Calcutta, 1872. Contains a number of verses of more or less interest.

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TAGORE, Râjah Sir S. M. “The Six Original Râgas.” “The Musical Scales of the Hindus.” “Some specimens of Indian Songs.” “Short Notices of Indian Musical Instruments.” The above four all printed by I. C. Bose & Co., Calcutta, for private circulation. “The Eight Principal Râsas of the Hindus.” Calcutta, 1879. “The Dramatic Sentiments of the Aryas.” Calcutta; 1881. These two works contain much valuable information as to the sentiments conveyed by the various gestures (râsas, bhavas) made either upon the stage or by dancers. “Hindu Music from Various Sources.” Calcutta. A reprint of different writings upon Hindu Music. A most useful collection. Contains a reprint of Sir W. Jones’ essay and Willard’s treatise. But there are some misprints that are liable to mislead. “The Twenty-two Musical S’rutis of the Hindus.” Calcutta, 1886. “Ekatana, or the Indian Concert.” Calcutta. N.D.

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TOD, Lieut.-Col. “Annals and Antiquities of Rajasthan.” Vol. I., p. 538. London, 1829.

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Twelve Hindu Airs, with English words adapted to them, with an accompaniment for the pianoforte or harp. Printed by R. Birchall, 133, New Bond Street. These airs appear to be chiefly from The Oriental Miscellany.

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TRINKS. “A Collection of Hindoostanee Songs.” Dedicated to Mr. Bristow, by C. Trinks, organist of St. John’s Church, Calcutta. Folio.

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WILLIAMSON. “Twelve Original Hindoostanee Airs.” Compiled and harmonized by T. G. Williamson. London, 1797. Folio. Second collection of “Twelve Original Hindoostanee Airs.” Compiled and harmonized by T. G. Williamson. London, 1798. Folio.

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WEBER. “Ueber die Metrik der Inder.” See “Beiträge für die Kunde des Indischen Alterthums.” Band VIII. Berlin, 1863. 8vo.

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WILSON, H. H. “Select Specimens from the Theatre of the Hindus.” Translated from the original Sanskrit. London, 1838. 8vo, 2 vols.

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WALCKIERS. “A Collection of Twenty-four Hindoostanee and other Airs.” Arranged for the pianoforte by L. Walckiers. London, Clementi.

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WATERFIELD, W. “Indian Ballads and other Poems.” London, 1868.

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WILLARD, Captain N. Augustus. “A Treatise upon the Music of Hindustan, comprising a detail of the Ancient Theory and Modern Practice.” Calcutta, 1834. 8vo. The following is the table of contents—

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Preface.—A general view of the plan and contents of the work. Introduction.—Music; its power on the human mind. That of Hindustan. The opinion of the natives with respect to their ancient musicians. How a knowledge of it may be acquired. Not generally liked by Europeans. Reasons assigned for this. Native opinion with regard to its lawfulness. Musical instruments. Relation of music to poetry considered. Progress of music in Hindustan. The manner of life which should be led to ensure eminence in this science. Causes of its depravity. Date of its decline. The similarity which the music of this country seems to bear to that of Egypt and Greece. How a knowledge of the music of Hindustan might conduce to a revival of that of those countries. Comparisons offered. Whether the natives of Greece or Hindustan had made greater progress in music. Comparisons decide in favour of the latter. Hindostanee Music.—What it is termed in the original. The treatises held in the greatest estimation. Native divisions. What, and how many. The arrangement adopted in this work. Of the Gamut.—What it is called; the derivation of the word. The sub-divisions of tones. Resemblance of these to the Greek diesis. Opinions of Dr. Burney and Mr. Moore on the enharmonic genus. Names of the seven notes. Origin of these. The Gamut invented by Guido and Lemaire. Dr. Pepusch. *S'ruti*. *Of Time.*—The various measures used in Europe. Difference between them and those of Hindustan. Their resemblance to the rhythm of the Greeks. Similarity between the Greek and Sanskrit languages. The Hebrew unmusical, likewise the Arabic. Melody and metre considered. Tartini's objections against metre endeavoured to be controverted. The dignified prose in Sanskrit and tongues derived from it. Its superiority to the Oordoo. Probable origin of the modern musical measure. Tartini's deductions of measure from the proportions of the octave and its fifth opposed to the practice of Hindustan. Whether the rhythmical or the musical measure possesses greater advantages. Opinion hazarded thereon. Time table. Characters for expressing time. Their varieties. *Of Harmony and Melody.*—The origin of harmony in Europe. Opinions of several learned men on the subject of harmony with that of the author. Claims of melody. *Of Oriental Melody.*—Not generally susceptible of harmony. Limited to a certain number. Its character. *Of Rags and Ráginis.*—The general acceptation of the terms supposed to be incorrect. Reasons offered why they are limited to season and time. The Ragmála. Absurdity of limiting tunes to seasons. Division of the Rags and Ráginis into classes. Rules for determining the names of the mixed Ráginis. Table of compounded Rags. The Ragmála copiously described. *Of Musical Instruments.*—Their present state susceptible of much improvement. Their classification. Detailed description of the several instruments now in use. *Of the various species of Vocal Compositions of Hindustan.*—Twenty different species described. *Of the peculiarity of Manners and Customs in Hindustan to which allusions are made in their song.*—Its characteristic nature. Reasons assigned for several of them which now no longer exist, and examples produced. Brief account of the most celebrated musicians of Hindustan. Glossary of the most useful musical terms.

