Professional Documents
Culture Documents
THE very deep interest which the European Public have of late evinced with regard to my humble labors
towards the revival of Hindu Music, has created in me a desire to present to them a collection of all that have ever
been written on the subject by the Oriental Scholars of Europe, together with my own comments on their views
writers.
first
The whole
will
consist of
two parts
The
part
therefore
its
collection, not-
withstanding
be received with
Should indulgence by those interested in the subject. this hope be realised, I purpose soon to publish the
second part which will contain a dissertation on our ancient Sanscrit musical works and a criticism on the
different
Music, together with further collections if available. All the extracts bear the name of the works from
which they have been taken. With regard to one taken from the " Ain-i-Akbari," a valuable translation of which has lately been published by H. Blochmann, Esq., M. A.,
I
my
best
acknowledgments are
for his
kind permission
make
THE
me
to bring
have incorporated
second part.
Hindu Music, which has been placed in the As I have already published a Dissertation
unnecessary to
thought
it
work
subject, such as I
had promised to do, while bringing out the first edition. My acknowledgments are due to the learned writers,
extracts from whose works form the subject of Part II.
PATHURIAGHATA BAJBATI, \
Wth
October 1882.
PART
I.
CONTENTS
A
Treatise on the Music of Hindoostan.
By
Sir
Captain N. Augustus
..
Willurd
...
..
...
..
..
1-122
of the Hindoos.
By
William Jones
..
125-160 163-172
By
Sir
W.
Ouseley
..
On
By
J. D. Paterson,
..
Esq.
..
...
..
. .
175-189
On the Vina
Sungeet.
or Indian Lyre.
By
193-197
201-208
By
. .
Translated
..
..
by H. Blochmann,
The Music
Esq., M. A.
..
211-216
of Hindustan or India.
By William
..
C. Stafford
..
. .
218-228
By
J.
Nathan
(From the
..
231-232
235-239
On
Scientific Intelligence.)
By
..
Col. P. T.
..
French
. .
243-273
277-282
Music.
By
Lieut.-Col.
James Tod
..
By
..
A. Camp..
..
bell, Esq., M. D.
..
..
..
285-290
Music of Ceylon.
By John Davy,
M. D., F. R. s.
..
293-294
297-30S
By Crawfurd,
Esq.
..
..
...
HINDU MUSIC
FROM
VARIOUS AUTHORS.
POMPILED AND PUBLISHED
/
/~**
\
)
(jblO
BY
KNIGHT COMMANDER OF THE FIRST CLASS OF THE ORDER OF ALBERT, SAXONY ; OF THE ORDER OF LEOPOLD, BELGIUM OF THE MOST EXALTED ORDER OF FRANCIS JOSEPH, AUSTRIA OF THE ROYAL ORDER OF THE CROWN OF ITALY OF THE MOST DISTINGUISHED ORDER OF DANNEBROG, DENMARK ; AND OF THE ROYAL ORDER OF MELUSINE OF PRINCESS MARY OF LUSIGNAN FRANC CHEVALIER OF THE ORDER OF THE KNIGHTS OF THE HOLY SAVIOUR OF MONT-REAL, JERUSALEM, RHODES AND MALTA ; COMMANDEUR DE ORDRE RELIGIEUX ET MILITAIRE DE SAINT-SAUVEUR DE MONT-REAL, DE SAINT-JEAN DE JERUSALEM, DU TEMPLE, DU SAINT SEPULCRE, DE RHODES ET MALTE REFORME KNIGHT OF THE FIRST CLASS OF THE IMPERIAL ORDER OF THE " PAOU SING," OR PRECIOUS STAR, CHINA OF THE SECOND CLASS OF THE HIGH IMPERIAL ORDER OF THE LION AND SUN, PERSIA; OF THE SECOND CLASS OF THE IMPERIAL ORDER OF MEDJIDIE, TURKEY ; AND OF THE ROYAL MILITARY ORDER OF CHRIST, PORTUGAL ; KNIGHT OF THE ORDER OF BASABAMALA, SIAM AND OF THE GURKHA STAR, NEPAL; " NAWAB SHAUZADA" FROM THE SHAH OF PERSIA, &C., &C., &C.
;
; ; ; ; ;
IN
TWO PARTS.
SE^COINi^EDmON.
PRINTED BY
I.
C. BOSE
249,
ML
33?
TREATISE
ON
THE MUSIC OE
HINDOOSTAJST,
COMPRISING A DETAIL OF
MODERN
PRACTICE.
THE similarity of the music of Egypt and Greece to that of this country has been traced and pointed out : harmony and melody have been compared and time noticed. The varieties of song have been enumerated, and the character of each detailed a brief account of the principal musicians superadded, and the work concluded with a short alphabetical glossary of the most useful musical terms.
: :
The man that hath no music in himself, Nor is not moved with concord of sweet sounds,
Is
fit
for treasons.
BY
CAPTAIN
Commanding
N.
AUGUSTUS WILLARD,
H. H.
the
in the Service of
Nawab of
Bancta,
TO
LADY
MADAM, The
illustrious
W.
C.
<Scc
BENTINCK,
<fcc.
etc.
statesman,
our
present
whom the administration of the affairs so much for the good of the country
of
of India is entrusted, at
I
large,
and
for
the
benefit
my
countrymen in
benefited
of gratitude
particular,
that
consider myself,
to
though
not
individually
by them, as bound
conveyed
or if recorded
acknowledge them.
letter are only
The
sentiments
to
in a private
known
the
parties
concerned,
I
method
of expressing
His Lordship
Lord
an
W.
equal
C.
BENTINCK,
of
doubt,
degree
satisfaction,
when
convinced
of
whom
important obligations.
With
it
respect
chiefly
to
yourself,
Madam,
have only
to
observe,
that
with the view of being enabled to dedicate the work to your Ladyship, that ib has been so abruptly and almost prematurely
was
With
my
heartfelt
acknowledgments
for
and
handsome manner
my
which your Ladyship has been pleased to accede to request, that you would permit me the honor of dedicating the work
in
to your Ladyship.
I
all respect,
MADAM,
Your Ladyship's very obedient, and much
obliged
humbls
servant,
N. A.
WILLARD.
CONTENTS.
Fagt.
PRETACE.
general view of th plan and contents of the work INTRODUCTION. Music. Its power on the human mind. That of Hindustan. The opinion of the Natives with respect to their ancient
liked
knowledge of it may be acquired. Not generally Reasons assigned for this. Native opinion with regard to its lawfulness. Musical instruments. Relation of music to poetry considered. Progress of music in Hindustan. The manner
musicians.
How a
by Europeans.
which should be led to ensure eminence in this science. Date of its decline. The similarity which its depravity. the music of this country seems to bear to that of Egypt and Greece. How a knowledge of the music of Hindustan might conduce to a
of
life
Cause of
Comparisons
offered.
Whether
15
made
greater progress in
. .
. .
HINDUSTANEE Mcsic.
many. The arrangement adopted hi this work Or THE GAMUT. What it is called. The derivation of the word. The subdivisions of tones. Resemblance of these to the Great diesis.
. . ,
87
Names Or
TIME.
Opinions of Dr. Burney and Mr. Moore on the enharmonic genus. of the seven notes. Origin of these. The gamut invented by
. . . . . .
Guido and Le Maire. Dr. Pepusch. Srooti The various measures used in Europe.
39
Difference between
them and
those of Hindustan.
the Greeks.
and Sungscrit languages. The Hebrew unmusical, likewise the Arabic. Melody and metre
considered.
controverted.
Tartini's objections against metre,
The
from
it.
Oordu.
Tartini's deduction of
its
fifth,
possesses greater
advantages. Opinion hazarded thereon. Characters for expressing time. Their varieties .
.
Time
. .
45
The origin and harmony in Europe. Opinions of several learned men on the subject of harmony with that
Claims of melody
.
. ,
. .
54
CONTENTS.
Pagt.
number.
Limited
.
.
60
The general acceptation of the terms supposed Reasons offered, why they are limited to season and
Divisions of Rags
Of the Ragmala. Absurdity of limiting tunes to seasons. and Raginees into classes. Rules for determining
of
the names
The
.
63
state susceptible
of
much
of the
. .
Detailed description
.
. .
90
Twenty
to
..
..
..101 which
made
in their song.
Reasons
now no
. .
longer exist,
. .
and
. .
examples produced
Brief Account of the
. .
. .
108
118
GLOSSARY
OF
Bishnoopud.
Bugeed, Bur.
A
A
species of
Hindu
Bum.
The
Bunsee or Bauslee.
Byree, m. Byrum, f.
ha,
flute.
enemy. Crishnu's flute, the Pupeeand some other birds are thus designated by the females
An
Charbyt.
p. 107.
Songs in the
Chhund.
p. 101.
A sort
in the
Sungscrit,
Chutoorung.
styles. 1,
Songs consisting of four strains in different Kheal 2, Turana 3, Surgum ; 4, Tirwut, p. 106.
; ;
Cool.
Curtar, castanets
made
Original songs of
Gholkee.
A sort of
fc^f^T
:
drum.
It is used in contradistinction to
strictly in con-
Dhoon, from
a sound.
thus characterised.
ii
GLOSSARY.
Dhoorpud.
A species
It
is
use seems to
Drums
chief of
them
are
Nukara,
&c.,
on Musical Instruments,
F.
Flageolet.
Flute.
now.
G.
Gamut.
Geet.
The
is
Surgum.
those
Ghuzel.
Oordu, p. 106.
Gramsthau.
gram, aud
The
is
first
is
called
The
some measure equivalent to our key note. extent of Hindu music being limited to three
in
Khuruj, or mundar gram, and the sounds supposed to proceed from the umbilical region, which is its gramsthan ; those of the middle octave, to muddhum gram, and are supposed to proceed from the throat immediately
:
and the
some
or brain,
and thence
The key
note.
Grunth.
Guitar.
GLOSSARY.
Ill
H.
Holee, or Horee.
A species of
I.
song, p. 103.
Instruments (Musical).
],
"Tut
;'
Ghun
;"
and
"
4,
Sooghur." For
ments,
p. 90.
J.
Jhanjh.
Jut.
Large cymbals.
species of song, p. 105.
K.
Khadoo.
A Rag or Raginee,
A species
which comprises
in
its
course
Kheal.
of songs, p. 102.
L.
Letters and Syllables, unpropitious.
The
are reckoned
unpropitious,
and
viz.,
^fcTO^UsTH-
Words
consisting-
of
three letters or
same
in
be equally unlucky
1.
Those which
have the middle syllable long, and the first and third short, and are called " Jugun? as jqf^ 2. Those which have
;
the two
and the
-^
last long,
denominated
"Sukun,"
long ones,
as
gf^cTf
"
Rukun"
as
flj^sft
4-
first
M.
Moorchhuna.
Hindu
scale
term expressive of the full extent of the of music, and as this extends to three
iy
GLOSSARY.
octaves, there
Moorchhuna
differs
there
latter, so
it
belong to the lowest, middle, or whereas every individual sound through the
it
is
way
of
naming them
appella-
q. v.,
or notes
or
but
eight, or
it may comprehend within its compass seven, more Moorchhunas, according to the number
Mridung.
sort of
Dhoorpuds, and other solemn species of music. Munjeera. Little cymbals used to mark the time.
Muqamat
their
Farsee.
Persian music.
origin
now known
in
this
country,
it
seems necessary to say a few words respecting them. The natives of Persia, like those of Hindustan, reckon their
ancient music as comprising of twelve classes or
Muqams,
it
Goshuhs.
generally
valent to the
Hindustan, the
Shobuhs
being
The annexed
Muqams and
Shobuhs, and
unknown.
GLOSSARY.
Names
oj
Moyamat.
VI
GLOSSARY.
Music.
The
science
of.
This in Sungscrit
is
The invention
of it is attributed to demi-gods,
Several treatises were written and are in existence, but they are so obscure, that little benefit is to be expected
Nayuk.
classes by the Hindu and extent of knowledge. He only has a right to claim this denomination
and
practically.
acquainted with
all
He
compositions, and
sing Geet, Chhund,
for
Should be
qualified
to
and able to
give instruction.
II
.
To
the
practice of music,
1.
and
is
subdivided into
2.
Gundhurb. One who is acquainted with the ancient (Marg) Rags, as well as the modern (Desee), and Goonee, or Gooncar. He who has a knowledge of only
the modern ones.
Culavunt, Gundharbs, and
III.
Gooncars,
who
sing Dhoor-
go by
this appellation.
IV.
Quvval, excels in singing Qoul, Turana, Kheal, Ac. Dharee, sings Curca, &c.
Pundit.
V.
VI.
is
This term
literally
and
applied to those
who
and do not engage in its practice. (Culavunt and Quvval are modern terms.) N.
Nucta.
species of song,
Nuqaruh.
sort of large
p.
107
sticks.
GLOSSARY.
It is one of the instruments of the
Vll
Noubut Khanuh.
Nuy
Literally a
reed,
Persian.
A Mahomedau
musical
instrument.
0.
Oodoo.
Ootpunuu.
Palna.
Prubund.
A species of
I
Qulbana
Rag.
...
Hindu
tune, p. 61 et seq.
Ragsagur. A species of composition, p. 103. Rekhtah. Poetry in the tongue called Rekhtah, set to music,
p. 106.
Ritoo.
Seasons.
of
Hindustan
of these is
and one
and Bhar-
The seasons
Busunt,
are
^
| !
son
.2
Greeshmu, Burkha,
Surut,
5
*
(
|
Hem,
Shishir,
J
a* ^a
Chyt'and Bysakh. Jeth and Usarh. Sravun and Bhadru. Ash win an(i Gartic.
Surut.
Shishir.
...
Busunt.
Deepuc
Sree
...
Greeshmu.
Hem.
...
Megh
...
Burkha.
Viii
CtOSSABT.
Rohee.
Ascending
scale.
Rubab.
It is a
gut strings.
particularly liked
by the
Puthans.
Sarungee.
The Hindustanee
fiddle,
modern invention.
An
Umeer Khosrow
Sohla.
i
Soor.
Soor-bhurna.
throat, generally
meant
Srooti.
The chromatic
twenty-two parts.
T.
Tal.
Time
Tal.
or measure of
Thoomree.
Time.
One
of the
Modern compositions
p. 106.
Umeer Khosrow,
Tubla.
Small drums.
These are used two at a time, one hand ; the right is used for the
left for
and the
the bass
(Bumb).
It is
of
modern invention.
Tumboora.
note,
A
fill
and
Tuppa.
One
of the very
of song brought
p. 103.
to
Lukhnow,
GLOSSARY.
IX
V.
Veen.
The most
ancient, extensive,
Its
instrument of Hindustan.
the Mooni Narud.
invention
attributed to
Z. Zeer.
Zicree.
The
treble
end
of a
drum.
originally of Qoojrat,
p. 107.
A species of
song
introduced
into Hindustan
by Qazee Muhmood,
PREFACE.
music minds an equal temper know, swell too high nor sink too low ; Warriors she fires with animated sounds, Pours balms into the bleeding lover's wounds.
By
Nor
POPE.
Poets themselves must fall, like those they sung, Deaf the praised ear, and mute the tuneful tongue.
POPE.
and
A TREATISE
a desi-
deratum which has not yet been supplied. Although have endeavoured to pene-
any
to
part of
it
rendered
I
familiar
Europeans.
this
chasm which
have endeavour-
ed to
so
fill ;
how
far I
have succeeded
difficult
(for
reasons
it is
is impossible to convey an accurate idea of music or written language ; that is, the various dewords by
It
of sounds,
together with
cannot be
by common
language, so as to be of
any use
2
to performers,
PREFACE.
use,
which
aloue
could be desired,
modern
attempts
this
to define
elegant
proved abortive.
How
country ad-
vanced towards the perfection of this science will appear in the course of this work ; but as they were something similar to the awkward attempts
previous to the invention of the
made
in
Europe
were
ed by Magister Franco,
were both
known
here,
and
it
only required
a trifling degree of
so
that
one individual character might instantly express both. This step was wanting,
dered
all
and
it
is
this
their
treatises
During the
cultivated
earlier
ages
of Hindoostan,
music
was
for polite
literature, for
whom
for
indeed,
for
the abhor-
the established
precluded the necessity of any other ; but when, from the theory of music, a defection took place of its practice, and men of learning confined themselves exorigin,
clusively to the
former,
while
was
PREFACE.
&
abandoned entirely to the illiterate, all attempts to elucidate music from rules laid down in books, a science
mere words, became idle. This is the reason why even so able and eminent au Orientalist as Sir "William Jones has failed. Books alone
incapable of explanation by
are insufficient for
to
this
purpose
we must endeavour
procure
are
solutions
several,
whom
there
thod,
although grossly
laborious,
This meprecarious,
although very
to
and
even
seems
made
lic
iu
abstruse an undertaking.
all
which
achieves
to
aspire,
is
set
to
music,
defection
of the
theory
from the practice of music in Hindoostan will be developed in the course of the work, and it is sufficient here
to
notice that such a defection has actually taken place,
for
of Indian
after
still
less as that
The
we take the
trouble
to
many
prove
all
of
whom
more knowledge
of the auri-
PREFACE.
is
imbibed
by us from our
school education.
