Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c2: Preface
Rāgas and Rāginīs: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c2
- Language
- English
Preface
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In this volume, an humble, though a pioneer attempt has been made to trace the beginnings and the later evolution of the rāga-system of Indian Music—from authoritative sources, many of which are still buried in unpublished and rare manuscripts. Orthodox music practitioners, opposing any manner of new developments and innovations—on the belief that Indian Music is a stereotyped system hidebound by strict rules and conventions prescribed by ancient musical Sages, to depart from which is to assail the individuality of Indian Musical thought—and, therefore, a musical crime, may find in this Volume much material which will contradict such a belief. Indeed, the history of the rāgas, of which a bare outline, is, here presented demonstrates that in all periods of its development—Indian Music has grown and progressed by assimilating new ideas from non-Aryan and aboriginal musical practices—and that the Classical Rāga-System is firmly based on and is heavily indebted to Primitive Folk-music, having never disdained from borrowing and assimilating new data from alien or foreign sources. Yet the Indian Rāga-System—has a structure of peculiar form—having fundamental rules and conventions of its own—which must be understood—in its essential character—before any innovation or a new development can be initiated. In the coming new order of things, Indian Music is destined to play a great part in vitalizing national culture. It is hoped that the free liberalizing rôle of music should not be restricted and subordinated by being harnessed to political propaganda. Both the necessity of saving Indian Music from such slavery and of extending its rôle—in a larger expansion of national life—in forms of new applications to newer needs—it is necessary for all kinds of votaries,—the Practioners, the Connoisseurs, the Innovators, the Reformers, and the Students—to have a thorough knowledge of the basics of Indian Music, its grammer and conventions, the secrets of its peculiar charm, and its power of intense emotional expressiveness—both in its thematic and abstract applications. It is believed that from this point of view—this monograph may offer valuable educational data. In many of the Indian Schools of Music—the syllabus includes not only a knowledge of the practice of the Rāgas—and their differentiations—but also of some rudiments of the theories on which they are based. But very often authoritative data is not readily available to the average teacher—who has no time to undertake independent researches to dig out the facts bearing on the history of Indian Music-theories. It is humbly claimed—the data put forward in this Volume may go in some way to provide this essential materials for the study of Indian Music. The Political Life—and the freedom to coin our new political destiny—may be imitated in the sphere of Music. As the history of Indian Music demonstrates—our musical authorities have never opposed innovations—but have welcomed fresh ideas—and have assimilated them according to the fundamental principles of Indian Music. In this conception, it is useful to recall the remark of Plato in his *Republic*: "The introduction of a new kind of music must be shunned as imperilling the whole State; since styles of music are never disturbed without affecting the most important political institutions."
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This work has been respectfully dedicated to the great musical Savant the late Pandit V. N. Bhatkhande—whose services to Indian Music are invaluable. Unfortunately, the work could not be placed in his hands—until a short time before his death, when he was laid up with paralysis. It is reported that when the book was placed in his hands he sat up with great curiosity and enthusiasm and as he turned over the pages—in speechless silence—tears traced down his cheeks—in affectionate appreciation of a tribute to the study of a subject of which he was a lifelong devotee, and an indefatigable exponent blessed with inexhaustible erudition.
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Owing to circumstances beyond the control of the Author the work had to be published—in an extremely limited edition of only thirty-six copies which were subscribed for, two years before the actual date of publication,—so that the work was out of print and was un-available from the date of its birth, not only to the general reader but to an everwiden-ing circle of friends of Indian Music and Specialists. This was a crime which has been crying for atonement ever since 1935—the original date of its publication. The Author is therefore grateful to Nalanda Publication for coming forward to rescue the work from practical oblivion.
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It is to be regretted that it has not been possible to re-vise and improve the text, and it is sent out in its original form with all its imperfections and blemishes—for a wider circulation which was not possible to secure in its first edi-tion. This is not, therefore, a new edition, —but a cheap re-issue. The only addition made--is the Supplementary Bibliography setting out a list of publications and articles which have appeared since the year 1935.
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1st December, 1947. O. C. GANGOLY.
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2, Ashutosh Mukherjee Road, Elgin Road Post Office, Calcutta, India.
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the *Goths*, the *Vandals*, the *Suevi*, the *Burgundians*, the *Alani*, the *Huns*, the *Franks*, the *Saxons*, the *Thuringians*, the *Rugians*, and the *Heruli*. The names of these tribes are familiar to the reader, but their origin, their migrations, and their settlements are involved in the deepest obscurity. The most probable opinion is that they were all of German or Scythian extraction, and that they had been driven from their native seats by the pressure of the Huns, a formidable nation of Tartars, who had crossed the Volga and the Tanais, and were advancing with rapid strides towards the frontiers of the Roman empire.
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The first of these nations that crossed the Danube was the *Goths*. They were divided into two great branches, the *Visigoths* or Western Goths, and the *Ostrogoths* or Eastern Goths. The Visigoths, under the conduct of Fritigern, implored the protection of the emperor Valens, and were permitted to settle in the province of Thrace. But the perfidy of the Roman governors, and the insolence of the Roman soldiers, soon provoked them to rebellion. They defeated the imperial armies, and Valens himself perished in the battle of Hadrianople.
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The death of Valens was followed by the accession of Theodosius, who, by his wisdom and valour, restored the discipline of the Roman legions, and compelled the Goths to accept a peace, which was rather a truce than a permanent settlement. The Goths, however, remained in the heart of the empire, and their presence was a constant source of danger and alarm. They were no longer the rude barbarians who had first crossed the Danube; they had learned the arts of war and the policy of the Romans, and they were ready to take advantage of any opportunity to assert their independence.
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The reign of Theodosius was the last period of the glory of the Roman empire. After his death, the empire was divided between his two sons, Arcadius and Honorius. Arcadius reigned in the East, and Honorius in the West. The division was fatal to the interests of the state. The two brothers were weak and indolent, and they were governed by their ministers and favourites. The Goths, under the command of Alaric, took advantage of the weakness of the government, and invaded Italy. They besieged and took Rome, and the eternal city, which had for so many centuries been the mistress of the world, was plundered by the barbarians.
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The fall of Rome was a shock to the whole civilized world. It was the end of an era, and the beginning of a new and darker age. The Goths, after the death of Alaric, retired from Italy, and settled in Gaul and Spain, where they founded kingdoms which were destined to last for several centuries. The Vandals, under the command of Genseric, crossed into Africa, and established a powerful kingdom, which for a time threatened the security of the Mediterranean. The Franks, under the command of Clovis, conquered Gaul, and laid the foundations of the French monarchy. The Saxons, under the command of Hengist and Horsa, invaded Britain, and established the kingdoms of the Heptarchy.