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The actual size of the work, notwithstanding this lengthy table of contents, is but small. The book is very interesting, and affords much valuable information upon Northern Indian music. The descriptions are, however, incomplete in many cases, and the author's meaning is in places rather vague, and apt to be misleading to those who have not studied the subject.

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There are not a very large number of works relating to music in the vernaculars—some few are excellent, but the majority of them contain a very large amount of irrelevant matter, and are so full of inaccuracies that too great a reliance should not be placed upon them. Some of the most important of these works may be found amongst the following:—

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“SVARASASTRA.” An essay or tutor for the Sitar. A. Gharpure. Poona, 1880, in Marathi. Contains descriptions of the various kinds of Sitars, together with instructions for making, tuning, and keeping them in order. Contains also an elaborate system of notation invented by the author.

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There are also works in Marathi upon the sitar by Viswanath Ramachundra Kale; and by Vastâd Murabar Gonvekar.

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In Bengali the chief works are:—

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“ASURJANITATWAR” on the Esrar. By Kshetra Mohun Gosvami.

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“SANGIT SIKSHA.” By Sita Nath Boshak.

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“SANGIT SÂRA.” By Kshetra Mohun Gosvami. This work contains a good deal that is most interesting.

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“KATAKAUMODI.” By Kshetra Mohun Gosvami.

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“A TREATISE on the Mridanga.” By S. M. Tagore. On drum playing, rhythm, &c.

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“A Comprehensive Self-Instructor for the Setar, Esrar, violin, flute, and harmonium.” Calcutta, 1868. An attempt to adapt Indian music to European notation. By H. D. Banerjea.

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There are several Telegu and Tamil works of less interest. The only Telegu work that I have seen which is of any interest is a tract called “Sangíta Kaliânidhi,” on the vina, with diagrams of the fingerboard. There is a Guzerathi work entitled “The Musical Instructor,” by N. D. Apyakhtiar, Bombay, 1870. This work contains a certain amount of theory apparently extracted from the Sangíta Ratnâkera, and a number of coloured illustrations which, though poor, are not without interest. It contains also a large number of Guzerathi songs.

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Of the more important of the Sanskrit treatises that are at present known to exist, some slight notice may be useful. The oldest of any is the Bhârata Nâtya S’astra by Bhârata Muni. This work is being translated by M. Grosset, of Lyons, who has procured and carefully compared several copies of the MSS., one of which is the property of the Royal Asiatic Society of London. The whole work is large, and consists of a great number of ādhyayas. The theory of music, of dancing, of the connection between music and the drama are treated of fully, as are also the various kinds of instruments. The antiquity of the lyric drama in India is most interesting. M. Grosset has published already the twenty-eighth ādhyaya of this work, containing the part relating to the theory of music, with a prefatory essay and copious explanations and notes, the results of his researches—a most valuable contribution to the study of ancient Eastern musical literature. The date of the Bhârata Nâtya S’astra is placed at some intermediate period from B.C. 200 to A.D. 100. An edition of this work has been printed, or partially so, at Poona recently. There is also a copy of the MSS. in the library of H.H. the Maharajah of Bikanîr.

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Of the remaining Sanskrit treatises (excepting the work just mentioned) the Sangíta Ratnâkera is probably the oldest and the most valuable.

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The work consists of seven ādhyayas, according to Dr. A. C. Burnell.²

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² “Classified Index to the Sanskrit MSS. in the Palace at Tanjore.” Dr. A. C. Burnell. London, 1880.