No
deny that
age,
or
tender
difficulty.
It
is
ourselves
origin
of the
of Greek or Egyptian
must
be deserving of respect and imitation. The near connection between poetry and music should not be forgotten.
To
a two-fold
interest.
From
be
which
all classical
The
tions
I believe,
been
presume to hope,
a refinement on
There
is
is
melody ;
but
much modern
it,
us
its
blank
nudity, and want of that beauty which warranted the adorned when adorned the expression "and most
least."
Although
am
of harmony,
and
it
a very sub-
human mind,
the
reasoning
on
will
than shew
all
of genius.
perhaps
the most
beautiful successions
of tones
melody are exhausted, and this is the reason of the poorness of our modern melody, and the abundant use
PREFACE.
of
pensates by
novelty.
At
we
are
con-
harmony
nothing but
art,
which
" Enthusiastic
illiterate
mind,
study,"
but
a
natural,
the latter
To be convinced that
not been accustomed
till
we have
to, is
habit reconcile us to
of the
it,
sentiments
several
with
whom
on hearing the music of nations they have had but little intercourse. Eu-
rope, the boast of civilization, will likewise throw an additional weight into the balance of impartiality
when the
It should
is
a practice.
to visit Europe, and who had never having opportunities of hearing music in its
utmost perfection
opera,
or a concert, directed
ly
by an able musician, but had mereheard blind beggars, and itinerant scrapers, such as
and taverns
were to assert that the muit
frequent inns
sic of
title,
PREFACE.
the
and the poor traveller's want of taste would perhaps bo first and uppermost idea that would present itself. But when we possess the contrary testimonies of two
travellers
enlightened
subject,
with
respect
to
the
same
to appear some-
what
sceptical.
On
the
opinions given
I
shall
and Arabia, 1805, page 115, says, the Turks some who affect a taste
understand not
'
music
but they
musical composition.
wires,
An
always out of
tune,
a narrow
wooden
case,
strings,
a tam-
of parchment,
ornamented
with
many
discordantly,
and a
sort
of flute,
constitute
yet
it is
extremely
common
to
see,
amongst
the
most detestable."
In a note on this paragraph, the Doctor says,
ideas were
" These
:
have
I shall
may
be their theory,
PREFACE.
me
(and I had
many
beneath mediocrity,
or musical performers.
From
the
division of the
tones
into
ness of melody by which they are so much delighted, aud which leads them to disparage the greater harmony
of
European
music;
but
Turkish
judgment
;
only
nor can
who play
Mr.
merely from
memory, and
"
notes,
Dallaway
says,
They
accord-
ing to their
own musical
theory."
as
it first
and the similarity between the Turkish, as described by Dr. G. and Mr. D., and the Indian music, appeared to
me
place.
From the
occur to
it
did not
him that
all
and Rome,
lived in
monk
of Arezzo,
who
have played from memory, notwithstanding which they are celebrated to have acquired eminence. In more
several
bright examples in
men who
8
in
PREFACE.
and constantly played from memory, who became great musicians and composers. lu fact, several eminent men have been of opinion that
sight
early
iufaucy,
the study
of music
was to be
chiefly
recommended
to
blind persons.
in
his
infancy,
his divine
men
are
capable of
On
The
ments
it
was
generous
attempts
made by
Sir
William Jones
and Dr.
of Mr.
it
to
be an
inexhaustible mine,
ores of literature.
like-
wise contributed to
The poetry
after
of a nation
traveller
is
by the
and the
its
and
it is
seldom
considered by
while
it
him that
Munies and Jogees, a set of men reputed for sanctity, and whose devout aspirations were continually poured
forth in
trea-
how
despicable soever
at
least
PREFACE.
sufficient to
air
inserted
in
Journal, No.
6,
many
which
could point
in general
possessing in-
will be, I
beauty in melody, is seldom sought after, presume, allowed ; but why ? I shall venture
to
say,
We
please,
think
it
in
our
power
to obtain
whenever we
it
;
and therefore
become a
we never
strive for
but
may we
never, never
country.
am
however convinced,
to
an endeavour
doostan would not prove so easy an undertaking as one would be inclined to promise himself it would.
I
have endeavoured to
notice
the
similarity
which
appeal's to
me
how
far
my
conjectiu-es have been correct, it remains with the learned to decide. Should my labours prove successful in any
one instance,
shall
feel
happy
to
have contributed
even in so small a degree to the development of a science so intimately connected with the belle lettres, and which
respects
theatre of the
modern world.
and
Egypt,
countries
Greece
Rome
are
the
only
is
ancient
to
which the
European
scholar
taught
10
reverence
the
rest
PREFACE.
as
he
is
having been civilized and enlightened all India is not to consider as barbarous.
generally thought
rank
of, as deserving of any approximity in but the acuteness of some has even led them to
doubt, whether this country was not in a state of civilization even before the most ancient of those three ; nay,
was not the parent country the root of civilization. graft from the parent tree, having found better soil, has flourished more luxuriantly, are
whether
this
If a
we
in
this
day,
superstition
Egypt, Greece, and Rome ; and if the truths of the gospel were not to have been announced to the world
for
Europe.
of illiberal
;
the
persecutions
Mahomedan
and although of which
desirous of
eradicating
idolatry
(the
falsity
they
were
never
sword),
110
thought of demonstrating but with the and were thus far certainly iconoclasts, surely
eucouragers
to
the
improvement of
sciences.
So that
the philosophy and learning of the Hindoos consist in the knowledge of their most ancient writings.
all
If
should appear that in those times they had advanced more towards the perfection of music than did the
it
classical
nations,
it
seems to
palm,
at
me
sufficient to authorise
their
bearing
the
least
in
this
branch of
science.
far as
I
it
is
now
have
hope
PREFACE.
11
succeeded iu describing.
wanting here,
difficult
presume
;*
to
obtain
but
* "
last
Had
religion would, no doubt, have given permanence to systems of music invented, as the Hindoos but believe, by their gods, and adapted to mystical poetry
:
such have been the revolutions of their government since the time of Alexander, that, although the Sanscrit books have preserved the theory of their musical compositions, the practice
of it seems wholly lost (as all the Pandits and Rajahs confess) in Gour and Magadha, or the provinces of Bengal and Behar. When I first read the songs of Jayadeva, who has prefixed to
each of them the name of the mode in which it was anciently eung, I had hopes of procuring the original music ; but the Pandits of the south referred me to those of the west, and the
Brahmans
uorth
;
of the west
I
those of Nepal and Cashmir, declared that they had no ancient music, but imagined that the notes of the Gttagovinda must exist, if anywhere, in one of the
while they,
mean
southern provinces, where the poet was born from all this, I collect, that the art which flourished in India many centuries
:
ago,
remnants of
has faded for want of due culture, though some scanty it may, perhaps, be preserved in the pastoral
roundelays of Mathura on the loves and sports of the Indian Apollo." Sir William Jones, vol. I, p. 440.
Sir William Jones, it seems, confined
his
search to that
;
who might
likewise be a musician
B2
12
PREFACE.
and persevering will supply the deficiencies, and restore the original music of this country to its primitive state. Many branches of Indian science and literature have been
revived by zealous
clear
I
Orientalists,
and
it
why
its
have not confined myself to the details in books, but have also consulted the most famous performers, both Hindoos and Mussulmans,
India,
the
first
Veenkara in
musicians of
Lucknow,
and
writ-
Hukeem Sulamut
The reader
will
Ulee
Khan
of Benares,
who has
work a translation
of
treatises
work, comprehending the system of Hindoostauee music according to the ancient theory, noticing as much of
it
as
is
have endeavoured, likewise, throughout the work, to assign the motives for several peculiarities in Hindoo
music and manners, for which none has been hitherto assigned, such as the confining their Ragiuees to particular
the
between
the
poetry
:
of
several
nations of Asia, sung in this country some ancient customs now become wholly or partly obsolete, and practices now out of fashion, or rendered useless in con-
the
British Go-
have taken
Jones
the
'
motives for
hope,
appear
13
sufficiently
presumption.
Some reasoning on harmony and melody will likewise be found, which I hope will not be unacceptable ; but
on impartial consideration found to possess some weight. The immense variety in time noticed in the original treatises, a great many of which are still practised, has
led
me
should
have
done,
had
its
so limited in
European
important.
practice,
and the
species
All the
of composition
of each
sicians,
is
superadded.
INTRODUCTION.
The
verse of Chaucer
is
not harmonious to us
it
they
who
live
with
him, thought
musical.
DRYDEN.
Music.
Its
power on
the
human mind.
it
That of Hindoostan.
How
a knowledge of
may
be acquired.
Not genethis.
rally
tive
liked by Europeans.
Na-
lawfulness.
Musical instru-
ments.
music in Hindoostan.
led to
to poetry considered. Progress of The manner of life which should be insure eminence in this science. Cause of its depravity.
Date of its
decline.
and
How
to
might conduce
offered.
re-
Comparisons
Whegreater
latter.
progress
music.
considered as fabulous
they certainly are the gradual productions of several, wrought up into a system after the lapse of considerable
time, and
the confirmation
of
a variety
of
experiments.
Nature
is
is
in pro-
portion to
The
takes ages to
develope
its
mushroom
springs up in a
few hours.
10
iniii'l, it is
INTRODUCTION.
observed to be the same as with other productions
of nature
it,
more
it flourishes.
men
actuated by divine inspiration, except by the Hebrews, the only nation upon earth
is
who had the knowledge of the true an awe with which men of great minds,
it is
them for the benefit of mankind, no wonder they were regarded by the
Men
of limited
command have
it
lence to an extensive
benefit, or allevia-
goodness
over
whom
men
of
a superior order.
All
is
gunge.
Dr.
Burney*
its
says,
"Vocal music
is
antiquity,
that
;
origin
mankind
of joy
and pain,
and
must long have preceded every other The voice of passion wants but few
in all
human creatures,
p. 4C1.
INTRODUCTION.
17
weakened, and
by particular convention,
by degrees rendered
it
in different societies,
unintelligible.
of nature,
;
retained by
artificial
while our
tongues are
after
known only
We
talk of love,
'
in general
those passions.
pleasure, of
It
is
The
want
of colors.'
for
though a word
one way, yet the different tones of voice that can be given to
it
A mere negative
or affirmative
may even
From
can be attached to any particular word. " * If the art of music be so natural to
man
that vocal
melody
can be
is
little
And indeed, when we reflect with how easy a transiwe may pass from the accents of speaking to diatonic sounds when we observe how early children adapt the
tion
;
language of their amusements to measure and melody, however rude ; when we consider how early and universally these
*
18
practices take place
INTRODUCTION.
there
is
is
The Hindoos
;
the invention of
for
music to Muhadev
superstition
it
but after
and ignorance, as
seems unnecessaiy to
see, its
music, and
refinement
is
of its professors.
She
is
Indians of America,
or the
yet in her cradle with the rude " hideous virgins of Congo."
With
have
she
may be
said long
still
to
far
from
that of puberty, her progress towards maturity having been checked, and her constitution ruined and thrown iuta
Mahomedan government
in the
luxuriant soil
with music, as
with painting, sculpture, statuary, architecture, and every other art or science, chiefly ornamental or amusing, that it
flourishes best
and
more
early at the
;
courts of
the
Roman
pontiffs,
to that circumstance, it
than in any other country and owing is, that the scale, the counterpoint,
dramas, religious and
secular,
the
and elegances of modern music, have derived their origin from Italy."
It is a very ancient observation,
ters in
that the
"
greatest mas-
INTRODUCTION.
10
same period
of time
for
;''
much
bodies,
credit
doubting
stars,
any power
of
planets,
or kindly aspect
the heavenly
might not
and impregnate
some
a celestial spirit."
He
also
sneers
at the
and Plato, Pindar, and the founders of the Roman and Persian empires, and attributes the cause to emulation. This
latter
principle,
ment, which is the source of all emulation. Did Ukbur Shah not encourage and patronize genius, his court would
not have been
filled
Why is
Italy considered as
the school
Rome
The power
of music on the
human mind
amiable
acknowledged to be very
great,
as well as its
passions.
In Arcadia, every
the
man was
required by law
his
ferocity of
manners
and
their praises of
Most natives
government flourished, had power not only over human beings, and passions, but also over irrational animals and inanimate and insensible
creatures.
when
their
There are
professors
on
record to
whom
the
C2
20
" 1 have
Sir
INTRODUCTION.
been assured by a credible eye-witness," says William Jones, " *that two wild antelopes used often to
to
was no music,
secondly, a learned
me
upon hearing tunes on a flute, which, as he supposed, gave them peculiar delight and thirdly, an intelligent Persian,
;
who repeated his story again and again, and permitted me to write it down from his lips, told me, he had more than once been present when a celebrated lutanist, Mirza Mohummud,
surnamed Bulbul, was playing to a large company in a grove near Shiraz, where he distinctly saw the nightingales trying
to vie with the musician,
trees,
sometimes fluttering from branch to branch, as if they wished to approach the instrument whence the melody proceeded, and at length dropping on the ground in a kind of
ecstacy,
raised,
he assured me, by
of music,
Whatever poets or fabulists might have alleged in favor and whatever extravagant praises the wild ness of
by the dictates of a
fertile
genius, led
them
to pronounce,
it is
have
been
feel
The power
of music anciently,
On
larged
INTRODUCTION.
would, from the agreeable surprise,
its
21
occasioned by novelty, add much to the effect that could be looked for iu later times indeed, some have supposed,
;
it
With regard
seems to
to Oriental
music, although
all
scholars of the
yet
it
me
very doubtful,
comprehended
its beauties.
perfection in this
can be attained
living performers,
an undertaking in
so from the
itself so
want of perspicuous
Indeed, without
the assistance of learned natives, the search would be entirely The theory' of music is so little discussed at prefruitless.
few even of the best performers have the least knowledge of any thing but the practical part, in which to
sent, that
their credit
it
which seems to
must be acknowledged they excel. The reason of be, that most treatises on Hindoostanee music
manner
of " Tartini on
men
Notwithstanding what men of great learning and taste have alleged in favor of Oriental music, persons whose authority
many who
treat it with
derision
to
whose judgment
will observe in
a transient manner, that the only reasoning have to they allege is to remark with a smile that it is Hinnatural taste,
22
INTRODUCTION.
is
of the
most refined
There
is
a note in
Duta on
vilest,
when a
falling friend
which
"
of
much
idle
pane-
gyric,
common
virtues of
humanity.
Amongst
many
of the
European
who
To them, and on this head, the above* verse is a satisfacand that no doubt of its tenor may remain, I add
Not even a
low man, when laid hold of for support by a friend, will turn
away
If
his
face
how
sion
by Hindoostanee music is meant that medley of confuand noise which consists of drums of different sorts, and
fife
perhaps a
if
the assertoin be
made by such
its full
as have
extent
but
if it
be so asserted of
it
Hindoostanee music, or of
is
all
possesses or
susceptible
arise
The
prepossession
might
more
of the following
causes
first,
ignorance, in which I
performers
secondly,
natural
INTRODUCTION.
eloostanee
23
its
music
thirdly, inattention to
;
beauties
from
of
the second
motive or otherwise
It
is
fourthly,
incapacity
all
comprehension.
these
not rational in a
is perfectly
man
to praise
or decry
or imperfections.
there are
and philosophical contrivances which present a similar view to the uninitiated. Who would have thought that instinct
could lead an irrational animal so far as almost to approach
to"
sense,
arts employed by different animals ? Who should have credited the wonderful effects of gunpowder, which ob-
devices
and
That
fire
might
be literally
brought down from heaven was considered a miracle before such a thing as the fulminating
of it
by
Brugnatelli.
What
agent as steam
been directed
by the ingenuity
man!
How
it
would
have rejoiced Captain Savery to have beheld steam, acting as it were from its own impulse and consciousness, resembling that of a reasonable being
!
We
how ignorance
or incapacity
might lead
we do not
consider whe-
24
INTRODUCTION.
it
opportunities of hearing
to the best
advantage
whether,
all
;
of Music,
from the
earliest ages to
(MDCCLXXVI.)
very justly observes, that "to love such music as our ears
are accustomed to
is
nature, that
it
the highest
that
it
estimation at
and
in every place,
its
than
progressive im-
perhaps though I have met with some European ladies who eagerly desired to possess a copy of a Hindoostauee song or air, yet
it
much esteemed
as
its
merit deserves.
Al-
seemed to
me
it
more
as a relic of
curiosity,
The author
of
"
An
:
Homer" very
sets
of
"we
narrow capacities
of manners,
our minds
or
two
life.
comprehend with facility different ways Our company, education and circumstances make
deep impressions, and form us into a character, of which we can hardly divest ourselves afterwards. The manners, not
only
of the
we
live,
and betray us at every turn closely when we try to dissemble, and would pass for foreigners. In
we
are
perfectly
well
acquainted
INTRODUCTION.
with the manners, and customs, and mode of
life
25
prevalent
amongst
ed to be conveyed."
