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The Music of Hindostan c20: Bibliography of Works in European Languages

The Music of Hindostan c20

Language
English

Contents

Bibliography of Works in European Languages

General

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1. C. R. Day, *The music and musical instruments of Southern India and the Deccan*, London, 1891, pp. xvi, 173; 17 coloured plates, gives a good general introduction to the subject as regards S. India.

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2. A. M. Chinnaswami Mudaliyar, *Oriental Music in European Notation*, Madras, 1892, 36 pages of Introduction, 106 pages of musical examples. The Introduction contains much useful information. The examples are carefully done, provided with marks of tempo and expression, and with words (Tamil, Telugu, and Sanskrit, which are often transliterated). Relates to S. India.

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3. Bhavānrāv A. Pingle (of Wādhwān, Kāthiāwār), *Indian Music*, Byculla, 1898, pp. xviii, 341, Index xxii; 2nd edition, is a mine of information on many details of performance; it suffers from obscurities of style, and the few musical examples are not altogether intelligible; it is the only good account in English of the music of N. India. Nos. 1 and 3 have long been out of print: a few copies of No. are possibly procurable. See also Nos. 5, 9, 13, 14, 15, 50, 52.

Descriptive

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4. A. K. Coomaraswamy, *Essays in National Idealism*, Colombo, 1909, has twenty pages on music.

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⁵ Mrs. Maud Mann, *Some Indian Conceptions of Music*, Proceedings of the Musical Association, 1911–12, p. 41, gives an account of the S. Indian system.

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⁶ Pierre Loti, *L'Inde (sans les Anglais)*. Paris, n. d. 38th edition. Chapter v describes a concert. (See p. 11 of this book.)

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⁷ Anne C. Wilson, *A Short Account of the Hindu System of Music*. London, 1904. pp.

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⁴⁸ See also Nos. 1, 3, 16, 44, 53, 54.

Sanskrit Theory

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8. J. Grosset (Lyon), *Contribution à l'étude de la musique hindoue*, place and date not given, gives the Sanskrit text of the twenty-eighth *adhyāya* of Bharata's *Nāṭyaśāstra*, with translation and notes. The date of Bharata is probably the fifth century A.D.

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9. *The Indian Music Journal* (monthly), editor, H. P. Krishna Rao, Mysore, of which ten numbers have appeared, is translating Somanātha's *Rāgavibodha* (A.D. 1609). See also Nos. 20, 22, 23, 27, 41, 42–46.

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¹⁰ Max Wertheimer, *Musik der Vedda*, Journal of the International Music Society, Year XI, pt. 2, p. 300. 1910. Phonograms of songs of the Ceylon Veddas, closely analysed.

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¹¹ Charles S. Myers, *Vedda Music*, chap. xiii (pp. 341–65) of *The Veddas* by C. G. and B. Z. Seligmann. pp. xx, 463. Cambridge, 1911. Phonograms, closely analysed.

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¹² O. Abraham und Erich M. von Hornbostel, *Phonographirte indische Melodien*, Journal of the International Music Society, 1903–4, pp. 348–401, ignoring Indian theory, treats twenty-eight tunes simply as musical phenomena.

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¹³ Ratan Devi, *Thirty Indian songs, with texts and translations by A. K. Coomaraswamy*. London, 1913. 7 illustrations. From the Panjab and Kashmir. This with its excellent translations gives a better idea of the song as a whole than any other collection.

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¹⁴ Rajah Sourindro Mohun Tagore:
(a) *The seven principal musical notes of the Hindus, with their presiding deities*. Calcutta, 1892. pp. 51.

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¹⁵ (b) *Six principal Rāgas with a brief view of Hindu music*. pp. 88, App. xvi. 6 plates. Calcutta, 1877.

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¹⁶ (c) *The eight principal Rasas of the Hindus, with tableaux and dramatic pieces illustrating their character*. pp. 161. 8 plates. Calcutta, 1880.

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¹⁷ (d) *The musical scales of the Hindus*. Calcutta, 1884. pp.

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¹¹⁸ N.B.—There are thousands of specimens (words and music) to be found in books in the vernacular; and, no doubt, hundreds could be transcribed by any musician who possessed a working knowledge of Urdu, Panjābi, Hindi, Gujarāti, Tamil, Canarese, or Malayālam, but more especially of Marathi, Bengāli, or Telugu. Those which have been drawn upon for the present work are Vishnu Degambar's books

Musical Examples

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(Panjābī), the books of the Poona Gayan Samāj (Marāthi), and the hymns of the Brahma Samāj (Bengālī), although it has not been thought worth while to print more than a few dozens of them. Even a smattering of Indian languages helps; it is useful to be able to recognize under the forms Dhol, Dholka, Dholaka, and Dolu the same instrument, and under Saurashtra, Surati, and Sorat the same Rāg, and to be able to check to some extent the vagaries of proof readers. A great number of songs are contained in Sangīta Prakāśika, vols. i-viii, in progress. Calcutta (in Bengālī notation). See also Nos. 1, 2, 9, 22, 40.

