Historical Development of Indian Music: A Critical Study c4: Contents

Historical Development of Indian Music: A Critical Study c4

Language: English

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*Historical Method in the Study of Music* ... 8—18

What is a history, 3—Mere accumulation of facts is insufficient for history, 4—Profs. Bury, Croce, Toynbee, Renier, and Spengler about the history, 4—The history can be regarded as an art, 4—Schopenhauer, Plato, Aristotle, and Kant, regarding the art of music, 5—The history of music is closely associated with human society, 5—Music and human life, 6—The popular ballads and folk-songs of East and West Bengal, 7—The evolutional nature of the art of music, 8—The utility in the study of the development of music, 9—Prof. Ogden, regarding historical research, 9—A historical outlook is necessary in the study and culture of music, 10—Alfred Einstein about musical culture, 11—Music, during the dawn of Christian era, 12—Changes in music, 12-14—The characteristic of change in Indian music, 15—Music in the advent of the Muhammedan rule, 16-17—The future of Indian music, 17.

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CHAPTER TWO

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*What is Indian Music* ... ... 19—39

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The spirit of Indian Music, 19—What do you mean by music, 19—The melodic form (*rāga*) is the soul of music, 20—A *rāga*, from an idealistic point of view, 20—Swāmī Abhedānanda on the sensation of music, 20-21—How the nature of a *rāga* is determined, 21-22—Vaidika and *laukika* music, 22—Ten qualities : *raktaṃ*, 22—*pūrṇa*, 23—*alaṃkāra*, 23—*prasanna*, 23—*vyakta*, 23—*vikṛṣṭa*, 23—*ślakṣṇa*, 23—*sama*, 24—*sukumāra*, 24—*mādhurya*, 24—*lāvaṇya*, 24—The basic element of music, 25—The seven notes—, 25-26—The microtones in the *Nāradī-śikṣā*, 28—The bases of the notes, 29—The allotment of the microtones, 30-31—The microtonal divisions, 32—*Rāgas* in the *Rāmāyaṇa*, 33—The psychological basis of *rāga*, 34—The chart of the *jāti-śruti*, 35—The significances of the *śrutis*, 36—Two main divisions of music, 37—What is the grammar of music, 37—The acoustics of music, 38—Literature of music, 38—History of music, 38—Iconography of music, 38—Psychology of music, 38—Philosophy of music, 39.

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CHAPTER THREE

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*Evolution of Indian Music* ... ... 40-83

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The psychic content of music, 40—The evolutionary process of music, 41—Vedic music had its root in the primitive music, 41—Music in the primitive age, 42—Sound forms, the base of musical manifestation, 42-43—Music can reveal many things of the human world, 43—The music intellect of the primitive people, 44—The primitive melody, 44—The types of the primitive songs, 45—The primitive society and music, 46—Charles Darwin about music, 46—The Spencerian theory of music, 47—Speech and music, 48—Music, emotional and sensuous, 48—Different evolutional types of music, 50—The review of the religious conception in the *Āranyaka* and *Brāhmana* periods, 50-51—The primal sound of music, 51-52—The conception of Sarasvatī, 52-56—An allusion about Sarasvatī, 56-57—The primitive type of song was gradually replaced, 58—The Vedic song, 59—the prehistoric remains of music, 60—Ancient remains of music in the West, 61-62—*Gāndharva* or *mārga* type of music, 65-66—The *jātirāgas*, 68—The *grāmarāgas*, 68-69—The microtones, as mentioned in the *Nāradī-śikṣā*, 70—The devisement of *śrutis* by Bharata, 71—Seven types of *nṛtta*, 78—Music during Mataṅga and Kālidāsa's times, 74—The limbs of music, 75—The *jātis* of the *prabandhas*, 76—The music in the sixteenth century, 77-78—The *kheyāl* type of music, 78—The *jany-janaka* scheme, 79—Different types of music of South India, 80—The music of Bengal in the 14th-15th century, 81-82.