Various are the opinions which the
natives entertain of
music with regard to its lawfulness or otherwise. The Hindoos are unanimous in their praises of it, and extol it as one
praised with due sublimity,
in which the gods are and princes have their benevolent and heroic actions recited in the most suitable of the sweetest
enjoyments of
life,
kings
its
aid forget
their
pays the most gratifying compliment to his mistress, and the coy maiden without a blush describes the ardour of her
passion.
The Moosulrnan
with each other.
use of
are
it
The more
severe
of
them
while others
it
with certain
restrictions.
preferred silence.
it
as
exhilirating
it
the spirits,
and
more
reason, declare
to be an incentive
Shekh Sadee
says,
Music
is
either
vocal or instrumental.
to
The former
latter.
is
everywhere acknowledged
be superior to the
It
2G
is
INTRODUCTION.
man
to
form an
artificial
instrument
all
beautiful in tone,
and possessing
When
would have
understood, that
its
mean
its intrinsic
and
real
beauties, uncircumscribed in
branch of
it.
towed
sufficient
Although nature might not perhaps have besingenuity on the natives of India, which
rival
what appears
me
a more
attributable
cause
The
will
names
forgot
of Byjoo,
in
Nayuk
of the
the annals
of Hindoostanee music
disciples of the
and time
late
Shoree will
The above
observation
on the musical
we can
offer
no opinion as
to
the care
With
some
I
in
existence whose
singing does
them
great credit,
and
have
who
It is allowed that
them
off to
advantage
such happy effusions of the musiciarfs imagination that they speak for themselves ; nor
while there are
sometimes
could
all
the
fire
of the rhetopossess.'
retician
INTRODUCTION.
27
The
in their melodies,
which
if
our attention
and engage but when we come to examine the sentidelivered in so delicate a strain, and
with the beauty of the melody, we find ourselves sadly disappointed, for they conwill be in accordance
I shall
explain
poets and men of erudition, and sung their own compositions in fact, music and poetry have always gone hand in hand, and as the Egyptain priests, by means of their hieroglyphics,
reserved the knowledge of their sciences exclusively to themselves, so the
any but members of the elect, whose mouths only were esteemed sufficiently holy to utter words so sacred j indeed,
the innate pride of
man would
the other
On
presume to wish to acquire a knowledge of the sacred writIt was ings, as it would be reckoned impious to do so.
thus that the ancients sung their
progress of time,
princes,
and
especially
under
whose
imaginations were
likewise
in
D2
28
INTRODUCTION.
have noticed
melody of the
The
and
of the rise
the pires, the biography of eminent men, and the account of invention and progress of arts and sciences, furnish us with
common
and
How
who
trivial
of nations,
in time
How
different
the
and
fall
men
The
and
history of music, in
common with
origin
seems
to
have been
to
to others.
In progress of time,
when language
arrived to a
worship of the Supreme Being. It was afterwards extended to the commemoration of great events, the celebra-
music arrived at
its greatest
before the
subsequent depravity
and
then,
trophe.
INTRODUCTION.
29
Music has always been highly appreciated, especially when ts charms have not been prostituted to add to the allurement of licentious poetry. Hence it is that after it had been methodised,
the greatest
it,
men
iu
this
its
country in
;
ancient days
in course of
admired
and patronised
professors
till
men
of honor disdained to be
numbered amongst
its professors.
At present most
is
men on
is
earth,
all
that
abominable,
synonimous with that of the most abandoned and profligate The later musicians of Greece exercises under the sun.
being drawn through the whole latitude. The author of An Inquiry iuto the Life and Writings
of
honor.
to
kings
were necessary at feasts and sacrifices ; and were highly reverenced by the people." The ancient troubadours of Provence were likewise all musicians.* Their subis
sequent depravity
well
known.
The common opinion in Hindoostan is, that to be a great musician, a man must live retired from the world like a Jogee.
This opinion
tices
is
influenced
greatest
by a consideration
antiquity,
of the prac-
of
the
professors of
and
is
not
We know
that some of
Todos o
los
mas
cavalleros andantes dc
Part
I. lib. iii.
Don
30
IXTROUL'CTIOX.
copied from nature, and adopted as the foundation of their enchanting scenes. The aid the painter derives from them
is
evident.
places
befriend,
common with
quoted
all
from
The grasshopper
sings
summer
to
The paucity
estimation in
of
men
which they were held. This scarcity has been " Of all universally acknowledged. Sir William Temple says, the numbers of mankind that live within the compass of a
thousand years, for one man that is born capable of making a great poet, there may be a thousand born capable of
State,
as the
most
The musicians
austere
who adopted
this
method
No
gifts
as they
and of accepting the fruit of their genius as a which they possessed no other means of repaying
kind
all
treatment.
sacrilegious
Their tribe
violence,
them from
The
and
insured respect.
religious
who
who had
INTRODUCTION.
31
renounced the world, and dedicated themselves to the worship of the gods, added
some weight
commanded
men would
The
several
of
and
after
some knowledge
still
of the
art,
to set
up
for themselves
discovered.
They, however,
ground,
till
who
that
prostituted their
mere
trifle
and
lastly,
other
traffic
answered their avaricious views, even engaged in not at all honorable to a man of any profession,
and they might have said, with the Proven9al minstrel of the 12th and 13th century
I from lovers tokens bear,
I
Amorous
And
They were become like the minstrels of England in the regin of Edward II. when it was found necessary in 1315
to restrain
them by express
till
laws.
the reign of
Mohummud
Shah,
who
is
Delhi,
and the splendur of whose court could not be maintainAfter the reign of this monarch,
32
Dr. Carey,
in
INTRODUCTION.
the
preface
to his Sanscrit
Grammar,
from India.
very
The reasons
which
plausible,
may
reader.
" This ence of castes, says, regulation has no where been found
any country of note, ancient or modern, except Egypt and India, which has caused many to suppose that the inhain
And
again, p. 69,
"These distinctions were sanctioned by religion, and interwoven into its very essence in Egypt as well as in India. In
this the Egyptian
priests
Although a similarity in the music of the two countries would not have much weight in hazarding such an opinion,
yet,
such respectable authorities, it will perhaps not be considered out of place that I have pointed out all the confor-
me
made
in that
abilities
and
a matter of regret that their labours have more generally ended in obscurity, doubt, and conjecture than in ascertaining the desired point.
it
But
is
This, however,
so for
and must perhaps for ever remain want of authentic documents, which can never be
;
for
INTRODUCTION.
33
There
is,
at-
tending upon the history of music. This is a science which addresses itself exclusively to the ear, and before the invention of the
modern method
it in
description of
of committing an air to paper, all books must have been vague, and liable
to great uncertainty.
The hatred
them
practice almost inviolable, and hence perhaps if a thorough knowledge of Indian music is acquired, and some similarity
be found between
it
of
those
celebrated
countries.
ancient music
is unintelligible is
definitions
most part made but little progress for want of perspicuous and living performers, who might assist in deciphering the theory.
If a comparison between the ancient music of Greece, which was principally borrowed from the Egyptians, and that of Hindoostan, might be hazarded, it would appear that
Many
and of
little
use but to
such,
were the Cymbalum and the Systrum ; and it perhaps, that the cymbals were called .ffiera by
abilities
But
it
of modern musicians, who would acquire so much parade and noise in " The more time is " the less keeping together. beat," says M. Rousseau,
34:
INTRODUCTION.
iu
its
present acceptation
and
The Diatessaron
or 4th of
The Greeks
two
tetra-
choi'ds, which were exactly similar to each other, si ut re mi and mi fa sol la, and the note mi, being that by which
The Sarungee
the practice in
is
and
in
we have of its state amongst the former, and the examples at present found in the latter, aided by a review of its flourishing state under the native princes, would
accounts
living
decide in favor of
Hindoostan.
The use
of
a flute, with
ages of
;
Greece,
as well
kept
most
p. 75.
music.
of
all
The music
Its
now
in use in
despoiled
beauty
by such an accompaniment ; but the ancient music was on the rythmical principle, in which the greatest beauty consisted in marking the time
distinctly.
The same
train of
reasoning
will
account
for
the
practica
of Hindoostan.
INTRODUCTION.
instrument as a solo
35
Krishna played.
trumpet,
of
till
The Greeks
to have
Argos
is
been the
first
who
distinguished
a player
Agalausf of Tegea won the crown which was proposed for upon stringed instruments without singing. This
late as the
was so
first
'
The Greek
two octaves, and was called Systema perfectum, maximum, immutatum.' The Veen, one of the most ancient instru-
ments
of India,
is
said to
have performed, extends to three octaves and a half. ' There was no instrument amongst the Greeks with necks
or finger-board,
so
method
different
of shortening strings in
so as to produce
sounds
(so their
melody must
confined to
only that
number
ments, as will be
shewn when
come
to treat of
them
They respectively. by the same character these have one common name same note in every octave.
;
'
The dancers
in
Rome were
called Saltatores
from their
is
This
is all
that
known
of
graces.
*
but we have no account of their particular The dance of the Greeks was similar, and served
;
Burney,
vol.
i,
p. 82,
ibid.
E2
36
as the
INTRODUCTION.
model which their conquerors, the Romans, adopted. Amongst them this class of people were denominated Curetes.'
This description
very distinct
is
amusement amongst
Hindoostan,
is
them.
The dance,
paratively of
as
it is
now
practised in
com-
a modern date.
zeal
till
theme
hymns
were necessarily
this in a short
and
quered the degenerate sons of India, to change into that effeminate and meretricious style in which it is at present.
Indeed, the want of morals amongst
sexes
is
its professors of
both
we
of
much
by expert
HINDOOSTANEE MUSIC.
What
it is
The
treatise*
Native divisions
work.
Music
Sanscrit,
it
in
Hindoostan
this' as
is
whence
well as
are derived.
on this
science,
sian.
with translations of several in the Hindee and Perof these are the Nadpooran, Ragar-
nuvu, Subhavinod, Ragdurpun, and the Sungeet Durpun, and other works in the original Sanscrit, and short accounts in the works of
the
Tohfuht-ool Hind, by Mirza Khan. The native authors divide Sungeet into seven parts 1, Soor-udhyay, which treats of the seven musical tones, with their subdivisions ; 2, Rag-
udhyay, defines the melody; 3, Tal-udhyay, describes the measures, with the manner of beating time ; 4, Nrit-udhyay,
regards dancing
;
5,
signifi-
method
of performing
The
first
nected with
sorily
my design. Something will likewise be curmentioned in the course of the work regarding the 5th
38
and
last beads.
HINDOOSTANEE MUSIC.
Those referring
I shall
to
dancing and
its)
appro-
priate actions,
I shall not,
leave aside.
in
which they
will
naturally
present themselves.
OF THE GAMUT.
Madam,
I
art,
in a briefer sort.
Shakespear.
What
it
is
called.
The derivation of
diesis.
the
word.
The subdivisions of
tones.
Re-
on
the
enharmonic genus.
invented by Giddo
Names of
seven notes.
Origin of
Srooti.
these.
The
Gamut
and Le Maire.
Ih: Pepusch.
is
THE Gamut
appellation
is
in
Hindoostanee
to be derived
is
said
A B C
letters
of
the alphabet, or the word itself from the two with which the
Greek
in the in
letters begin.
The number
of tones is the
same
as
modern music of Europe, but the subdivisions are more the manner of the ancient enharmonic genus of the
Greeks.
The
difference
in
the subdivision
of
the
tones
chromatic genus being divided by the diesis or quarthe modern music of Em-ope, the
ter tone.
To
a person
versed
in
subdivisions of
40
OP TOE GAMUT.
as to be productive of
auy melody that would be pleasing to the ear. I shall forbear to say anything on my own authority, but shall quote a passage which I think appropriate.
be rendered pleasing, still remains a mystery ; yet the difficulty of splitting a semi-tone into two halves, or even dividing
it
into
more minute
than has
been imagined.
When
it is
how
Ode
of Anacreon,
If one of their
modes was
a pro-
ture of
by quarter tones, which, we are told, was the nathe enharmonic scale, simplicity was by no means the
characteristic of their
sion, of
melody ; for this is a nicety of progreswhich modern music is not susceptible." That such subdivisions exist in Hindoostanee music is cerbut
it
tain,
must be
left to
time, and
The names
Gundhur
Nikhad.
is
;
notes are
;
1,
Khuruj
;
2,
Rikhub
3,
7,
4,
Muddhum
solfa-ing,
su, ru,
5,
Pun chum
6,
Dhyvut, and
In
however, the
ri,
first syllable
only of each
mentioned
or
The Khuruj
OF THE GAMUT.
is
41
called su,
on account of
its
way of pre-eminence.
do not recollect that any of those who have written on Hindoostanee music has informed the public what system
has been adhered to by
him
that
is,
which note
of the
Sur-
gum
has been
made
to correspond with
It seems to me to be a matter of some consequence to determine this point, for the benefit of those who might wish
As the number
thing to be
first
of notes is the
is,
same
determined
which
Sir
to
correspond to the
Khuruj to correspond to A ;* but in this it appears to me he is guided more by alphabetical arrangement of letters than
by any connection
If the
it
musical arrangement.
Khuruj
it
is
tuned
UT
or C,
it
seems to
me
to be
more
systematic,
The musicians of Hindoostan never appear to have had any determined pitch by which their instruments were regulated, each person tuning
his
own
ed by guess, to the power of the instrument and quality of the strings, the capacity of the voice intended to be accompanied,
it
From
this
may
is desig-
noted by which
but
seems to
me more
systematic
The authors
thing to
its place
of
the East, being desirous of tracing every the want of authentic history, supply In the instance of the origin (oot-punuu)
its source, in
by
*
fable.
42
of the gamut,
is
OF THE GAMUT.
they say, that the various sounds of which
are
it
composed
varioxis animals.
assert, is in imitation of
the call of
the peacock
peeha
Muddhum,
;
from the
the bird
named Coolung
Punchum, Koel
and Nikhad, elephant. How far this opiDhyvut, horse nion can be maintained, I leave the reader to determine. I
mu-
call of
It
will
be allowed
in
made no
despi-
cable advances
music,
when
it is
known
Guido of Arezzo
nedict,
is
in
Tuscany, a
monk
of the
some dispute
this point.
The date
syllables
first
invention
is
The
ascribed to
him
syllables of the
hymn
of St.
John
'
Ut queont
and
it
laxis," the
was not
till
Sa,
ri,
<&c.
are,
by a singular concurrence,
though not in the same places, with three of those invented by David Mostare, as a substitute for the troublesome gamut used in his time,
exactly,
ga,
lo,
mo,
ni.
i,
p. 420.
OF THE GAMUT.
Serialization,
43
still
con-
tinues to
tice
in
Greece,
of the Grecian.
sol,
la,
la, till
the
eighteenth century,
the hexachord
was
The notes
subdivisions,
as is
done
with
us.
distinct
name
assigned to
it,
as
is
the follow-
ing table.
Soars.
Comprising
Butra.
Srootis.
Khuruj
..
Cumodutee.
Mundrica.
Rikhub
Gundhar
Crodhee.
Bujjra.
Muddhum.
Prusarunee.
Preetee.
Punch wn
Marjunee. Kshutee.
Ricta.
Sidpunee. Ulapunee.
Dhyvut
Muudutee.
.
Rohinee.
Rummya.
Nikhad.
Ooggra. Joobhunca.
Here
first
it
and
fifth
F2
44
OF THE GAMUT.
those oetween
the second and third and sixth and seventh, each into three
parts,
fourth,
and seventh
and eighth, which with us are reckoned semi-tones, each iuto two parts.
OF TIME.
Musick do
Ha, ha
!
hear
When
keep time. How sour sweet musick time is broke, and no proportion kept.
is,
Shaketpear.
die,
:
Have
The
their hearts
strings of
which in
Keep time with their own trumpet's measure, And yield them most excessive pleasure.
Prim:
Difference
between them
Greeks.
and
those
of
the
njthm of the
Similarity between
the dignified
the
tongues derived
from
Its
superiority to
Oordoo.
Probable
origin of the
modern musical
of the octave
measure.
Tartini's deduction
of measure
from
the proportions
and
its fifth,
opposed
to
the practice
of Hindoostan.
Their varieties.
is
signifies the measure by which the melody and without which there is no music. The regulated, of this branch of the science is so generally importance
TIME
in
music
acknowledged,
merits.
that
it
is
superfluous to expatiate
insist
on
its
I shall not
here
4C
iu
OF TIME.
who European practice, as it must be understood by all have any knowledge of music, and to those who are not initiated in that science, it is not my object to enter into any
explanation.
A great difference prevails between the music of Europe and that of the Oriental nations in respect to time, in wliich branch it resembles more the rhythm of the Greeks, and
other ancient nations, than
modern music
of Europe.
To
all
those
who
are acquainted
it will
be unnecessary to
poetical
From the certain knowledge of the rhythm of the ancients, and the similarity observed in the practices of the natives of India, Persia, and other Oriental countries, it inclines one to
the opinion that the rhythmical measure
is
the lawful
off-
spring of nature,
existed
found in
the
all
much
prior to
Much
but
question,
measure.
When
Greek and Sanscrit languages, as well as in those derived from the latter, is taken into consideration, it seems doubtful,
whether the one would not even allow more variety than
the other.
