The Music of Hindostan c20.s3: Sanskrit Theory

The Music of Hindostan c20.s3

Language: English

Sanskrit Theory

c20.s3.1

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.

c20.s3.2

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.

c20.s3.3

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.

c20.s3.5

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.

c20.s3.6

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.

c20.s3.7

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.

c20.s3.11

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