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CHAPTER FOUR

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*Evolution of Rāga* ... ... 84—144

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The mythico-religious idea about the origin of *rāga*, 84— The *rāgas* in the *Mahābhārata*, 85— *Rāgas*, as described by Vālmīki, 86-88— What is a *rāga*, 88— The ten essentials of the *rāga*, 89— *Graha* and *aṃśa*, 89-92— *Nyāsa* and *apanyāsa*, 93—*Saṃnyāsa*, *vinyāsa*, *alpatva*, etc., 94— Bharata and Pythagorean systems, 95-96— Hindu music and that of the Greeks, 98— The *rāgagītis*, 99— The *jātirāgas*, as described by the *Rāmāyaṇa*, 100-102— The sentiments, as possessed by seven notes, 108—The grāmarāgas, 106— The musical notes in Kuḍimiyāmalai inscription, 107— The grāmarāgas in the Nāradī-śikṣā, 109— The nature of the jātirāgas, 110-111— The significance of gāndharva, 112-113— The rāgas in terms of the gītis, 115— The varṇas, 116-117— The sthāyi-varṇa, 117— What is a varṇa, 120— The alaṁkāras, 121— The bhāṣā-rāgas, 122-123— The chart of the jātirāgas, 127— The ṣaḍjī, 128— The ārṣabhī, 129— The gāndhārī, 129— The madhyamā, 129— The pañcamī, 129-130— The dhaivatī, 130— The naiṣādī, 130— The characteristcs of the grāmarāgas, 131-133— The charts of the rāga-gītis, grāmarāgas, and bhāṣārāgas, 135-137— The siginifances of the rāga and rāgiṇī, 139-140— The mūrcchanās are the fountainhead of the rāgas, 141— The rāgas and the melakartās, 152-143— The ten Hindusthānī melas, 144.

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CHAPTER FIVE

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Development of Rāga Vasanta ... ... 145—168

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Vasanta, as described by the ancient authors, 145— Pārśvadeva on vasanta, 146— Śārṅgadeva on vasanta, 146-147— Somanāth and others on vasanta, 147— Different kinds of vasanta, 148-149-151— Kanaka-vasanta, 151— Kala-vasanta, 151— Vasanta varieties, 152— The rāga dīpaka, 153— Pañcama and dīpaka, 155— The emotional sentiments of vasanta, 156-157— The dhyāna of vasanta, 157-159— Vasanta is the rāga of the spring time, 160— The significancce of the spring, 161-164— The symbolic expression of vasanta, 165— The psychological effect of vasanta, 165-166.

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CHAPTER SIX

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What are the music-parts, 169— The Vedic metres, 170— What is a *pada*, 171— The *prabandha*, 171— How the *dhātus* came into being, 172— The Vedic and post-Vedic *dhātus*, 173-174— The *sthāyi*, 175— The *antarā*, 176— The *ābhoga*, 177— The *nibaddha gīti*, 178— The *dhruva* and *antarā*, 179— The *dhātus*, as described by Dāmodara, 181—The *dhātus*, as described by Śrinivāsa, 182— Rādhā Mohan Sen on the *dhātus*, 185— Paṇḍit Bhātkhaṇḍe and the *dhātus*, 187— *Antarā* and *sthāyi*, 189.

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CHAPTER SEVEN

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*Development of Classical Music and Musical Literature of Bengal* ... ... ... 191—258

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Bengal in Gupta and Pāla periods, 191-192—The Sen period of Bengal, 193—The *prabandha gītis* of Jayadeva, 194—The *maṅgala-gītis*, 199—The *nāma-kīrtana*, 198—The *dhruvapada* and the Vaiṣṇava savants, 199—The statement of *Bhakti-ratnākara*, 200—Thākur Narottama and *kīrtana*, 202—Rāmprasād Sen's contribution, 203— Rāmanidhi Gupta's contribution, 204—How did the classical music spread in Bengal, 204-214— *Nāthagītis*, 215—*Caryāpadas*, 216-219—*Dohākoṣa*, 220—The old forms of some of the *rāgas*, 222-225—The old forms of the *rāgas*, as depicted in the *Gitagovinda*, 225-228—The forms of the *tālas*, as described by the *Gitagovinda*, 228-230— Rāṇā Kumbha and the *rāgas* and *tālas*, 231—