The Hebrew
is
acknowledged
to be a
harsh lan-
the saute
is
likewise applicable
the
Sanscrit
OP TIME.
language
is
47
This should perhaps
On
would
the
contrary,
it,
have defended
freely
perhaps with
more
zeal
admit.
Amongst
others,
Isaac Vossius
of
modem
I
musical measure,
musicians
mention this
it
fact
only
in
leave
1
others
but
must
that
can
by no
means
unassisted by melody.
Sir
as-
His
words are," It is in this view only that we must consider the music of the ancient Greeks, or attempt to account for its
amazing effects which we find related by the greatest historians and philosophers it was wholly passionate or descriptive,
;
and so closely united to poetry, that it never obstructed, but always increased, its influence whereas our boasted harmony,
;
with
expresses nothing, says nothing to the heart, and consequently can only give more or less pleasure to one of our senses ; and
no reasonable
man
a transitory pleasure,
in disgust, to a delight
in satiety, or
even
However, to give
imitative,
48
exciting the
ing, as the
OF TIME.
passions, cannot be consonant to
sound reason-
repugnant to
written in
it.
How
different
if
the
measure peculiar to anacreontic odes, or vice versd ! Metre is allowed to have this effect in poetry, and why not in
music
It is very well
known
of
key, without a change iu the time, has very the spirits of the hearer.
It has
power on
"a rythm, that the time is melody of even very ordinary merit, iu which distinctly and accurately marked, is more capable of pleasing
been also alleged in defence of
and giving
satisfaction generally
than a more
scientific
and
is deficient in this
respect."
Many
From
and short
How far this may hold good with respect to the music of the Greeks, we possess no existing
is
means
of judging
For in
respect,
there
is
more
liberty
permit, as I
endeavour to demonstrate.
peculiar nature of the
The
melody
if
of
he has the least pretention to excel in it, not to sing a song throughout more than once in its naked form but on its repetition, which is a natural
;
OF TIME.
to break
off
49
at
sometimes
at
the conclusion,
other times
at the
sure,
commencement, middle, or any certain part of a meaand fall into a rhapsodical embellishment called Alap,
and
ad libitum
passage?, rejoin
dis-
much
grace as
if it
but are considered only as grace notes, introduced according to the fancy of the singer, where the only limitations by
which the performer is bound are the notes peculiar to that No other particular melody, and a strict regard to time.
rules exist for them,
and
if
them
to certain forms.
It will
strict
is,
adher-
The
reply
that
when
ad libitum
time of a whole
measure, or a certain
number
of measures, reckoning
from the
when
it is
dropped, taking up
it
was dropfor it
more or
less
complement
of the
made
great
number
of pieces are in
dignified
prose,
of
an
derived from
*
it.
and impertinence of
conversation,
which, bad at
is
become more
General Hislory,
50
and admit of much
OF TIME.
variety.
two or more notes are frequently allotted to one syllable, and they resemble more the style of the modern musical measure
than the generality of poetical compositions. These pieces, and indeed all those songs called Dhoorpuds and Kheals,
as well as those of
some other
species, are
commonly
in the
in the district of
Khyrabad.
although
is
is
nevertheless
It
Oordoo-
appears,
it
possessing
am
led to
believe that it
its
rise
The
pri-
admit the melodies then in use amongst the as pagans profane. The rythmical measure also was objected to, as being too light and lively, and the distinction of
unwilling to
poetical feet being laid aside, all notes
same
music began afterwards to be cultivatlength. ed for the stage and the cabinet, the insipidity of music
When
composed of notes of equal length was soon felt, and the ancient metrical measure being out of favor, while the adoption of
to be
some
sort of
OF TIME.
51
all
'
:
measure
from the proportions of the octave and its fifth common or arises from the time, measure,' says he, octave, which is as 1:2; triple time arises from the fifth, which is as
2
:
3.'
'
'
which
we can hope
Indeed,
effects,
but the greatest confusion, and this must always be the case. Music has been composed of five equal notes in a bar, but
no musician has yet been found that is able to execute it." The authorities of Tartini and Dr. Burney are very respectable, yet
we may
sastisfy ourselves
is
beautiful melody in
Hiudoostan,
comprising seven
and
other
The
end of this
article will
by them.
itself of Tartini
remains yet
to be proved, before
From
rally
all
namely, which has the advantage the ancient rythmical or the modern musical measure 1 This appears
arises,
and
will
perhaps not be
finally
have learned to Europe play the music of Hindoostan in unequal number of notes.
shall
if
we
The ryth-
mical measure seems to have been quite adapted to the language of the Greeks, which admitted of auch variety in the
02
52
metrical
feet,
OF TIME.
is
known
to bear a strik
it
ing resemblance to
may
be
al-
lowed to be equally advantageous in melodies of that language, and those derived from it, many of the poetical feet of
which could not be adapted to the modern melody of Europe. The time table in Europe was first formed in the eleventh
century.
ia
others suppose
him
only to
of his predecessors.
He
is,
;
and semi-
Although six different characters for time are generally described in modern time tables, yet no more than four were known till several centuries after
breve were
known about
that time.
of characters
for
musicians of Hindoostan
ghoo,
the
They reckon
is
It is certainly
in
Hindoostan
such
different
values
The ancient Greeks seem have subsisted amongst them. to have had only two, the long and the short, which served to mark the measure both of poetry and music, and in
the canto farmo notes of equal value only are found.
it
has in music,
is called
Tal.*
The origin of
this
word
is
said to
OF TIME.
53
as are
I
They reckon an immense variety of these, but such These now practised are limited to ninety-two.
describe in the
shall
annexed
table.
or
commencement
there
is
struck.
The
syllables corresponding
with a certain
number
sure
is is
of the strokes
its
commencement,
is
and
Sum
by
mean
its
quantity of duration.
OF
" The prophet David, having singular knowledge, not in poetry alone, but them both to be things most necessary for the
left
house of God,
for the
raising
men on
ths
subject
Claims of melody.
HARMONY,
whose native
to
Europe, whence it has been transplanted but all the native culture of music ;
make
it
grow spontaneously
exotic.
in
any
Wherever
else
it
is
found,
it is
which Hindoostanee music generally admits of, and indeed requires, if it can be called harmony, is a continuation of its
key note, in which respect it resembles very much the Scotch pastorals, or the instrument accompauies the voice in
unison, as was the practice in Europe, until towards the
of St. Lewis's reign in the thirteenth century.
end
OF
55
Many
by the use
of
harmony.
it is
The former
produces
various
to
the truth
of this
great
author's assertion
when we hear
melody melody
is
is
not overpowered
in
short,
harmony by which
is
" There
;
a fashion,
we
are
modern ears
Doni
tells
most
is
the
offspring of har-
mony as being deduced from it. I cannot presume to dispute so great an authority, but I would only beg to question,
first
practised in the
world.
will,
believe,
coincide
with me, that although melody can certainly be deduced from harmony, yet the former is the elder sister by many a thou-
sand year.
language
;
music and
"Notwithstanding the dependence of melody upon harmony, and the sensible influence which the latter may exert
upon the former, we must not however from thence conclude, with some celebrated musicians, that the effects of harmony
are
preferable to those
of melody.
contrary."*
*
56
It is not in
OF
my
decide a point
I
on which the
only offer a
strike
shall
few obvious
person
ject.
remarks, which
must naturally
every
ters,
if
pieces of music, in parts, even by the greatest maswhich are universally admired, would sound quite insipid divested of that harmony which animates them. This at
Many
it
may
likewise
add some weight to the opinion which some entertain, that the modern melody has not the merit of the ancient, and
harmony is used with the view of compensating for its poorness, and diverting the attention of the audience from
that
perceiving the barrenness of genius.
It will be easily allowed
ment
in
parts,
as
when
it
performed as a
solo.
Dr.
"
Upon
I
it
harmony
however
have endeavoured to shew, that the stripping their music of counterpoint does not take from it the power
of pleasing, or of producing great
times,
if
effects
and in modern
their airs
more
pleasure.
the contriv-
ance of complicated parts, in the course of the airs which they terminate.
57
Au
elegant
is
and
graceful
fine*
voice,
without instrumental
and
in
a solo, composed
and performed by a great master, the less the accompaniment is heard the better. Hence it should seem as^if the harmony
of
accumulated
vocal
parts,
or
the
of the
first
class,
which
is
but
seldom found.
to diversify
and a well-written chorus have their peculiar merit, even among songs aud solos, however elegant the composition or
perfect the performance."!
*
"All these
instruments
(pianoforte,
organ,
&c.)
were
far
inferior
and
in the
power of obeying every call of sentiment, every degree, as well as every The pleasures of kind of emotion, with which the heart was agitated.
harmony,
though
great,
were
monotonous,
momentary
variations
of sentiment,
which are
and shade of a prospect, while the dappled clouds fall across the sky. The violin and a small number of the simple wind instruments were
found to be the
gradations
thrill
fully
its
of
sentiment
music
to
ii,
Supplement
to Encyclopaedia,
vol.
Art.
We may
all
gift
it
a single voice
in parts
t
is
may
was
never,
intended by nature.
"
It
may
indeed
happen,
from
the
number
of performers,
and the
may
be lost in
loses
but
this,
though
it
may be harmony,
lively
name
of music.
of this
division
by
and
accentuate
all
to speak,
expresses
the
58
Melody seems
much
the
Indeed, music
is
found
space of
little
more
paints
every
to
possible
its
picture,
reflects
and impresses even on the heart and soul of man sentiments proper to affect them in the most the sensible manner. This, continues he, (M. Rousseau,) which is
skilful
imitations,
genuine
lyric
and
theatrical
;
we
exert ourselves
stage.
this
or the
resonance
of
nature, that
we must
which
*'
it
formerly produced.
all
music, which
is
not in some
deserves
degree
by these
pathetic
and
imitative powers,
no better name than that of a musical jargon, and can only be effectuated by such a complication and intricacy of harmony as may confound,
but
cannot
entertain,
the
audience.
This
character,
;
therefore,
ought to be added as essential to the definition of music and it must be attributed to our neglect of this alone, whilst our whole attention is
bestowed on harmony and execution, that the best performances of our and composers are heard with listless indifference and oscitation,
are, indeed, by pedanwhat they do not feel. Still may the and inattention pursue and harrow up the souls of
.artists
and
affectation,
to
pretend
curse of indifference
who pretends
musical legerdemain;
still
them
to
voice
of nature."
"Music
at present divided
more simply
into melody
and shortness
cadences, are of
consequence amongst
For
it
59
and harmony
is
more
by
mankind
Music had already been too much circumscribed by rules was made to supply the place of the ear,
its
authority alto-
Having advanced
subject of
that I thought was necessary on the and melody in general, I shall now harmony
all
sical air,
Ibid.
it
Had
(music),
own way,
it is
Art.
Tempera-
ment,
OF ORIENTAL MELODY.
Hot generally susceptible of harmony.
Limited to a certain number.
lit
character.
THE melody
so
admired, and I
are at present
much accustomed
harmony, that to their ear this meattracting than it would otherwise have
is
Indeed, so wide
the natures
European and Oriental music, that I conceive a great many of the latter would baffle the attempts of the most expert contrapuntist to set a
rules of that science.*
*
harmony
to them,
by the existing
"
We
total
of musical
exceptionable
we
rather think
it
very defective,
upon the We appeal even to instructed musicians whether the melody or air. heart and affections are not more affected (and with much more distinct
depends
variety
more
of emotion)
by
by
us that the
effect of
har-
mony, always
filled
up,
is
less
touching
sung or played by a performer of senand powers of utterance. We do not wonder, then, that the sibility ingenuous Greeks deduced all their rules from this department of music,
nor at their being so satisfied with the pleasures
it
some simple
yielded,
that
they
were not
harmony.
country.
We
There
see that
is
the
change
in
every
no
OF ORIENTAL MELODY.
61
To expect an endless variety in the melody of Hindoostan, would be an injudicious hope, as their authentic melody is limited to a certain number, said to have been composed by
professors universally acknowledged
real
to
only merit, but also the original genius of composition, the beyond precincts of whose authority it would be criminal
to trespass. since done
is,
What
them
to
their
own
pur-
Thus
Whatever merit an
it
implicitly
of these
believed, that
impossible
to
merit.
one single melody of equal So tenacious are the uatives of Hindoostan of their
!
ancient practices
It
may
or
own
rules
commentator D'Alembert
native masters,
allowing the
its existence merely with the view of affording pleasure to the auditory organ.
for
melody in Hindoostan
is
Rag
or
;
is
Irishman,
or Russian,
that
the
composing heart-touching airs is degenerated in his respective nation and all admire the productions of their muse of the days that are past. They are pleasant and. mournful to the soul" Ibid. Art. Tem;
in
perament.
62
OF ORIENTAL MELODY.
I shall offer a
few observ-
common
to all
tition
2.
and
variations.
all
They
is
denominated
by us Rondo, the piece being invariably concluded with the first strain, and sometimes with the first bar, or at least with
the
3.
first
or measure, or a certain
number
of measures,
ad
lib.
There
is
as
much
have in themselves
doleful
some
affinity
merry minds to
as
tunes,
pity,
tunes,
;
solemn
tunes,
tunes
men's
warlike tunes
Bacon.
a predisposition to the
motion of the
spirits.
The
general
acceptation
of
the
terms
to
supposed
season
to
be
incorrect.
Reasons
offered,
why
they
are
limited
and
time.
Of
the
Rag-mala.
Absurdity of limiting
into classes.
tunes to seasons.
the
names of
the
mixed
Raginees.
are generally
construed to
mean
cer-
modes*
of Hiudoostan.
How
far this
definition
is correct, I shall
* S.
j^L Rag.
n.
B.
\^j\ i_^U
n. s.
j5w^jlj
;
many Rags
musical modes
i/^L)
Rag-mala,
the
name
of a treatise in music
(nothing
more than
_X^t\ Raginee,
n.
s.
f.,
Sr
number).
Hunter's
Taylor's
Hindoostanee
Dictionary,
1808.
Shakes-
The celebrated
JDr.
Carey
of Serampoor,
however,
in
his [Bengalee
meaning
tune
s
(this is the
(from fft?
Hindoo music.
C4
life.
in
two
different
siguitl-
manner
of style,
key
it is
;*
and
Mode,
in
my
signification of
by Dr. Carey. As amongst us there are two modes, the major and the minor, so the natives have a certain number
of
T'hats, to each of
appropriated.
If these signified
a different arrangement,
which
case.
Any
one
may
former on the
frets
when the
instru-
ment is properly adjusted, the fingers of the left hand running over them produce those tones only which are proper for the
mode
to
which the
frets
Let the Sitar-plaver be desired to play something in the fiaginee Uluya, and after he has done that, tell him to play
and
it
will
be
may be performed on
Uluya,
&c.,
On
him play
This
It
Lulit, or
and he
will be oblig-
mode by
all in
the same
mode
or T'hat.
is
Mode,
music.
regular
disposition
ments
is
sounds upon
Brit,
65
It is not strictly a
its definition
same
situation
as
a tune is
amongst
us.
to
what
with us
is
sounds which
;
while the
Raginee disposes of those sounds in a given succession, and determines the principal sounds. The same That may be
adapted to several Raginees, by a different order of succession
;
its
own
pro-
per That.
may
so far
a different one.
made
memory
to re-
tain
them the
better and
easier.
To connect
a variety of
under one common head, in order to preserve a concatenation, has been a practice common amongst the Oriental
nations,
Entertainments,
variety of works in
known
It
to every person
literature.
number
of tunes,
I
66
resolved
to
duce them
all
who
many
and that
or as Coolnath
who
also presided
Thus having
arbitrarily,
and according
own
fancy, dis-
also
in-
or dreading an innova-
the
number
some time
or other
it
might cause a
of the supernumerary
trived
children.
This opinion
is
strengthened by
being asserted
that forty-eight
That
allegory,
this
fiction,
fact,
fiction,
and in
appears to
mythology of the ancient heathens,) pleasingly beguiles us, is " acknowledged by Sir William Jones, vol. I, p. 430 Every
:
whom
is
a ge-
or sons.
The
been
finely
employed
in
giving speech
and form to
this
G7
who
nor have the Hindu poets and painters the advantages with which so beautiful a subject pre-
sented them."
of the
arbitrarily assigned by the author to any one of his composiis as probable as the often whimsical names given our by country-dance and reel composers to their producNo person believes that the "Devil's Dream" is a tions.
tions,
genuine communication from the dreamer. This is further probable from there being very little or no similarity between
a Rag and his Raginees.
The
disparity is sometimes so
Rag
Rag
Nay, some of the tunes allowed by one author to be is emasculated by another to a Raginee, as Dr. Qil;
and on the other hand, a Raginee is The same uncertainty preunder which the Rags and RaRag-mala,
it will
If
we look
to the characters in
ginees are
delineated
altogether
the
be seen that
of the
they are
metaphorical.
are
As
the
figures
descriptive
are
divinities
the tune was prescribed to the song, although the determining of the time itself
wholly arbitrary. Hindoostan pretend, that any song sung out of the time appropriated for it sounds uncouth. The
is
The
songsters of
is,
68
sung, and to
Sir
W. Jones
Whether
it
velocity or
air,
so
iu
spring or autumn,
;
persuaded that their primary modes, in the system ascribed to Pavana, were first arranged according to the
am
number
Sir
of Indian seasons."