Scale

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18. Alexander J. Ellis, *On the musical scales of various nations*, Journal of the Society of Arts, March 27, 1885, pp. 485-527. The results for India are based on insufficient data, but the article is valuable as a conspectus of scale in general.

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19. Ludwig Riemann, *Über eigentümliche bei Natur- und orientalischen Kulturvölkern vorkommende Tonreihen und ihre Beziehungen zu den Gesetzen der Harmonie*. Essen, 1899. pp. 133. Gives full particulars as to the apparent scales of various instruments found in European museums. pp. 27-41 relate to India.

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20. Krishnaji Ballal Deval, *The Hindu musical scale and the twenty-two shrutees*. Poona, 1910. pp. viii, 49. A careful study of intonation, based on the Sanskrit prescription and the practice of living musicians.

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21. E. Clements, *Introduction to the Study of Indian Music*. London, 1913. pp. ix, 104. See also Nos. 1, 8, 11, 34, 42, 50, 52.

Grace

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22. Richard Simon, *The Musical Compositions of Somanātha critically edited with a table of notations* [Lithographed MS. in Nāgari]. Leipzig, 1904. pp. ii, 33.

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23. Richard Simon, *Die Notationen des Somanātha*. A reprint from the *Sitzungsberichte d. Königl. Bayer. Akad. der Wissenschaften*, 1903. Heft III. 2 plates [facsimile]. Munich. These give the system of grace-notes adopted in the Rāgavibodha, with full explanations. The great authority on this subject (and on much else) is said to be a book in Telugu by Subrama Dikshitar of Ettyapuram, Tinnevelly; and there is a work in Bengālī by S. M. Tagore, *Yantraksetradipika*, Calcutta, 1872, on grace as performed on the Satār, 317 pages with many musical examples. See also H. P. Krishna Rao, *First steps in Hindu music*. 1906. Weekes & Co. pp. 52.

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NOTATION.

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24. O. Abraham und Erich M. v. Hornbostel, *Vorschläge für die Transkription exotischer Melodien*, Journal of the International Musical Society, Year XI, pt. 1, p. 1. Leipzig, 1909. 24 pages.

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25. Charles S. Myers, *The Ethnological Study of Music*, in *Anthropological Essays presented to E. B. Tylor*, pp. 235–54. Oxford, 1907.

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These two contain useful suggestions for investigators and collectors of songs in extra-European systems.

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26. S. M. Tagore, *Victoria-Sāmrajyan*. Sanskrit stanzas on various dependencies of Her Most Gracious Majesty the Empress of India. Calcutta, 1887 [30 plates of unnamed instruments].

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The melodies purport to belong to the various countries, and they are noted according to the Bengālī system, in Nāgari characters and also in staff notation.

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See also Nos. 23, 42, 43, 46.

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POETICAL METRE.

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27. Albrecht Weber, *Indische Studien*, the eighth volume of the *Beiträge für die Kunde des indischen Altertums*. Berlin, 1863. pp. xii, 468, and index.

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A critical study of the earliest authorities, contains quotations from Sanskrit works relating to the earliest forms of the scale.

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28. Rudolf Westphal, *Allgemeine Metrik der indogermanischen und semitischen Völker*. Berlin, 1893. pp. x, 502, and index.

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29. Monier Williams, *A practical grammar of the Sanskrit language*, pp. 392–7. 4th edition. Oxford, 1877.

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30. H. T. Colebrooke, *Miscellaneous Essays*. 1st edition. London, 1837. 2nd edition. Madras, 1872. 2 vols. I, pp. x, 419, 23. II, pp. 531, 31.

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31. S. H. Kellogg, *A grammar of the Hindi language*. 2nd edition. pp. xxxi, 584. London, 1893.

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An account of Hindi metre at the end of the book gives examples (in Nāgari) of the Dhrūpad, Thumri, and others.

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³² Hermann Oldenberg, *Zur Geschichte der vedischen Anuṣṭubh*. *Zeitschrift d. d. morg. Gesellschaft*. Vol. 54. pp. 181–94.

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³³ Josef Zubaty, *Der Bau der Triṣṭubh- und Jagati-Zeile im Mahābhārata*. *Zeitschrift d. d. morg. Gesellschaft*. Vol. 43. pp. 619–52.

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34. Hermann Jacobi, *Über die Entwickelung der indischen Metrik in nachvedischer Zeit*. *Zeitschrift d. d. morg. Gesellschaft*. Vol. 38. pp. 590–619. Leipzig, 1884.