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I.—SVARAGATĀDHYAYA—treats of notes, scales, &c. II.—RAGAVIVEKĀDHYAYA—of Râga. III.—PRAKIRṆAKĀDHYAYA—of music in connection with the human voice. IV.—PRABANDHĀDHYAYA—of musical composition. V.—TALĀDHYAYA—of times, pauses, measures, &c. VI.—VADYĀDHYAYA—of musical instruments. VII.—NRITYĀDHYAYA—of dancing.

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An edition of the first ādhyaya, with a Commentary, was published at Calcutta in 1879. Its contents are as follows:—

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Chap. I.—Benediction upon music. II.—Of sounds, notes, concordant and discordant relations. III.—Of grâmas, murchanas, tâlas. IV.—Of vérnams (ascending and descending successions of notes), alankâras or melodious successions of notes intended to impress upon beginners the idea of different pitches, and to cultivate a taste for pleasing combinations. V.—Of certain subsidiary scales. VI.—Materials and constitution of râga. VII.—Describes certain ancient species of song called Kapâla and Kambala, and defines various styles of singing.

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It appears quite impossible to assign any reliable date to this work. The author of it was Sarnga Deva, son of Sotala Deva, King of Karnata, and grandson of Bhaskara a Kashmirian.³ Possibly, from this information, the date may be discovered at some future time.

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³ See Aufrecht's "Catalogus codicorum Manuscriptorum Bibliothecæ Bodleianæ" (Oxford, 1864), and Rajendralala Mitra's Catalogue of the Sanskrit MSS. in the library of H.H. the Maharajah of Bikanîr. Calcutta, 1880.

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In the Preface to the Calcutta edition of this work mention is made of only five ādhyayas, the other two (i.e., the fourth and fifth) have apparently been discovered by Dr. Burnell.

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The following authors or works are cited by Sarnga Deva in this work:—Anginayya, Kalinatha, Chudamanni, Pratibhavilasa, Manidurpana, Râganava, Vinoda, Sivakinkara, Sangítanava, Sarodhara, Haribhatta.

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Perhaps next in importance to the Ratnâkera is the Sangíta Darpana, by Damodara Misra. This work, according to Aufrecht, consists of seven ādhyayas—

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I.—SVARAGATĀDHYAYA. II.—RAGĀDHYAYA. III.—PRAKIRNAKĀDHYAYA. IV.—PRABANDHĀDHYAYA. V.—PADYĀDHYAYA. VI.—TALĀDHYAYA. VII.—NRITYĀDHYAYA.

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Damodara took the greater part of his work from the Sangíta Ratnâkera and added a little from other authors and works. Sir William Jones tells us that the Pandits of Bengal preferred the Damodara in his time to any of the other Sangítas, but that he himself had never been able to procure a good copy of it.

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Here again the question of date must remain doubtful. The only information as to the author appears to be that he was the son of Lakshmidâra. Damodara mentions the following authors and works in addition to the Ratnâkera—Anginayya, Kalinatha, Chudamanni, Pratibhavilasa, Manidurpana, Râganava, Vinoda, Sivakinkara, Sangîtanava, Sarodhara, Haribhatta.

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Later than this work is the Sangîta Narayana by Narayana Deva. This work consists of four parts:—

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I.—SANGÎTANIRNAYA. II.—VÂDYANIRNAYA. III.—NRITYANIRNAYA. IV.—SUDDHAPRABANDHÔDARANAM.

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The author of this work was the son of Padmanâbhai, and a pupil of Kaviratna Purushottama-misra. In this work Damodara is frequently quoted, Narayana Deva also quotes his master's work “Ramachandrodaya,” as well as the following authors and works:—Krishnadatta, Kohala, Gitaprakasa, Chhandoratnâkera, Narada-Sanhita or Sanhita, Panchamasarasanhita, Mammata author of “Sangîtaratnamala,” Laksmanabhatta Gitagovindatikayam¹ S'riromani, Saivasavaswa, Sangîtakaumodi or Kaumodi, Sangîta Sara, Hârinâyatta.

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¹ “On the Musical Modes of the Hindus.” Sir W. Jones. “Asiatic Researches.” Vol. III. Calcutta, 1792.

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Sir William Jones, in his essay on the Musical Modes of the Hindus, inclines to the belief that the most valuable work that he had seen is the Râgavivodha, by Soma Raj. This is a later work than the Ratnâkera, which is mentioned in it frequently. It consists of five chapters.

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I.—Of S'rutis, their divisions into svâras or notes—of suddha and vikrita notes—of octaves, definitions of notes essential to râga (i.e., vâdi, samvâdi, &c.)—of grâmas—of murchanas—how râgas constituted of five, six, or seven notes. II.—Of the Vina, and different kinds of vinas, measurement, and general directions for making. III.—Classification of râgas. IV.—The Ragmâla or list of râgas, with descriptions of each râga personified—hours of day appointed for performance of each râga. V.—Râgas written in notation, with directions for the performance of each.