W,
and
plausible
much
and endeavoured to prove that the nature of the several Rags aiid Raginees are such as to be really improved
by the
difference of temperature
even without making allowance for accidental variations, which constantly take place every year.
varieties
of season,
Sir "William asserts that the modes ascribed to one system were arranged according to the number of Indian seasons, which are six, and his calculations just preceding it are
founded on the four seasons of Europe. It seems to me not improbable, that in limiting the season in which each
Bag
or Ragiuee
all
want of any
this
and the
rest neglected
and suffered
to be forgot.
Perhaps
notice
69
and iu
its
It
may
who
and Raginees at stated hours and seasons, that to them from habit, they would not relish reconciled being tunes so well at what was reckoned improper seasons. Percertain Rags
haps being a usage of the country, established from time immemorial, and in some measure sanctioned by religious
authority, or
But
it
must be quite
It
would be
reckoned
extremely
This
may
who
;
my
opinion,
it
to the
humour a person may be in, but the time of the day can make no difference. A man deeply in love, for instance,
always relish love
ditties,
will
and a huntsman
is
ever for
to
the chase.
seasons have
;
more regard
for
the
should in some measure correspond with the subject, whether gay or grave, &c., yet there are more tunes than one
that will or
It
is
may
be
made
to
suit
also
observable
each
Rag
or Raginee is
often happens,
through the abuse of unqualified composers, that the words are not seasonable with the tunes.
The Hindoos
combined
in a
define
Rags
to
tQ
each other.
in
other
the similarity aucl succession of their sounds or tones, but the Srootis (see page 29)
differ in
to distinction.
Rags and Raginees are divided into three classes (Jati) first Sumpoornu, or those which comprise all the seven notes, in
:
their course, in
or such
any determinate succession whatever second, as are composed of six notes and third,
; ;
five
notes
and hence
it
is
that no
is less
Rag
or Ragiuee
is
extent
than
five notes.
There
is
to their formation or
composition,
and
this
also
comprises
three classes
first,
This
first
class
:
is
viz.,
Soodh
and Muhasoodh
their
Srootis;
termed Muhasoodh.
latter.
These
other,
some
compound
:
ones.
This
first,
Sunlceernu,
or such as are
which
is
two Soodhs, e. g., Bhyron, formed of Tooree and Canhra ; and second, Muhasun-
compounded
of
more
of
There
the
is
a diversity of opinion
which
class.
In general,
dec.,
the
Rags are believed to be Soodh, and the Raginees, SunTceernu. Some suppose even the Rags to be of this
last
71
first,
Canhra
second, Sarung
sixth, Tooree ;
third, Goojree
fourth,
Nut
; fifth,
Mular ;
class,
To
the second
ascribe
;
first, fifth,
Descar ;
Rewa ;
Bilawal ;
;
Megh
seventh, Soruth
eighth, Dkunasree
;
ninth,
Goura
; tenth,
Sree Raff
eleventh, Deepuk
twelfth,
Cafee ;
The
is,
rule
names
of the
mixed Bags
agreeably
to
some
authorities, to
is
name
in
it
last,
introduced
as Pooria,
is
Dhunasree
others
introduced in the
first
mentioned
first,
regular succession
to be
and the other or others subjoined to it in e. g., suppose ; Shyam and Ramculee
:
compounded with each other if Shyam forms the commencement, and Ramculee is afterwards introduced into it,
it
should be called
Shyam Ram
but
if,
on the contrary,
it
intro-
COMPOUND
more
modern
RAGS.
chiefly by the word Rag is here used in a general acceptation, and seems here to imply simply " a tune ;" for most of these cannot with propriety be deno-
The
have
72
ffamet of Rag*.
Compounded of
Bhempulasee Bhoopalee . .
Bhyron .. Bhyruvee
Bibhas
..
Bichittra
; or, according to others, Bilawul and Culian. Hindol, Soodh, Canhra and Pooria. Buraree, Lulit, Soodh, Sarung, Punchum, and Bilawul; or, agreeably to others, Soodh, Shyam and Bhyron. Bilawul, Goojree, and Asavuree. Sreeruvun, Chitee, Gouree, and Buraree. Kidara, Maroo, and Suruswutee.
Buhoolee
Buhoolgoojree
Bungal
Buraree
Burhuns
Busunt
C.
Tooree, Cumbharee, and Pooria. Bilawul and Goursarung, or Bilawnl and Sarung ; or, as others say, Culian and Kidara. Bamculee, Goojree, Descar, Eungal, and Punchum ; some say Tune instead of Bungal. Descar, Bungal, Bamculee, and Goojree. Dhunasree, Maroo, Gouree. and Lulit ; others say Buraree, Gound, and Goojree. Descar, Toree, and Turwun, Marwa, Bouranee, Chitee, Doorga, and Dhunasree.
Cafec ....
Camodee
Sun<mrabhurun and Gouree. Soorishtuc and Gouree, or, agreeably to others, Sooghraee and Soruthee. Gound and Bilawul. Camod and Nut. Maroo, Bihagra, and Nut. Jutee, Cumbhavutee, Jytsree, Uheeree, Tune, and Buraree.
Sanwunt, Lulit, and Pooria. Bihagra, Culian, and Canhra. Bilawul, Poorbee, Kidara, Deuguree, and Madho.
Coombh
Culaee,
. .
Cudum Nut
or
Dhunasree and Soruthee. Dhunasree, Dhuvul, Canhra, Uheeree, Kidara, Soodh, and Mudmadb.
Curaee,
Sooghareo
Culayer Culian Binod
Culian Camod Culian Nut . .
or,
according
Cumbharee
. .
Sourashtuh Guuesh.
and
Dhunasree.
Composed
by
Cumbhavutee
73
Names of Rags.
Cantha
Curaee, vide Culueo.
Compounded of
Maroo, Kidara, Jytsree and Suncarabhurua.
Hunchum,
...
Lulit,
Deepavutee
Deepuk
....
Deusakh
Dhoulsree Dhunasree
.
. .
. .
Dhyanjee
Diwalee Doorga
....
Dukshin Nut
E.
Deepuk and Suruswutee. Kidara, Catnod, Soodh, Nut and Bagesree. Toree and Khutrag. Suruswuteo, Puruj and Soruth. Foorbee, Sarung and Soodh. Sung by the Deutas. Suncurabhnrun, Soodh, Mular and Cauhra. Bilawulee and Jytsree. Toree, Usavuree, and Maroo. Toree, Bibhas, and Suhana. Cumbharee, Malsree and Suruswutee. Malsree, Leelavatee, Gouree and Sarung, Coocub, Bilawul, Poorbee and Kidara.
Emun
F.
Purodust
G.
... Goojree Goonculee
,
Poorbee,
Gound
Goundculee Goura Gouree .... Goursarung
Lulita and Bamculee, Desee, Toree, Lulit, Usavuree, Descar & Goojree. Dhunasree, Mular and Bilawul. Goojree and Usavuree. Gouree, Nut and Turwan. Jujavuntee, Usavuree, Goojree and Soruth ; some
say,
Goura
and
Sarung.
Bilawulee, Lulit, Punchum, Pooria and Bhyron. Kidara, Emun and Soodh Culian. Sung by
Humeer and
Goureenath. Nut.
Jujavuntee
..
say,
. .
Jy tsreo
74
Names of Rags.
Compounded of
Khem
Khemculian
Kbutnug
Khutrag
Kidara ... Kidar Nut Kyrvee
.
. .
Canhra, Suruswutee and Culian. Kidara and Hunieer ; or, as others affirm, Canhra, Suruswutee and Soodhculian. Maroo, Dboul, Jytsree and Kidara. Buraree, Usavuree, Toree, Shyarn, Buhoolcc and Gundhar. Some say Buhool-Qoojree instead of Buhoolee others, instead of Sbyam. Cooeba, Poorbee and Bilawul. Kidara and Nut. Sarung, Sooba, Goojree and Gouree.
;
Leelavutee
Lulit
,
Luncdhun
M.
Descar, Jytsree and Lulit. Desee, Bibbas and Puncbum. Some leave out the last, and others make it comprise of Dewsakh, Bungal, Dhoul and Bibhas. Bilbaree and Kidara, composed by Hunwunt.
Madho
. . .
Manj
Malcous
Malsrec
.
,
Soodh, Mular, Bilawul and Nutnarayun. ainod, Soodhuut and Humeer. Ramculee, sbyam, Gundhar and Goojree. Gouree and Soruth. Sarung, Soruth, Bilawul and Mular. Hindol, Busunt, Jujavuntec, Punchum Khutrag, Maroo, Sarung and Sanwuntee.
Punchum,
<.
Malwa
Maroo
wutee
Gouree, Puraj and Bibhas. Gouree, Puruj and Soruth. Coclut, Canhra and Sooha, composed by Nyrud. Culian, Camod, Sanwunt and Busunt. Mular, Soodhculian and Mulsree. Nutnarayun, Mular, Soodbj Humeer and Mud-
Marwa Megh
JHidniadh
Mudmithoon Madhveo .
. .
or,
agreeably to
others, Kut, Sarung and Meghrag. Mular and Nut. Jytsree, Canbra, Kidara and Culian. Some add fhyam. Ramculee, Shyam, Gundhar and Mungulashtuc.
Munohur
N.
Some
Nagdhun
....
Nut-Narayun
P.
Paravutee Poorbee . .
Dewculee, Gound, Gouree and Foorbec. Malwa and Gouree or, agreeably to others, Gouree, Gound and Deuguree.
;
75
flames of Rags.
Compounded of
Pooria ....
Punchum
Pruluee Furuj
.
Lulit
Dhoulsree, Tune, Mungulashtuc and Canhra. and Busunt. According to some Burarec, Gound aud Goojree. Others say, Gundhar, Munohur and Hindol. Deuguree, Poorbee, Gouree and Gound. Some asDbuuasree, Maroo and Gundhar. sert it consists of Maroo, Toree and Usavuree.
Putmunjnree
R.
Rageshwur
Rajhuns
Bhyron,
Munohur.
Sung by
Ruhus Mungla
or
. .
. .
Mulsree, Soodh and Mular. Nut, Sarung, Bhyron, Lulit and Punchum.
Sanwunt
Sanwunt Camod.
Sarung
Shiwruti ..............
Sarung and Mular. According to some Kidara and Camod. Others add also Canhra. Kidara and Camod. Some add Soodh. Others say, Sawunt and Camod. Deuguree, Mular and Nut. Others say, Marwa
and Mular.
Shubana
Sindhoora or Sindhwee
Soodh-Camod
Soodh-Culian
Burhuns and Sindhw. Furodust aud Canhra. Usavuree and Uheeree. Soodh and Camod. Tune, Camod and Gond.
Bagesree, Pooria and
Soodh-Nut
Soogbraee vide Culaee. Soohoo
Mudmadh.
Others
sub-
Ma
TOO,
Bilawul
and Bibhas.
Bhyruvee,
stitute
Soruth
Sorutbee .. Sourasbtuc
Sree-Rag . Sree ruvun
.
Gundhar
and
Malwa, Emun and Soruth. Gundhar, Goojree, Bungal, Punchum and Bhyruvee.
Bungal.
Sree-sumod
Burhuns, Tune and Gouree. Sree-Rag, Malwn.e and Suncuralihurun. Malsree, Soodh, Sree-Rag, Bhempulasce
Tune.
Malsree, Soodh and Mul.ir. Soruth, Luncdhun and Bilawul.
and
Stumbh
Sucroun
J 2
76
Namet of Rags.
Compounded of
Suctbulibh
Goonculee, Ramculee, Gundhar, Goojree, Shyatn and Gour. Kidara and Bilawul. Bhyron, Sooha and Soodh. Nutnarayun, Suncurabhurun and Soodh, Lulit, Punchum, Tiluk, Sarung and Soohoo.
Thoomree
Toree
. .
....
Tiluk-Camod
Treekshun
Trivenee
. .
Tune
Turwun
..
and Dhoulsree. Bijuya, Burhuns and Desee. Nutnarayun, Jytsree and Sunuru. Sree Rag, Cauhra and Bhyron. Descar, Gouree, Foorbee Some, in the the last, say Lulit ; others Bibhas.
U.
'
room of
Ubheeree
and Shyam.
Uheeree and Nut. Dhunasree and Tooree. Dhoulsree and Gound. Mular and Canhra.
OF THE RAGMALA*
THE
personification
of
melodies in
Ragmala,
or chap-
let of melodies, is
what
I shall
next describe.
Custom, which
How
shall
by native painters
I
made
of the reader,
when he
the
sees one,
and
compares
it.
it
I shall
here give of
shall,
Ragmalas generally
scarcely one
sometimes so
is
incorrect, that
of
the representations
'
strictly
8cc Note
in
T>
IfU (_/')
P- 49 -
77
not
As
painting
is
now
is
exer-
probable
that
ject were
in the
copy.
mistaken for another, and accordingly adopted Subsequent copies were made in a similar
manner, former errors were perpetuated, and new ones added, till very little resemblance remained between the pictures
of the
ed.
amateurs
are
more
solicitous of
possessing
than of ascertaining
accuracy,
for
The
find
he should
no reason
for his being at the pains of reforming I beg leave to on the subject of Indian Wm. Jones Indian drawing differs from the
I
terrestrial
things
rely
with so
little similitude,
we must not
Vol.
I,
implicitly
p. 343.
On
BHYRON.
Muha-
This rag
is
He
is
comely aspect,
his hair is
drawn as a sunyasee or Hindoo mendicant of a having his whole body besmeared with ashes,
He
and from amongst them flows wears bracelets on his wrists, and
78
in the
eye
situated
hideous
serpent
his neck
The
Thus
Sometimes equipped, he is mounted on an enormous bull. he is represented seated on the elephant's skin, and the bull
tied beside him.
I.
Bhyruvee.
Bhyron, and is perhaps not only the eldest, but also his best beloved at least she seems to be the first and most respected.
This
is
one of the
five
wives allotted to
beautiful
;
virgin of a
deli-
beaming eyes
down
to
her waist.
thrown
over her slender form, and exposes her feet which are tinged
red.*
garland of
chumpa
she
is
seated on the
summit
of a rock
and she holds a pair of munjeeras or little cymbals in her hands, with which she keeps time to the song or hymn which she appears to be singing.
her
side,
* Mr. "Wilson, verse 212 in his translation
of
the
Megha Duta,
in a note on
Staining the soles of the feet with a red color derived from mehndee,
the Lac,
ice,,
is
toilet.
It is
thus
ele-
gantly alluded to in the ode to one of the female personifications of music, the Raginee Atawieree
*'
The rose hath humbly bowed to meet, " With glowing lips her hallowed feet,
all its
bloom."
Esq.,
series
of
79
Buraree.
of whose
This young
girl,
the
beauty
countenance
is
is
heightened by the
engaged
white.
The
Her
and
one of the wives of Bhyron, here represented as deficient in her conjugal faith
is
She
towards him.
Ovid's
be properly applicable here, as the Hindoos are permitted by law a plurality of wives, but the women are not at
liberty
to marry
twice.
But,
in
have
not the
of
gods and
all
goddesses
eternity
?
been privileged
matters
love from
3.
Mudhmadh.
The complexion of this Raginee is of a golden color, and she appears to prefer that to every other tint. Her dress is of the same tinge, and her body is stained with the fragrant
die of the saffron.
She
is
the preceding.
It is to be observed for
the
satisfaction
of the
European
much admired by
which sound uncouth in the idioms of Europe ; but it is to be understood that the latter of the two expressions has
reference only to the pleasure which the
diffuse,
beams
of the
moon
and
and not to
is
its
rotundity
respect
not to
its
80
Sindhvee.
is
The sanguinary
her features.
triple
displayed in
She
clothed
in
red
garments, holds a
her
ear.
She
is
Bungal.
A joginee
or female
mendicant or devotee.
;
Her
face
is
her body
is
musk.
Her
clotted hair
:
tied
in a knot
her bosom
dart in her
MALCOUS.
An
athletic
with wine.
young man of rosy complexion, and intoxicated His vestments are blue, and he holds a staff
in his hand.
string
of large
pearls
is
hung round
his
neck.
He
is
surrounded by women,
whom
he addresses with
gallant familiarity.
The
prohibited by the
where to be found.
is
"while
others
By the precept of the faith of Mohummud, its very touch is polluting. The poets, particularly
altogether.
ita
81
is
to
of the
admirable Hafiz,
it.
The
meaning
to that
word,
passages very
much
strained.
natives of
always taken to
Toree.
is
Her
fair skin is tinged and perfumed with touches of camphor and saffron. She stands in a wild romantic spot playing on
the veen.
The
skill
has so fascinated the deer in the neighbouring groves, that they have forgot their pasture, and stand listening to the
notes which she produces.
This
is
one of the
effects
of-
by modern asseveration
vide p. 6.
2.
Gouree.
mangoe
for her
ornament.
She
is
endeavouring
to
sing her
intoxicated as to
it.
