Historical Development of Indian Music: A Critical Study c3: Foreword
Historical Development of Indian Music: A Critical Study c3
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- English
Foreword
c3.1
I welcome this effort at a scientific study of the history of music by Swami Prajnanananda. It is unfortunate that at present the study of music is sadly lacking. The musicians have mainly become only practicians, some degenerating into just repetitors. The belief, strengthened during the last three centuries or so that music is only gained by practice, is an erroneous one. The study of the theory, history and background of music is as essential for gaining a practical mastery over it as actual vocal or finger practice. The decline in Indian music is mainly due to the decline in the study of Shastra of music.
c3.2
It is possible that during the 17th and 18th centuries, when large numbers of eminent Muslim musicians came to the fore, the study of the Shastras or the theory practically stopped, the reason being that the Shastras are in Sanskrit and the musicians did not known anything of that superb language. From that it was only one step to maintain that there is no practical utility in the study of the books. Some of them sincerely believed that this book knowledge is utterly useless.
c3.3
Absence of this vital and essential general culture of music has created a lopsided and distorted position in our music. Parrot like copying from the voice of one Guru by his disciple has led to the gradual changing and distortion of the various compositions and even swaras. No human instrument is perfect and no Guru can transmit to his disciple exactly what he knew and hundred per cent correctly. The capacity of the disciple, physically and mentally, to assimilate whatever has been taught vocally, is the most important factor in any such transmission. As the physical potential of every being differs from others, it was natural that every disciple droped some of the finer points of the teaching of his Guru. In half a dozen generations this led to a very considerable change in the original compositions and the way of rendering them. This would not have happened if there had been the study of Shastra and the outline of music in writing.
c3.4
The study of history and theory of music, therefore, is very essential in any further progress of music. In am very glad, therefore, that Swami Prajnanananda is rendering by writing this book a solid contribution towards that objective.
c3.5
The most notable effort in the study of the theory and practice of music as a Shastra was that made by the late Pandit Bhatkhande. In fact, it would be no exaggeration to say that the present-day renaissance of Hindusthani music owes much to the research that he carried out in unearthing old Shastric manuscripts, in gathering together with great labour and ingenuity old genuine compositions of great masters and in analysing and rationalising all the material that he had gathered into a coherent theoretical structure of Hindustani music. It is a pity that the monumantal work done by Bhatkhande could not be continued, because no such genius as he took up his mantle. But it is essential that scholars who have the right approach, should try to further the cause that he began so well.
c3.6
The blind copying of particular compositions without any background or study of Shastras has brought present-day music to a sorry state. Eccentric mannerisms, distortions and such other influences have crept in. The obejct of music which is to please, has gone into the background. Acrobatics have gained prominence, and there is a danger of music losing populer support which is essential for its development and progress. Music is a dynamic art and if it does not adapt itself, on the foundation of the noble Shastras, to new conditions and create new forms, it will not be able to get any place in the new order of things. A large number of short-sighted musicians who have only a narrow view of things and are concerned only with themselves or their particular small group, do not realise that they are not helping in the growth or development of music. Unless we shed the eccentricities and acrobatics that have developed in music and make it more pleasant, more spiritual and more appealing, we will not be able to attract the public again to the enjoyment of musical art. If no heed is paid to this state of affairs, music is not likely to gain public support in spite af all efforts of the State to revive the art.
c3.7
There is another link between Swami Prajnanananda and myself. I have had the privilege of learning music for a pretty long period from the late Dhrupadacharya Shri Hari Narayan Mukhopadhyaya of Banaras from whom Swamiji also learnt his music. In fact, I might say that my appreciation and glimpses into the world of music are really due to Shri Hari Narayanaji. So we have, therefore, a link of brotherhood which gives me added pleasure in writing a few words to the excellent book that Swamiji has written.
c3.8
(Dr. B. V Keskar)
c3.9
New Delhi, September, 1,1958.