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The Sangîta Pârijâta appears to be a very much later work than any previously described. The author of this work was Ahobala Pandit, and he seems to have been a native of Central India. The belief among pandits in India at the present day is that he lived not more than 250 years ago. The system described in the Pârijâta is a description of that practised at the period. The contents are as follows—

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I. Benediction upon music in general. II. Of svâras or notes. III. Of grâmas or scales. IV. V. } Of murchanas or permutations of notes, with examples. VI. Of methods of tuning. VII. Of gamakas, with a minute explanation of about sixty. VIII. Of Suddhasvâras (or notes comprising their full complement of s'rutis) and directions for tuning the vina. IX. Of gîta or melody. X. Of râga and text of about 122 râgas, with directions for performance.

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An edition of this work was printed at Calcutta in 1879.

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There is a Persian work entitled Tohfuht-ul-Hind, by Mirza Khan. This work contains information extracted from the Sanskrit works Râganâva, Râgadarpana, and Subhavinodha. Of the present existence of these three works I have never been able to discover traces; still, it is to be hoped that they may eventually be brought to light. A copy of the Râgadarpana, with two works entitled Shams-ul-aswat and Hazar Dhrupad, was brought by Sir W. Jones to England; but these, with other MSS. that he is said to have deposited in the library of the Royal Asiatic Society, cannot be traced.

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The following list of Sanskrit treatises upon music has been carefully compiled from catalogues of various Sanskrit MSS., and from information supplied by Pandits in different parts of India. Where no reference is made under the column of authorities, the information has been obtained from Pandits in India and is, perhaps, not always so reliable as the other authorities. When copies of any of the MSS. have been printed, the places and approximate dates of publication have been given.

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The following abbreviations have been used in the column of authorities.

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BIK = Catalogue of the Sanskrit MSS. in the library of H.H. the Maharajah of Bikanir. Rajendralala Mitra. Calcutta, 1880. AUF = Catalogus Codicorum Manuscriptorum Bibliothecæ Bodleianæ. Th. Aufrecht. Oxford, 1864. TAN = Classified Index to the Sanskrit MSS. in the Palace at Tanjore. A. C. Burnell. London, 1880. IND = Catalogue of the Sanskrit MSS. in the library at the India Office. Part II. J. Eggeling. London, 1889. OPP = List of Sanskrit MSS. in Southern India. Dr. Oppert. Madras, 1885. KIEL = Catalogue of Sanskrit MSS. in the Central Provinces. L. Kielhorn. Nagpur, 1874. RICE = Catalogue of MSS. in Mysore. L. Rice. BEN = Catalogue of Buddhist Sanskrit MSS. in the University Library at Cambridge. Cecil Bendall. Cambridge, 1883.

c12.122

SANSKRIT TREATISES UPON MUSIC.

c12.123

c12.124

c12.125

c12.126

Linked texts (21)

Saṅgītaratnākara — Śārṅgadeva, Sanskrit
Nāṭyaśāstra — Bharata, Sanskrit
Nāradasaṃhitā — Nārada, Sanskrit
Rāgalakṣaṇa — Rāgakavi, Sanskrit
Svaramelakalānidhi — Rāmāmātya 1550, Sanskrit
Cuḍamaṇi — Sanskrit
Chandoratnākara — Ratnākaraśānti, Sanskrit
Saṅgītopaniṣad — Sudhakalasa, Sanskrit
Maṇidarpaṇa — Mahādeva Punataṃkara 1667, Sanskrit
Saṅgītasudhā (Raghunātha) — Raghunātha 1589, Sanskrit
Saṅgītanārāyaṇa — Gajapati Vīrasrī Nārāyaṇadeva 1675, Sanskrit
Nāṭyārṇava — Nandikeśvara, Sanskrit
Saṅgītasamayasāra — Pārśvadeva, Sanskrit
Bharatabhāṣya (Sarasvatīhṛdayālaṅkāra) — Nānyadeva, Sanskrit
Saṅgītamakaranda — Nārada, Sanskrit
Saṅgītapārijāta — Ahobilasūri 1600, Sanskrit
Nartananirṇaya — Puṇḍarīka Viṭṭhala 1574, Sanskrit
Saṅgītadāmodara — Śubhaṅkara, Sanskrit
Rāgaratnākara — Gandharvarāja, Sanskrit
Rāgavibodha — Somanātha 1584, Sanskrit
Pañcamasārasaṃhitā — Nārada, Sanskrit