Gooncuree.
air
The
grief
which
is
depicted in the
of this
female, the
from her
eyes,
sitting
82
under the cudum
of care,
in
studies her
own
she
is
constantly immersed
E.
Coocubh.
The
revels
of the
preceding
night
drowsy from want of sleep the garlands of chumpa flowers with which she had decorated herself lies ecattered about, and
:
her dress
is
light of the
discomposed but yet she seems to loathe the dawn, and would fain convince her lover that the
;
blushed.
III.
HINDOL.
number of nymphs, him amuse with music and keep surrounded, time with the rocking of the swing on which he sits, inin a goldon swing, while a
He is seated by whom he is
taneously
offered
to his
shrine.
His countenance
is
wan,
his
am
and dress
the fact
is,
To
sing, to dance,
To
dress,
and
troll
roll
the eye,
to
educated
according
the
customs
of
Hindoostan.
We
and propriety of
so prominent a
which gives
in
to
of nature
part
the
decoration
feminine
beauty.
H.
H.
Wilson's
Megha Duta,
p. 76.
K2
83
Ramcuree.
The complexion
she
is
of this
nymph
is pale,
her dress
is
is
blue,
striped
with
inter-
infusion
while
daylight,
and
is
endeaIt
how soon he
those
although
a
we
but
forgive
we
is
She
also
DesaJch.
is
described as an
enraged Amazonian,
side
sentation in the
quite ambiguous
athletic
there she
is
drawn in the
figure of several
It is quite
3
It is
Lulit.
creature,
who
is
why this beautifully fair so overwhelmed with grief for the absence
all
of her lover,
dress,
her finery of
jewelry and
K2
84
Raginee consists in the beautiful symand her solicitude to please her beloved is metry expressed by the pains she takes to adorn herself against his arrival, whom she awaits with anxious expectation and
of this
The pride
of her limbs,
beating heart.
She
is
Putmunjuree.
:
O
is
known only
its fatal
those
who have
wound
May my
sex,
never experi-
ence
power
The
and
object
now
before us
is
anguish.
tears,
solitary relief,
consolation
will admit. hung round her neck no longer of freshness, the fever in her mind and laugh in the bloom
The
flowers
sapless leaves,
which exhale no
DEEPUK.
are said to have
this
Rag
is
is
depicted in his
pearls
A string of large
mounted on
a furious
He
is
also
repre-
Desee.
this
The
excess of passion to
which
blooming Raginee
of art
is
to
the natural
practice.
85
Camod.
What
undergo
When
dare to accomplish
ral delicacy of
its influence what will not youth Here we see a nymph forget the natuher sex, and venture alone in the desert in the
under
!
hideousness of night.
soft
neighbourhood, and traverses unaccompanied the wilderness infested with ravenous beasts. The chance of an interview
with the
object
of her
life
love
risking of her
and character.
thousand fears
herself
now
mock her
fortitude
when she
finds
at the place of
assignation alone, for he, on whose account she has staked all
this, is
itself.
The
the
then displays
tears.
She
starts
at
of a
leaf,
This young maiden prefers the career of glory to that of She is adorned with jewels, and has clothed herpleasure.
self in
men's
attire,
steed,
fatigues
of such an undertaking.
4.
Kidara.
is
The
subject of
this
Kaginee
a masculine character.
in white in his
out.
left
86
SREE.
iu
A
A
He
white,
or
some say
is
in red.
string
his neck.
seated upon a
carved throne
Malsree.
does in that of
and
of attention.
The
is
fascinating
in
creature
before
us
is
an
sits
example.
She
clad
a flowing
under a mangoe
tree,
extensive sceue
2.
Marwa.
Her
She
sits in
anxious
expectation of
Dhunasree.
We
ful
female.
There
is
to
cumstance which gave rise to her misfortune, not by a vain curiosity, but with the view of affording her any consolation
which may be in our power, and of sympathising with her The misfortunes of the subject now under in her griefs.
consideration proceed
lover,
and
87
frame.
Her
dress is red,
sits
of her
friends, she
alone under
Moulsree
tree,
venting her
Busunt.
Busunt
is
time of mirth
and
festivity.
The hero
who
is
and occupation. His vestment is tinged red. His head is adorned with his favourite plumage, extracted from the tail of
the peacock
;
in his right
left a
In
manner he stands
num-
ber of
women
as jolly as himself,
and
all
join in the
dance,
tricks.
Usavuree.
The hideousness
of this
picture
is
Her dark-brown complexion, the monstrous snake which entwines her arms and legs her
figui'e.
the
crown of
her head
the wild
sits,
are
all
beautifully
relieved
fine out-
thrown over
(which
is
sometimes changed
and the streaks of dissolved camphor with which she has stained her forehead.
VI.
MEGH.
character.
tied
in a
This
is
the only
He
is
88
Tune.
Various expedients have been resorted to by love-sick maids to allay in some measure the fever raging in their The object of our present inquiry, labouring under veins.
its influence,
leaves
Mular.
of scenes of separation, and
it,
The frequent
representation
recalls to
!
one's
mind
As
review the
Ragmala, which I peruse as pictures of real life, I am affected with sadness at the deplorable state in which, in former times,
the female sex particularly subsisted.
Various sources of
;
but as they are abject injustice rendered sacred by their laws, and they have been habituatstill
and oppression
exist
ed to them by custom which has prevailed from time immemorial, the poor
women
acquiesce
murmur.
to them.
\vith
The convenience
children,
and property, must be reckoned as one of the foremost. Such ancient princes of Hiudoostau
women,
who
some
of the
most
celebrated
bridges,
tion,
amongst them and the construction of high roads, tanks, wells, and choukees, for public use and protecamongst the most meritorious acts of
of
are
their religion.
is
Ujodhya
celebrated
89
delineated of a complexion
wan and
pale
solitary,
strung,
;
And round the robe-neglected shoulder hung And faltering accents strive to catch in vain
Her
The
race's old
commemorative
strain
Recurring woe
still
The
skilful
hand
As widowed wives in
3.
Goojree.
is
The tenor
of this picture
not evident.
It presents
and engaging mien, dressed in yellow short stays and red saree, and adorued with
delicate voice
4.
jewels.
Bhoopalee.
This
lover.
is
some happy nymph engaged in dalliance with her white saree is thrown over her body, which is
the
fragrant saffron.
stained with
garland
sits
of
flowers
side,
The
favoured youth
by her
Descar.
There
is
and
the
preceding delineation.
guish them
flowers,
are,
The
characters by which
we
distin-
the string
OE MUSICAL INSTRUMENTS.
Several musical instruments are to
be seen
in
the
hands of Apollo's
ancient
muses, which might give great light to the dispute between the
Addison.
mwh
improvement.
Their classification.
now in
use.
How
may
be of
am
of opinion, as I
have already
im-
susceptible
of very important
provements.
are of
The
;
come under
my
notice
two
sorts
the
first
With
respect to the
first
of these defects
it
the materials
appears that
very
little
attention
is
paid to
it,
as if it were immaterial
what
the purpose.
This
want of
well as
influenced
by pecuniary considerations, as
It
want
of ingenuity.
empire but that from the commencement of its decline a check had been opposed to its further refinement is what
;
perhaps
all
will
allow.
At present,
it will
appear from expecting a progressive improvement, we should rather be prepared to anticipate this noble science on the wane in
OP MUSICAL INSTRUMENTS.
the same portion as the decline
of its empire,
91
and the
consequent decrease
people of this once
of
knowledge
celebrated country.
The
root
of the
designed to decorate,
and
stability
and must soon decay. The security proffered from political motives by the British
to the native chieftains has, perhaps, materially
Government
conduced
to render
effeminate in a
still
music of Hindoostan.*
always employed
in
men
are
the construction of
instruments and
solicited,
and suggestions
acted upon
entrusted entirely to persona who are ignorant not only of the merest elements of music, but who, besides
struments
is
and other
artificers,
who
if
improvement
of
musical instruments,
number
rather
than the quality of which would ensure the greater gain. It is on this account that the better musicians prefer to patch and
mend
new
ones,
the abilities.
Khooshhal Khan and Oomraw Khan, Veenkars, mentioned before, have in their possession the instrument on which their
grandfather Jeewun Shah used to ravish his audience.
Some
no doubt are not aware that a difference of material produces any difference in the tone of an instrument. There is an
*
See page
31,
and following.
92
OF MUSICAL INSTRUMENTS.
pre-
was
to
It is problematical
duced from one of a far superior quality put into the hands
of a person
who
is
Drums and
fresh,
tabors of
the
bamboo
cane, formed
not,
musical instrument
nicety in its
class
requires so
the maker,
that the
musicians of Hindoostan cannot now-a-days afford to pay for one ; indeed, on this account one is not procurable. What
extravagant sums were paid by the
flutes
!
Greeks even
for their
if
The more
country,
There
is
Leonard!
an excellent violin
professionally engaged
life,
Sforzia.
singular statement
" Vinci
had a
violin of silver
made
for
OP MUSICAL INSTRUMENTS.
93
As
is
for
found to
affect
them
mean
will not
method
admit of a change of keys. They have likewise no of tuning their instruments to a certain pitch, but
by the ear. an opinion might be hazarded, why no person has endeavoured to render instruments playable in every key, I
should suppose the reason to be this
:
A drum
or tabor,
the
sound of which
is
whether
is
Its
sound
taken
be pre-
and
all
and the
by
it.
drum more
essential, in order
to
distinctly,
than any other accompaniment. Musical instruments are divided into four classes
1.
Tut.
denominated
Sitar,
the
class.
Bitut.
To
this division
skins,
are referred
all
those which
Ghun.
two at a time.
Curtar,
&c.,
94
4.
OF MUSICAL INSTRUMENTS.
Sooghur.
Wind instruments
are
classed
under this
name.
ples of
The Surnaee,
it.
The grand
instrumental
music
of
Hindoostan
is
the
Five of
accompaniment either
Of
Noubut.
The Noubut
doostan.
It
is
is
full
one pair of large Noubuts, one Quna, one Toruy, one pair of Jhanjhs, two Surna, two Nuy, two Alghoza, one Roshun
ChouJcee Surna,
flutes,
and
flageolets.
The
formers
effect
is
of expert per-
considerably imposing, and should be witnessed It is heard to advantage from to be properly appreciated.
some
distance.
construction, and likewise in the manner of playing. The first is the most ancient, and is one of those instruments which
accompanied the voice in the more chaste ages ; the Dholkee is generally preferred by amateur performers, and is the
domestic and homely companion to the music of the uninitiated female
;
and the
last,
less
OP MUSICAL INSTRUMENTS.
95
trivial
light
and
composi-
to
meretricious
Hindoo
last
dancing
It is
are
modern
licentious
unknown
to
the
ages
when
The Mridung
cask, open at
is a hollow cylinder of wood, resembling a both the ends, which are covered with crude
ent sounds
made
of rosin,
and
is
tightened
similar
The Dholkee
is
length,
and
is
a lighter and
more
delicate instrument.
The
The
difference
is,
which however may be considered as one instrument, divided from the middle for the sake of convenience.
The method
They and it
of playing
on these instruments
is
curious.
are struck
is
use
the
method of
long practice.
96
skin, the stress of
OF MUSICAL INSTRUMENTS,
which
is
The skin
is
struck
upon, in
made
to strike on
it
name
implies, is a circle
of wood,
metal,
Its
The
right
hand
same manner
left
is
aa in using the
Duph,
form a rest
that
hand a
little
pressed on the
in-
when a
rise in the
tone
is
desired.
are
now almost
is
entirely used
by
men
may
of rythmical music.
THE SARUNGEE.
The Sarungee
which are
playing.
loose,
is
It
is
strung
with four gut strings, and played with a bow, the hairs of
and tightened with the hand at the time of The two lowest strings are tuned to Khwuj, and the
OP MUSICAL INSTRUMENTS.
others to a perfect fourth.
97
is
The instrument
and the
held in a posi;
that
is,
in
hand do not press upon the strings, but are held close beside them, while the right hand draws the bow.
Besides the gut-strings, the instrument has a number of
metal wires, generally thirteen, of unequal lengths, which go under the gut-strings. These wires are tuned to the mode
proper to the Raginee intended to be played. The bow can never touch or approach them, so they are of use only to
reverberate with the sound of the gut-strings.
This proves
will
communicate vibration
it,
another that
is
is
in unison
with
or the difference of
whose tone
exactly an octave.
THE TUMBOORA.
The Tumboora
It
or Tanpoora
all
is
neck without
somewhat resembles that instrument, but has a very long The body is generally made of about frets.
the two-thirds of the dry shell of a gourd, the top covered It is strung with three or four wire
steel.
The lowest
is
tuned
to the key note, and the others to its quint and octave
above.
reclin-
calculated, as the
name
pauses and vacuities in the song, and up indicates, the to likewise songster from straying from the tone keep
all
which he
originally adopted.
&8
OF MUSICAL INSTRUMENTS.
THE
This
is
SITAR.
It resembles the last
likewise a
made a good
with catgut or
silk.
Seventeen frets are generally used, movable, they answer every purpose
of
The
shifting
these
to
their
proper places
its
name from
a
si
A*o
signifying in
is
Persian
three,
and tar
jl3
string, as that
number
com-
monly
used.
several
additions.
Of the three
These
last are
one
is
steel,
brass.
tuned in unison, and are called Khuruj from The their sound, and the other is a perfect fourth to it. the hand over frets on of the left slide the fingers fingerboard, and stop the notes in the same
manner
as on the
guitar, and the wires are struck with the fore-finger of the
right, to
which
is
fitted
called a Mizrab,*
made
The
sional
Sitar is very
much
admired,
is
men and
amateurs, and
is really
THE RUBAB.
This instrument
is
and tone resembles a Spanish guitar. It is played with a plectrum of horn held between the fore-finger and thumb
From
the Arabic verb
(_>
to strike.
OF MUSICAL INSTRUMENTS.
of the
right hand,
99
left
while
the
I
fingers
of the
stop the
have heard some pel-formers on who are said to excel, and their performance certainly
with which they inspired
The Puthans
is
are
remarkably fond of
at
this
instrument, which
very
common
Rampoor.
THE VEEN.
The Veen
is
ments of Hindoostan.
Mooni Narud,
It is the
to
whom
the credit of
invention
is
allowed.
instrument of the greatest capacity and power ; and a really superior Veen in the hands of an expert performer
is
perhaps
little inferior
to a fine-toned piano,
practical modifications.
frets,
it
is
not
for it
is
slightest difference
the
which a good
performer
avails
himself.
ear.
To convey
a correct idea of
we need only observe that the superiority of the over most other instruments is to be derived from this
strung with seven metal wires, three steel and but as is the case with the Sitar and the Eubab,
source.
The Veen
four brass
;
is
of the steel wires, and generally played on one of the rest are chiefly for accompaniment ; several fingers
the melody
is
M2
100
OF MUSICAL INSTRUMENTS.
a plectrum usually
each of the fingers to be thus employed is armed with made with the large scales of fishes, and
down with
thread.
said to
was formerly a very favourite instrument, and is effects in the hands of the
There are few professional performers on this
god Crishnu.
instrument now.
Twenty
THE most
Dharoo ;
1st,
the Oeet
Mun.
These are
chiefly in the
and
four
difficult
both of comprehension
;
and execution.
these
is
The
first
have heard
but
much
of
not
known
in these days.
The
the following
1.
The Dhoorpud.
This
may
be
considered
is
The
subject
frequent-
mat-
as
well
The
style is
mental
pervade
are
flourishes.
the whole,
short
Manly negligence and ease seems to and the few turns that are allowed
peculiar.
always
and
This
sort
of
composi-
102
VOCAL COMPOSITIONS
time of Rajah
Man
of Gualiar,
the father of Dhoorpud singers. The has four Tooks or strains, the 1st is called Sthul, Dhoorpud or the Bedha; Sthaee, 2nd, Untura; the 3rd, Ubhog ; and
is
who
considered as
the
in
Others term the two last Ubhag. Dhoorpuds, last, Bhog. which the names of flowers are introduced, in such manner that the meaning will admit of two different construc-
Phoolpund ; and two Dhoorpuds which correin time, syllable, and accent, are deno-
Kheal.
is
a love
tale,
style
and the person supposed to utter it, a female. The is extremely graceful, and replete with studied elegance
It is
and embellishments.
in the district of
chiefly
Khyrabad,
of
Sooltan
Hoosyn Shurqee
Jounpoor
class of song.
is
called Chootcula
two
is
found in almost
all
species of
Hindoostanee musical as well as poetical compositions, yet the Kheal is perhaps its more immediate sphere. The style
of the Dhoorpud
is
Tuppa
is
more conformable to
shores of the
who
inhabits the
connexion with a particular tale,) than Ravi, with the beauties of Hiudoostan ; while the Ohuzuls and
Rekhtus are quite exotic, transplanted and reared on the To a person Indian soil since the Mahomedau conquest.
sufficiently,
it
is
enough to
of
of the
beauties
OF niNDOOSTAN.
103
Tuppa.