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The *Varṇaratnākara*, 232—*Rāgatarangiṇī*, 234—*Saṅgīta-dāmodara*, 235—*Hasta-muktāvalī*, 237—*Gīta-prakāśa*, 238—*Saṅgīta-sāraṇi*, 240—*Saṅgīta-nārāyaṇa*, 241—*Saṅgīta-kāmoda*, 243—*Saṅgītasāra*, 244 *Kālaṅkura-nibandha*, 244— *Saṅgīta-sāra-saṃgrahamu*, 245—*Saṅgīta-sāra-saṃgraha*, 245-246—*Saṅgīta-kalpadruma*, 246—*Saṅgīta-taraṅga*, 247—*Rasika-manarañjana*, 247—*Saṅgītasāra*, 247—*Gītagovinda*, 247—*Saṅgīta-ratnākara*, 248—*Rāgamālā*, 248—other works, produced in Bengal, 249-258.

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CHAPTER EIGHT

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Development of Padāvalī-Kīrtana of Bengal ... 259-331

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W. G. Archer about *kīrtana*, 259-260—The nucleus of the Vaiṣṇava *padas*, 261—Rādhā in Vaiṣṇava literature, 263-266—Vāsudeva-Kṛṣṇa, 268—The Pañcarātra doctrine, 269—*Gāthā*, 270—The Sahajiyā school, 275—Vaiṣṇava movement in Bengal, 276-277—The *padāvalīs*, 278—The hymns of the Ālvāras, 279—What do we mean by *vrajavuli*, 280—How did the *padāvalī-kīrtana* evolve, 283—The *kīrtana* is of classical type, 283-284—The eight *karaṇas*, 285—The derivation of *kīrtana*, 287—Sāyaṇa on the *stutigāna*, 290—*Garga-saṃhitā* on the *rāsalīlā*, 292—The *nāma-gāna*, 294-295—Svāmī Kṛṣṇadāsa, 300—The *dhruvāgīti* in the *Nātyaśāstra*, 302—The *dhruva-prabandhas*, 303-305—Narottama-dāsa, 306—Different types of *kīrtana*, 308—The significance of *saṃkīrtana*, 310—The *dhātus* of the *prabandha*, 312—The *jāti* of the *kīrtana*, 313—The *pāñcālī* and *caryā*, 315—The aesthetic sentiments of the *kīrtana*, 316-318—The *tattvas* of the *kīrtana*, 319—The conception of the hero and heroine in the *kīrtana*, 321—The *rāgas* of the *kīrtana*, 325—The *tālas* of the *kīrtana*, 326—A notation of a *kīrtana*, 330.

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CHAPTER NINE

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Development of Rhythm and Tempo* ... ... 332—353

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Everything phenomenal is ruled by the inevitable law of cause and sequence, 332—How the conception of rhythm and tempo came into being, 333—The rhythm, 334—Rhythm in the Vedic music, 335—The *Ṛk-prātiśākhya* on the *varṇas* and metres, 336—Saunaka on *chandas*, 337—What is a tempo, 338—*Kāla* and *tāla*, 339—The knowledge of time, 340—The *tālas* in the *Nātyaśāstra*, 341—The *tālas*, as described by Bharata, 342—What are the *kalās*, 343—Three kinds of *jāti* 343—The *yati* and *vṛtti*, 344—*Deśi-tālas*, as described by Śārṅgadeva, 345—Appaya-Tulsi on the *tālas*, 346—The South Indian system of *tālas*, 347-350—The psychological significance of rhythm and tempo, 352-353.