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35. Hermann Jacobi, *Zur Kenntniss der Āryā*. *Zeitschrift d. d. morg. Gesellschaft*. Vol. 40. pp. 336–42.

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36. Charles S. Myers, *A study of rhythm in primitive music*. Reprint from the *Journal of Psychology*, vol. i, pt. 4. pp. 10. Cambridge, 1905.

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37. Hermann Oldenberg, *Die Hymnen des Rigveda*. Berlin, 1888. Bd. I. pp. vii, 545. Chap. i (pp. 1–190) deals with Vedic metres.

Harmonization

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38. A. J. Polak, *Die Harmonisierung indischer . . . Melodien*. Leipzig, 1905. pp. 107. The first forty pages deal with India.

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39. Abraham and Hornbostel, *Über die Harmonisierbarkeit exotischer Melodien*. *Journal of the International Musical Society*, vol. iii, p. 138. Leipzig, 1905–6. 3 pages. An answer to No. 38.

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40. A. C. Macleod (Lady Wilson), *Five Indian songs*. Edinburgh [1912]. The accompaniments have atmosphere. See also No. 17.

Sāmaveda

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41. Martin Haug, *Ueber das Wesen und den Werth des wedischen Accents*. Munich, 1874. pp. 107. Gives particulars about accents, notation, and the musical hand.

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42. A. C. Burnell:
(a) *The Ārsheyabrāhmaṇa (being the fourth Brāhmaṇa) of the Sāmaveda*. Mangalore, 1876. pp. li. The introduction of fifty-one pages is in English.

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43. (b) *The Saṃhitopaniṣadbrāhmaṇa (being the seventh Brāhmaṇa) of the Sāmaveda*. Mangalore, 1877. pp. xx. Introduction in English.

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44. Friedrich Chrysander, *Über die altindische Opfermusik*, *Vierteljahrsschrift für Wissenschaft*. Leipzig, 1885 [14 pages]. Describes ritual and form.

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45. Oskar Fleischer, *Neumen-Studien, Abhandlungen über mittelalterliche Gesangstonschriften*. 2 vols. Leipzig, 1895. pp. 128 + 136. Index to each volume. Details of musical hand. See also No. 3.

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46. Richard Simon, *Das Puṣpasūtra. Abhandlungen d. K. Bayer. Akad. der Wiss., 1. Kl., XXIII. Bd., III. Abt., pp. 484–779*. Munich, 1909. Pages 510–526 give lists of the various forms of ligature (*Tontypen*) and of technical terms. This is the latest and most authoritative work.

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47. A. A. Macdonell, *Vedic Grammar*, being vol. i, pt. 4, of the *Grundriss d. indo-arischen Philologie*. Strassburg, 1910. Pages 76–9 give a succinct account of the musical character of accent, and its marking in the *Sāmaveda*.

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48. Martin Haug, *Aitareyabrāhmaṇa of the Ṛgveda*. A full account of the Soma ritual.

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49. M. Śeṣagiri Śāstrī, *Descriptive Catalogue of the Government Oriental MSS. in the Madras Library*, vol. i, pt. i, pp. 3, 4. The only account by an Indian in English.

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50. Erwin Felber, *Die indische Musik der vedischen und der classischen Zeit. Sitzungsberichte der Kais. Akademie der Wissenschaften in Wien, philosophisch-historische Klasse, 170. Band, 7. Abhandlung*. 1912. pp. 189. Indian recitation and chant. Contains forty-six Phonograms taken by Felix Exner in 1904, of which eight are *Sāman* chants, provided with *Ṛgveda* text and *Sāmaveda* text and notation critically edited. See also No. 27.

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51. R. Simon, *Das Pañcavidhasūtra*. Breslau, 1913. pp. 82.

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⁵² Victor-Charles Mahillon, *Catalogue descriptif et analytique du Musée instrumental du Conservatoire de musique de Bruxelles*. Gand, 1893. pp.

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⁵³⁵ Indices. 2nd edition. Pages 99–158 (about one illustration to a page), together with the description and illustrations in Day's book (No. 1), give a fairly complete idea of the principal instruments. See also No. 54.

Instruments

Musicians and Styles

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53. S. M. Tagore, *Universal History of Music*. Calcutta, 1896. pp. 345, xxxiv. Has a good deal of information about Bengali musicians and styles.

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54. S. M. Tagore, *Hindu music from various authors*. Calcutta, 1882. pp. 423. Reprints of articles by Sir W. Jones, Captain Willard, and others. See also No. 9.

Musical Analogies

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(a) Religion. See No. 5.
(b) Colours and Castes. See No. 53 App. and No. 17.
(c) Pictures. See Nos. 15, 16.
(d) Medicine, Astrology, &c. See No. 53 App.
(e) Drama. See No. 16.