Hindoostan.
perfection
It
Songs of this species are the admiration of has been brought to its present degree of
in'
be considered
it is
now
sung.
and are generally sung in the lanat Punjab, or mixed jargon of that and Hinguage spoken the recite loves of Heer and Ranjha, equally red-ee. They
nowned
for
their attachment
to
some circumstance
4.
Thoomree.
This
is
bhasha.
The measure
to waste
is
who
words
mind more
songs.
prove inadequate, of a subject which will impress the sensibly when attention is bestowed on a few
5. Rag-Sagur, or the ocean of Bags. It is a species of Rondo, which commences with a particular Rag. Each successive strain is sung in a different Rag, and at the end of
is
repeated.
Dhoorpud, and the style is peculiar to itself. If the songs of Hindoostan were classed by subjects, perhaps that which recites the amours of Chrishnu would be the
most voluminous.
The age
important era in the history of India, and it is not to be wondered at that it should so materially influence their song.
104
VOCAL COMPOSITIONS
Every nation has celebrated the valorous deeds of its heroes in song, and so have the natives of Hiiidoostan done.
Numerous compositions
tories
and virtues of their ancient princes and heroes. The more numer-
Damon,
and so has Crishnu, who is represented as the unParis, and Adonis of Hindoostan ; all the exin him.
all
Equally amorous iu
his
own
is
turn,
and beloved by
"
Mohun," or the enchanter. His was so that graceful, every woman who once beheld person of it. enamoured His pipe possessed became instantly him,
emphatically styled
He
such
it
irresistible attractive
who
ever heard
however
serious,
incum-
bent, or necessary.
its tone,
It diffused a sort of
the influence of which could not be withstood by any woman of Vruj. Neither the usual cares of the household, the desire of arraying so natural to the female sex, nor
due to a hungry and crying infant could for a moment detain her from following the impulse occasioned by the
sound
of Crishnu's flute.
nations.
their
In
Hindoostan there
esteemed
one
other
motive
for
being
The
old sing
them
as acts of de;
by
them
many
in their
OP HINDOOSTAN.
105
folly
power to achieve.
relish
enough to be
admiring songa
of this class,
how
might be for
The scenes
and
Muthoora, on the opposite banks of the Jumna or Yamoona, and the wilds of Vriudabun. No milkmaid could
here pass without being attacked by the amorous Crishnu.
All Hindoo
women went
a watering to the
Jumna with
re-
pitchers on their heads or under their arms, and never turned without at least an amorous embrace or a kiss.
holees.
One song
his audaciousness
to the
doleful tale,
In this a forsaken
;
bemoans
her
fate,
the excess of her passion, and fondly confines the god in her arms.
One
of bearing no longer
The
forcible seizure
;
one song
them
with both.
Some
adore
him him
as
as
an impudent
Jut.
Rag.
IOC
8.
VOCAL COMPOSITIONS
Tii-vut
and Turana.
No
It
purpose,
words has been adopted for without regard to the order of succession
There
is
is
in
be
Surgum
Is
what
in-
we
call Solfa-ing
or Solmization, although
not
now
same view.
10. Bishnoopud. This a species of Hindoo hymns. It was founded by Shoordas, a blind poet and musician, and is of
a moral tendency.
11.
3,
Chutoorung
;
Is
four strains:
It is of
1,
Kheal;
2,
Turana
Surgum
12.
and
4, Tirvut.
modern
invention.
some, merely in the subject they treat of. The former has for its theme a description of the beauties of the beloved
object,
ringlets,
as
indifference,
whilst in the
Rekhtu he
eulogizes the
own
five
to
They conOne
species of these
couplets, as its
13.
rally
is
name
Are
of various lengths,
and gene-
spoken
in the districts of
Bundelkhuud
and Bughelkund.
The
mean
woman
for
the
acquisition of the
most
14.
trifling favors.
Gurca.
War
This is geneIt
is
spoken by
the Kajpoots.
the
profession of
a class of
songsters
denominated Dharees.
Those
in
One
Bur.
15.
species
termed
Bugud.
tongue
are
denominated
Pallia.
The
subject
is
appro-
priate.
16. 17.
Childhood and blessings for longevity, &o. Sohla is sung on marriages. Moulood.
Almighty, or of
18.
Stooti.
the
In praise of superiors.
19.
Qoul,
These are
sung by Quvvals.
20.
Zicree.
The
subject of these
It
is
morality,
and
is
suug
was
originally introduced iu
OF THE PECULIARITIES
or
softly brake,
silver
Fairy Queen.
At
fall
to her..Drayton's Cynthia.
MiUon.
And bids
Dryden.
longer exist,
perhaps be desirable to expatiate a little on such of the prevailing manners and customs of ancient parts Hindoostan as influence their music. The songs of a nation,
IT will
as well as its poetry, go a great
its
IN HINDOOSTAN.
109
rites,
and ceremonies,
Those of Hiudoostan are very characteristic, and it perhaps, as is justly observed, owing to this happy union
other,
of
that
we can
is
reconcile
music
soul,
said to
human
nations,
The allowed
the idea of
a Hindoo, the contempt with which they are generally beheld, have very considerable effects on their poetry. A transient
observation should likewise
and
cultivat-
ed in this country.
are in imitation
and
man
is
woman who
own
sex.
is
In Persia he
is
repre-
This
is
evident in
all lyric
poems
of that country.
his mien.
In Hindoostan
yields after
first
to woo,
much
courting.
In compositions
which always
We must
here
make an allowance
make the
255,
Note on verse
Megha Duta.
following,
have endeavoured to assign a reason in the next paragraph after the which seems to me to obviate the necessity of any allowance
being made for the passage on which Mr. Wilson has given this note, or of
calling it a prejudice.
The
me
quite
110
of this country, therefore, love and desire, hope and despair, and in short every demonstration of the tender passion, is first felt in the female bosom, and evinced by her pathetic
exclamations.
If
we should
ry of
in
it will perhaps appear that the women Arabia are less subject to be wounded by Cupid's darts,
these nations,
to the
lukewarm beauties
is
of Cabool.
The
of Persia
abound with themes of the cast just noticed. The poor neglected women in vain expose their charms in vain add the assistance of art to the comeliness of their persons
in vain has nature bestowed such charms, in her gifts to beings
and been so
benefit.
lavish
whom
it
does not
much
Alas
lovely creature, adorn not thy head with those precious gems, nor thy person with rich brocades ; for neither these nor thy
jetty ringlets,
re-
warmth
is
beauties in the
which,
if it
claim any
purely that
it
ap-
proaches to and resembles thy softness. In Hindoostan I can see no other motive but that the
men
women
want
total
of education
no means
of
men-
amusement, they consider the society of their husbands as their supreinest felicity and as he has to bestow a portion
;
it
may
be
fairly
pre-
of
From
IN HINDOOSTAN,
111
polygamy she
his
affections
is
by ardent demonstrations
should likewise be
remembered, which prohibits the women to engage in the bonds of Hymen more than once during their lives. How
far this
precept of
flagrant
injustice
is
relished
by the
their beauties,
is
at
present,
made by them
to those times,
when
parts,
but
when they were possessed by petty chieftains, arbitrary in their respective dominions when no highroads existed, but
communication between one
village
tained by narrow footpaths, and rude mountains and junguls formed the natural barrier of the different chiefs, guarded
by almost impossible woods and wild beasts when navigation by river was as impracticable as travelling by land when a journey even to a few leagues was rendered hazardous by robbers and marauders,
who
infested the
despicable
ger adventitiously met was to be cautiously embraced, as robbers lurked about the roads in various disguises to seize
on their prey by
force
or stratagem
when
parting
even, for
a journey to an
adjoining village,
112
IN HINDOOSTAN.
tears,
and prayers
for
safe
upon with was and consulted on indifference, formerly contemplated for a year or two before undertaken and when a man who had accomplished his purpose returned home in safety, after
;
encountering
all
the
hardships incident to
it,
the wonderful
the
skill
gerated by the vanity of the traveller, formed the theme of admiration to the village, and the subject of pride to his
relatives,
" An Inquiry into the by the author of and Writings of Homer," page 26, " that it has not been, given by the gods to one and the same country to produce
It is observed
Life
rich crops
it
seem to
and
afford
It is this
which renders Hindoostanee songs flat and unpalatable, unless we transport ourselves back to their barbarous and
heroic ages.
ways of thinking, or at
least to
imitate
manner
of the
British government
foi'ce
at present,
and
their poetical
and
fictitious lovers
113
it is
till
some years
after marriage
(by which
is
concerned.
customary in Hindoostan for the parents and their daughters-in-law, and maiden daughter, to
What
culties
diffi-
it impossible to perform a journey of any extent in company with females, who would not only be liable to the greatest
or
any chieftain who might chance to take a fancy to them, might be induced to do it through mere wantonness and
Let us figure to ourselves an amiable and fond
caprice.
woman
in
the bloom of her age, wasting her years in sighs for her
whom
where themes
most pathetic
language enforced by the charms of melody let us accompany her to the riverside, which she daily visits to procure
water for the use of the household, and where she witnesses
a thousand tender interviews
let
and ornamenting themselves, and sporting natural to their age, and she striving to
appear
cheerful.
in
all
the gaiety
grief,
stifle
her
and
Perhaps she
114:
IX
HINDOOSTAN.
intention shortly
flower refreshed
return
by sudden and timely rain. If this be in laments his absence during the long cold
him
cruel for
not having
thought of
home
earlier.
Winter
him
on his journey. But when the rains set in, those months which are the most delightful* of all in Hindoostan to those
afflicted
by separation, then
it is
that
*he feels her existence insupportable. Cheering hope, which beguiled her during the former seasons, no longer affords its
his
arrival
this
yeur.
Every
every flash
of
the
wound
toils
domestic
absent lover,
If she endeavours by wean her thoughts for a moment from her the Coel, and particularly the Pupeeha, reminds
to
Pee-cuhan
*
ful
Pee-cuhan
"The commencement
in
of
affords
to
the
sultry
weather
immediately preceding, and also rendering the roads pleasant and practicable,
is
Hence frequent
poets to the expected return of such persons as are at this time absent from
their family
and home."
The meaning
Sprang from such gathering shades to happier eight." of Calidas seems to be somewhat different.
no season
for travelling.
IN IIISDOOSTAX.
115
These, however, are not the only birds which are addressed
by the females of Hindoostan. by the title of Byree or enemy the peacock,* the chatak, aud several others are said to
;
add to their
affliction,
the limbs. t
for
and readily
finds
a youth
little
on
whom
affections,^
having perhaps
more
home on account
number
of
rela-
of the smallness of
tives.
*
of
" Or can the peacock's animated hail, The bird with lucid eyes, to lure thec
is
fall 1"
exceedingly abundant in
many
;
parts
of
Ilin-
and
is
bird are in a
the season hi
marshy places the habits of this great measure aquatic, and the setting in of the rains is which they pair; the peacock is therefore always intro-
especially found in
duced in the description of cloudy or rainy weather, together with the cranes and chatakas." Cloud Messenger, pp. 29, 1, 148.
t
left
"
and a throbbing
when
q. v."
occurring in the
females
in
is
by
Potter,
Ibid.
An
objection
by Europeans against
generally
too licentious
Hin-
that they
are
and
To such
long
116
visiting*
IN HINDOOS! AN.
requires a great deal
it
of circumspection
and evasive
affords
art.
The female
sex being
generally more
fond,
It is undeniable that
is
such practices
immoral
but such
headlong
course.
Taking
matters into
should be an
women
of this country
The
stimulus given to India by British example, and capital employed for the education of native females, the least of her beneficial operations.
is
not amongst
will
The time
come
when
ters
of their ances-
smile at their
own good
fortune,
kindly on
ness,
The tenor
ally, is
1
.
2.
3.
Lamentations
Imprecating of rivals.
4.
* "
" I have already mentioned that the Hindoos always send the lady to seek
her lover, and they usually add a very reasonable degree of ardour and
impatience."
Note on line
466, Wilson's
Megha Duta.
IN HINDOOSTAN.
117
Fretting,
of invectives
against the
mother and
her love.
6.
sisters-in-law, as
way
of
and
of the
Sukhees reminding
their friends
appointment
love.
My fair
"
Hindoo ornament
and
wrists,
wearer moves."
Wilson's
this
Megha Dutta,
pp. 85,
The use of
first
until
women
using them being regarded more chaste, others were obliged to comply with
vour to fetter their wives, and secure their affections by such inadequate
means
neglecting
their
moral
instruction,
is
barrier.
BRIEF ACCOUNT
OF
"
A happy
genius
is
Dryden.
" Invention
advantages
is
common
of
THE
invention of
all arts
and
sciences, as I
mentioned
in
heathen nations to beings of superior order, of celestial These, however, were undoubtedly not orgin, to demi-gods.
the inventors of those arts and sciences which are attributed
to them,
but merely the compilers and collectors of the and invention of ingenious men, who
;
own person
the aggregate
but as the compiler centered sum of knowledge then existgreater fund than any other
he
of course possessed a
make
the
details,
and form
for
MUSICIANS OF HINDOOSTAN.
whole, consistent, precisely defined, and universal.
likewise be
It
119
should
remembered that
before,
Roscommon.
These compilers of
sciences,
or
adopt
allegories, for
this people
seems
never
so luxu-
and vicious a nation as their conquerors, the Mahomedans ; most of the vices existing in this country having
been introduced after the conquest. The songs of the aborigines of Hiudoostau will bear comparison with those of any
other country for purity and chasteness of diction, and elevation and tenderness of sentiment.
By a
them
rule of the to
Mahomedau
which
law, the
women
of
all
Cafirs
or unbelievers,
class
manner
vice
The
am
persuaded,
unknown,
and inflammatory class. The opium, Bluing, and Dhatoora, (the two latter of which were chiefly used by the Hindoos,}
are
There
is
it,
no term,
for a
slave
or eunuch.
The
120
want of sound
MUSICIANS OF niNDOOSTAN.
religion
wholesome check against promiscuous and unguarded indulgence of passion, except amongst the very lowest classes of
society
and outcastes.
the songs of this country abound with
A great many of
the praises of
drunkenness.
not of
spirits
;
Hindoo
is reckoned polluting, very few of their monarchs and nobles have refrained from indulging themselves freely with this beverage. They know no me-
dium
it
was, and
now
is,
it
to excess.
made
so
pure and strong that it could not be drank in which case, roast meat was a constant companion to liquor, in which
they dipped the bits of roast, as we do in sauce.
It
all
was
nutritive
by the addition of
still
sorts
previous to
the
The
liquor
more
wealthy Mahomedans, aud is called Ma ool luhum. The conquest of Hindoostan by the Mahomedan princes
its
music.
all arts
and sciences
Mahomedans were no
great patrons
great iconoclasts,
country.
The
progress
the
;
theory
of
music
once
was speedy
Mohummud
MUSICIANS OF HINDOOSTAN.
history
is
121
reigii
scenes.
know-
it alive,
or any
mode
to record
of this country,
who
science,
we
find the most prominent to be Sumeshwur, Bhurut, Hunooman, the goddesses Parvutee, Suruswutee, and Doorga, Vayoo, Shesh, Narud (the Mooni or devotee), Cooluath, Cu-
shyup (another Mooni), Haha, Hoohoo, Eavun, Disha, and Urjoon. The first three and Coolnath have left treatises.
of the
who
Umeer Khosrow*
Rajah Man,
lived
Hoosyn Shurque
of Jounpoor,
Man
of Gualiar,
Bhugwan,
is,
* It is related that
Delhi, he
sung
style,
that
species
of composition
called
the
beauty of which
At
this the
Khosrow
sician
unknown
to him.
The
latter
and on a subsequent day, sung Qoul and Turuna in imitation of it, which surprised Gopal, and fraudulently deprived him of a portion of his due
honor.
122
very numerous
MUSICIANS OP HINDOOSTAX.
chiefly those
who had
deeu
Tausen was
court
at
originally
to
the special
of
Khan
Futeh-
(brothers),
his
Khan, the son of Tansen Muduu Ray son Soordas, a blind moral poet aud musician, the founder of the Vishnoopud,
who sung
Bechoo, Debee,
Sen,
and his
Neelam Prucash and Meerza Aquil, and the Veen players Feeroz Khan and Noubat Khan. In more modern times, Sudarung and Udharung, Noor
Khan, Lad Khan and Pyar Khan, Janee aud Gholam Rusool, Shucker and Mukhun, Teetoo and Meethoo, Mohummud Khan and Chhujjoo Khan, and Shoree, the founder of the Tuppa,
stand in high repute
sexes are even
;
now
met
and
perfect
command
some
of the first-rate
minstrels of Europe.
Baee,
amongst others
whom
;
have heard, are living examples of and Khoosh-hal Khan and Oornrao
Khan, Veen players, of instrumental execution. Good performers on other instruments are more numerous.
SIR
WILLIAM JONES.
ON
THE HINDOOS
BY THE PRESIDENT.