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CHAPTER TEN

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Evolution and Development of Veeṇā* ... ... 354—388

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Musical instruments have been divided into four, 345—The origin of the idea of *veeṇā*, 354-355—Prof. Panum on the lyre, 356—The Egyptian bow-harp, 357—The transitional stages of the bow-instrument, 358—How the word ‘*veeṇ*’ was coined for the bow-instrument, 359-360—The *vāṇa* and the *veeṇā*, 361—Milward on the bow-instrument, 364—H. Balfour on the musical bow, 365—A. H. Layard on the Assyrian and Egyptian bows, 367—Musical instrument in the Vedic period, 369—Dr. Caland on the *veeṇā*, 370—392—Dr. A. B. Keith on dance in Mahāvrata, 372—MM. Ramakṛṣṇa-kavi on *sāmagāna*, 172—Pluturch's remarks on lyre, 373—Buddhist *jātakas* on *veeṇā*, 374—*Nāradī-śikṣā* on *veeṇā*, 374-375—*Veeṇā* in the *Nāṭyaśāstra*, 376—Dr. Kṛṣṇamācāriar on *veeṇā*, 377—Abhinavagupta on *veeṇā*, 378—The methods of playing the *veeṇā*, 379—*Veeṇā* in the sculptures, 380—*Veeṇā*, as found in Ruper, 381—*Veeṇā* in Central Asia, 381—Pārśvadeva on *veeṇā*, 382—Śārṅgadeva on *veeṇā*, 382—Rāmāmatya on *veeṇā*, 383—Different kinds of musical instruments of the *veeṇā* class, 384—Construction of *veeṇā*, 385—*Rāgamela-veeṇā*, 386—The chart of notes in a *veeṇā*, 386—*Saṅgita-Ratnākara* on the significances of the parts of the *veeṇā*, 387.

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CHAPTER ELEVEN

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*Ideal of Indian Music* ... ... 389—405

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Music is an art, 389—Music is a balmy medicine, 389—A man works by the inspiration of his motive, 390—The sound represents two-fold aspects, 390—Music in India, 391—The highest function of music, 391—What do you mean by the word 'appreciation', 392—What does say the Indian Yoga psychology about appreciation, 392—Indian music is based upon melody or *rāga*, 398—T. P. Kṛṣṇa Rāo on melody and harmony, 393—Indian music lends ample freedom, 394—Indian music has reached its climax, 395—This is epoch of revival, 396—The *dhruvapada* and *kheyāl*, 396—Music is the universal language, 398—Music should not be burdened with mere mechanical techniques, 398—Divine beauty and solemnity lie within the core of music, 392—Music should not be bound up with rigid rules, 400—India's contribution to the domain of music, 400—Ideal of Indian art, 401—Art of Gāndhāra, 402—The nature of Indian music, 403—Indian music recognizes all kinds of disciplines, 404—Music is an ‘education’, 405.

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APPENDIX

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*Development of Notes and Scales of Vedic Music* ... 406—418

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What do we mean by ‘Vedic music’, 406—The base or accent tones, 406—The vāc and prāna, 406—Evolution of the sāman notes, 407—Prakṛti and vikṛti notes, 407—The early songs were monotonous, 408—Three main transitional phases of the songs of the yore, 408—The nature of the Vedic scale, 408—What do we mean by dipti, 408—The yamas, 409—What do we mean by the word ‘yama’, 409—Prof. Whitney on the Vedic notes, 409—Vedic notes, as used in different recensions, 410—Nārada on the notes, vaidika and laukika, 410-411—Nārada on the five microtones, 411—Regarding the reverse order of the sāman notes, 411-412—M. S. Rāmaswāmī Āiyār an the vakra-gati of the sāman notes, 412—Triratnabhāsya on the evolution of the notes, 412—Sāyaṇa on the sāman notes, 413—Thākur Jaidev Singh on the sāman notes, 413—Evolution of the notes of the sāman, 414—The accent tones are the sthāna-svaras, 417—The six vikāras in intonation, 417—Four kinds of sāmagāna, 417—How the sāmans were used to be sung, 418.

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NOTES & ERRATA ... ... 437 PLATES OF RĀGAS & VEENĀS