Music
belongs,
as a science, to
an
interesting
part
of
constant phenomena,
number
harmonic, sounds
ratio,
but,
considered
which they bear to each other or to one leading term ; as an art, it combines the sounds, which
ouv
our ears,
or effect
imaginations
it
or,
speaking, as
raise
it
were, the
hearer
it
only,
becomes what we
call
a
;
fine art,
and rhetoric
and
but subordinate in
ferior in its
in-
Thus
it is
discover the
propagated by the
air,
as the vibrat-
to
126
selves
may
excite a tremulous
as in the
kuown experiment
the law,
of instruments tuned
all
to demonstrate
by which
when
in
it
continually ac-
celerated
and retarded
to
that
of
them
to in
compute the
velocities
and
intervals of
those
;
atmospheres of different density and elasticity to account, as well as he can, for the affections, which music
pulses
many
produces and, generally, to investigate the causes of the wonderful appearances, which it exhibits but the
;
:
artist,
without considering,
of the sublime
theorems in the
may
by
happy
and accents
adapted to passionate verse, and of times conformable to regular metre ; and, above all, by modulation, or the choice
and variation of those modes, as they are called, of which, and arranged by the Hindoos, it is
design,
my
and
all
shall be
my
notion with
Although we must assign the first rank, transcendently and beyond all comparison to that powerful music which may be denominated the sister of poetry and eloquence, yet
the lower art of pleasing the sense by a succession of agreeable sounds not only has merit
I
salutary purposes.
ing be caused, as
elastic ether flowing
OF THE HINDOOS.
127
sufficient
evidence to
is affected in
manner by combinations
will often relieve the
of sound,
it is
mind, when
business or study.
The
be
who
rather figuratively,
but
sprightly remark of
CICERO, that he drew his philosophy from the art, which he professed ; but if, without departing from his own art, he
human frame
as
sweetest of musical instruments, endued with a natural disposition to resonance and sympathy, alternately affecting
affected
and
it,
may be
food,
fully
That any medical purpose ridiculed. answered by music, I dare not assert ; but after
operations of digestion and absorption give so to the vessels, that a temporary state of
when the
much employment
mental repose must be found, especially in hot climates, essential to health, it seems reasonable to believe, that a few
agreeable
airs,
either heard
must
have
tages
all
;
disadvan-
quent exertion
cessfully
made by
an experiment which has often been sucmyself, and which any one who pleases
may
easily repeat.
;
Of what
am
going to add,
cannot give
equal evidence
but hardly know how to disbelieve the testimony of men, who had no system of their own to support, aud could have no interest in deceiving me. First, I have
128
been assured by a credible eye-witness, that two wild antelopes used often to
come from
their
secondly,
a learned native of this country told me, that he had frequently seen the most venomous and malignant snakes leave their holes,
upon hearing tunes on a flute, which, as he supposed, gave them peculiar delight and, thirdly, an intelligent Persian, who repeated his story again and again, and permitted me to
;
write
it
down from his lips, declared, he had more than when a celebrated lutanist, MIRZA MOHAM-
MED, surnamed BULBUL, was playing to a large company in a grove near Shiraz, where he distinctly saw the nightingales trying to vie with the musician, sometimes warbling on the
trees,
if
they
wished
raised,
he assured me,
The astonishing effects ascribed to music by the old Greeks, and in our days, by the Chinese, Persians, and Indians, have probably been exaggerated and embellished nor, if such
;
effects
had been
really produced,
think, to the
modified
it
performed by music in
now
described
is,
is
OF THE HINDOOS.
Sangita, the simple meaning of which
is
129
and dancing ; the first of which comprises the measures of poetry, the second extends to instrumental music of all sorts, and the third includes the whole compass
of theatrical representation.
Now
it
may
easily be conceived
auxiliaries
of distinct
effect,
and well adapted scenery, must and may, from particular asso-
operate so forcibly
tears,
excite
copious
chill
heat or
or
the blood,
make
man
in
a phrensy
the
must be yet
stronger,
if
the subject
be religious,
as
(I
and small
mean both
regular
plays
in
many
acts
and shorter
to
and impassioned recitative in the modern Italian dramas, where three beautiful arts,
of the great airs
like the
surpassed, and probably could not have equalled an heroic opera of METASTASIO, set by PERGOLESI, or by some artist of
his incomparable school, and represented
at once the
affections,
at Naples, displays
perfection
of
human
genius,
awakens
all
the
through
all
130
such aids as a perfect theatre would afford are not accessible, the power of music must in proportion be less
but
it will
When
if
song be
fine in
and rhetorical accents, but clearly pronounced by an accomplished singer, who feels what he sings, and fully understood
especially if the
composer has availed himself in his translation (for such may his composition very justly be called) of all those advantages
with which nature, ever sedulous to promote our innocent
gratifications,
abundantly supplies
is
him.
The
first of
those
natural advantages
the variety of
modes, or manners, in
which the seven harmonic sounds are perceived to move in succession, as each of them takes the lead, and consequently
bears a
new
relation
menon
cal
progression,
number
must be
sensible, that
two of the seven intervals in the complete series, or octave, whether we consider it as placed in a circular form, or in a
right
line
with the
than the
five
sound repeated, are much shorter other intervals and on these two phenomena
first
;
The longer
(in
in-
we
shall call
)
tones,
compliance
their
with custom
ratios
;
semitones,
mentioning
exact
and
it is
be called primary
but
OF THE HINDOOS.
result
131
from the system of accords now established in Europe ; they may rather be compared with those of the Roman Church, where some valuable remnants of old Grecian music
are preserved in the sweet, majestic, simple, and affecting
strains of the
Plain Song.
Now,
since
may
be divided,
we
whole
series
and, since each semitone may, in its turn, become the leader of a series formed after the model of every primary mode,
we have
modes
in
all,
of
which seventy-seven
in
their
may be named
system
)
secondary ; and
vre shall
(at
least
most popular
eight-four
but, since
many
of
them
are
marked by a character
of sentiment
and expres-
sion, which the higher music always requires, the genius of the Indians has enabled them to retain the number of modes
them a character of
trivance.
which nature seems to have indicated, and to give each of its own by a happy and beautiful con-
Why
any one
which
are ascertained
shall
where a proportion, analogous to that of musical sounds, most wonderfully prevails, has a certain specific effect on our eyes ; why the shades of green
and
but,
without
satisfied
phenomena,
let
us be
Q2
132
and may be applied to the expression of a fact which ought well to be considered by those performers, who would reduce them all to a dull uniformity, and sacrifice the true beauties of their
tible properties,
art to
an injudicious temperament.
ancient Greeks,
The
among whom
was
much
less to
do with
it,
but have
left
us
little
the names of them, without such discriminations as might have enabled us to compare them with our own, and apply
them
to practice
their
Greeks,
who
know
and
most of those writers were professed men of science, who thought more of calculating ratios than of inventing melody ;
so that, whenever
we speak of the
soft
For
all
that
is
known concerning
the
music of Greece,
let
me
refer those
who have no
inclination
dix to
the Harmonics of
PTOLEMY
to the
Dictionary of
Music by ROUSSEAU, whose pen, formed to elucidate all the arts, had the property of spreading light before it on the
darkest subjects, as
if
;
DR. BURNEY, who, passing slightly over all that is obscure, explains with perspicuity whatever is explicable, and gives
dignity to the character of a
it
OP THE HINDOOS.
133
The unexampled
blessings
of a mild
felicity
of
our nation,
who
diffuse the
would enable us to attain a perfect knowledge of the Oriental music, which is known and practised in these British dominions, not
by mercenary performers only, but even by Mussulmans and Hindoos of eminent rank and learning. A native of
Cashan, lately resident at Murshedabad,
acquaintance with the Persian theory and practice
best artists
concerts.
in
Hindoostan would
cheerfully
have an easy access to approved Asiatic musical treatises on composition, and need not lament with
We
to procure at
Europe.
We may
may
be masters of them,
;
we
please, or at
least
may comrather
the
concurrent labours, or
amusements, of several in our own body, may facilitate the attainment of correct ideas on a subject so delightfully interesting
;
and a
free
their respective
discoveries
and
speedily, as well as
more agreeably,
Such would be the advantages of union, or, to borrow a term from the art before us, of harmonious accord, in all our
pursuits,
and above
all
in that of knowledge.
is
:
On
it
explained in a
celebrated collection
on pure and
mixed mathematics,
entitled Durratrfltaj,
name
access,
is
almost
forgotten
but, as the
I believe,
134
Greeks, to be
more intent on
quarters and
principles
of modulation,
apply the same observation to a short, masterly tract of the famed ABUSINA, and
may
suspect that
called
it
is
on this head that the Persians distribute their eighty-four modes, according to an idea of locality, into twelve rooms,
twenty-four
the beautiful
originally
recesses,
tale,
in
known by
of
the
Four
Dervises,
we
as
many
different
" in
twelve
makdms
"
forty-eight giishas,
named
rdst
or
direct."
appropriated sh6bahs,
only
seven primary
whose musical entertainments are magnificently described the modes are chiefly denoby the incomparable NIZAMI
:
minated,
regions or towns
Irdk,
as
among
the perdahs,
the
sh6bahs,
we
or
see
Hijdz,
Isfahan
and,
among
secondary
modes, Zabul, Nishapur, and the like. In a Sanscrit book, which shall soon be particularly mentioned, I find the
OF THE HINDOOS.
scale of a
135
in
the following
verse
c'kilo hijejastu
j
say&hne.
if I
The name
in believing
of this
it
mode
is
not Indian
and,
am
right
Nagari
letters,
we must conclude
was imported from Persia ; we have discovered then a Persian or Arabian mode with this diaposon
D,E,Fff,
G&A,B,C#,D;
where the
notes,
in
first
mi, fa
and G$, or ga and ni of the Indian author, are variously changed, and probably the series may be formed in a manner
not very different (though certainly there is a diversity) from our major mode of D. This melody must necessarily
fifth note
it
from the
tonic,
would be a gross violation of musical ; decorum in India, to sing it at any time except at the close of
and
day
but
according to
MB. FOWKE'S
minutely
number
who
leave arithmetic and geometry to their astronomers, and properly discourse on music as an art confined to the The Pandits of this province pleasures of imagination.
unanimously prefer the Ddm6dara to any of the popular SangUas ; but I have not been able to procure a good copy
130
of
it,
which
is
and
iu
fre-
quently quoted.
A present from
AAZEM SHAW, by the very diligent and ingenious MIRZA KHAN, and contains a minute account of Hindoo literature in all or most of its
INDIA, was composed, under the patronage of
branches
he possesses to
have
extracted
his
elaborate
chapter on music with the assistance of Pandits from the Raffdrnava, or Sea of Passions, the Ragadarpana, or Mirror
of Modes, the SabhdvinCda, or Delight of Assemblies, and some other approved treatises in Sanscrit. The Sangitadar-
pana, which he also names among his authorities, has beeu translated into Persian ; but my experience justifies me in
pronouncing that the Moghols
translation,
them
they are
Arabic letters
that a man,
and that
an European, who follows the muddy rivulets of Mussulman writers on India, iustead of diiuking from the pure fountain
of
Hindoo
danger of misleading
From
the
tract
on
music in the idiom of Meafhura, with several essays in pure Hindoostanee, lately passed through my hands and I possess
;
or
Panjab, Panchanada, where the national melody has, I am told, a peculiar and striking character but I am very little
;
dissertation
soft dialect of
OF THE HINDOOS.
acquainted with those
dialects,
137
of their
named Ragdvibodha,
it
Modes ;
ought here to be mentioned very particularly, because none of the pandits, iu our provinces, nor any of those from
and
Casi or Cashmir, to
whom
;
have shown
it
it,
appear to have
known
that
it
was extant
and
may
be considered as a
POLIER has brought into light, and perhaps has preserved from destruction. He had purchased, among other curiosities,
music
and
verse,
short essay in
Persian
translation,
LUCBETIUS and VIRGIL made a singular appearance but the brightest gem in the string was the Ragavibodha, which the
Colonel permitted
transcript
my Ndgri
It
was
original by my seems a very ancient composition, old unquestionably than the Ratnacara by SARNGU
diligently
of
DEVA, which is more than once mentioned in it, and a copy which MR. BURROW procured in his journey to Heridwar :
the
name of the author was Soma, and he appears to have been a practical musician as well as a great scholar and an
elegant poet
;
for the
excepting the
138
strains noted in
which
fill
the
in
fifth
and
last
chapter
of
it,
consists of masterly
couplets
the melodious
metre
and fourth chapters explain the doctrine of musical sounds, their division and succession, the variations of scales by temperament, and the enumeracalled
Arya
the
first, third,
tion of
will
modes on a system
totally different
;
presently be mentioned
minute description of different Vincis with rules for playing on them. This book alone would enable me, were
tains a
I
master of
my
of
leisure only
and a native player on the Vina; but I have to present you with an essay, and even that, I
am
conscious,
must be very
superficial
>
it
may
I
out, I trust,
and
all
nature
is
animated
and personified every fine art is declared to have been revealed from heaven and all knowledge, divine and human, Vedas ; among which the is traced to its source in the
j
to be sung,
whence the
:
reader, or
Udgdtri or
Sdmaga
in Colonel POLIER'S
it
copy of
may
not
be impossible to decipher.
On
say the Brahmens, the Supreme preserving power, in the form of Crishna, having enumerated in the Gitcb various orders of
beings, to the chief of
among
the
Veda was accordingly derived the Upaveda of the Gandharbas, or musicians in INDRA'S heaven so that the
;
divine art
OP THE HINDOOS.
himself
or
139
by his active power SEEASWATI, the goddess and their mythological son Ndred, who was in truth an ancient lawgiver and astronomer, invented the Vina,
of Speech,
called also Cach'hapi,
or
Testudo
very remarkable
fact,
which
may
MERCURY
musician
of the Latians.
is
Among
first
believed to
have been the sage BHERAT, who was the inventor, they say, of Natacs or dramas represented with songs and dances,
;
his name.
If
we can
OSIRIS
or systems
;
the
first
of which is
;
ascribed to
ISWARA, or
or
the third to
HANUMAT,
Indian philosopher, eminently skilled in music, theoretical and practical all four are mentioned by SOMA and it is the
:
must be very
ancient,
introductory remarks
been extremely popular, that I propose to explain after a few but I may here observe with SOMA,
;
who
the
Narayan,
who mentions a
many
others,
that
almost every kingdom and province had a peculiar style of melody, and very different names for the modes, as well as a different arrangement and enumeration of them.
stated as
long have escaped the attention of the Hindoos, and their flexible language readily supplied them with names for the seven Swaras
or sounds, which they dispose in the following order,
musical modes,
could
not
shadja,
140
dhaivata,
but the
first
of
them
is
emphatically
named swara,
it
initial
letters
for their
and
at
least as convenient as
that of
gr&ma
or septaca,
and express
ri,
it
in this
form
Sa,
three of which
syllables
by DAVID MOSTARE, as a substitute for the troublesome gamut used in his time, and which he
arranges thus
:
Bo,
ce, di,
ga,
lo,
ma,
ni.
As
to the
nant include by its nature the short vowel a, five of the sounds are denoted by single consonants, and the two others
full
names
ia
by
doubled,
for a
farther elongation of
scale,
them
the connection
by small
straight
all in
circles
and
ellipses,
by
little
chains,
by curves, by
is
lines
horizontal
:
various positions
;
distinguished
by a lotus-flower
of each
by the prosody of the verse, and by the comparative length syllable, with which every note or assemblage of
If I understand
the native
they
OP THE HINDOOS.
second or new, enharmonic, genus
reckon twenty-two
in their octave
:
141
they unanimously
; for
s'rutis,
tervals
them
as equal
in practice,
and
to
allot
sa,
them
the follow;
ing
order
met,
;
to
ri,
to ga,
and
ni,
two
names
to each s'niti.
Sa,
4s'
ri,
ma,
2s
pa,
4s'
dka,
4s'
ni,
2s'
sa.
3/
fourth
and
fifth,
;
and
between the
between the
fifth
and second, are major tones but that and sixth, which is minor in our scale,
;
scales are
it
made
dha,
to
in the
to the class of
for
consider as a
nymph, and the nymphs of Panchama, are Malini, Chapald, Lola, and Servaretnd,
:
such at least
bards,
is
who has
a treatise on music.
SOMA seems to admit that a quarter or third of a tone cannot be separately and distinctly heard from the Vina ; but he takes for granted that its effect is very perceptible
in
is
their
arrangement of modes
and their
sixth, I imagine,
; for
he only
I tried in vain to discover any difference in practice tered. between the Indian scale and that of our own but, know;
142
requested
:i
accompany with his violin a Hindoo lutanist, who suug by note some popular airs on the he assured me that the scales loves of CRISHNA and RADHA
to
;
German
professor of music
when
harpsicord, he
Vina, I
must
of
to
the very
first
accurate
and
valuable
paper
;
now
exhibit a scale
from him with the drawing of the instrument, and on the correctness of which you may confidently depend the regular Indian gamut answers, I believe, pretty nearly to our
:
major mode
si,
ut ;
notes,
and,
which
compose our minor mode, they are distinguished by epithets expressing the change which they suffer. It may be necessary to add, before
we come
by
three,
mode, properly
signifies a passion
or affection of the
mind
each
of
;
BHERAT'S
definition
simple or
mixed
affections that,
the Ndrdyan,
in the
CRISHNA,
there were
OF THE HINDOOS.
143
OS
._
144
sixteen
Gopis at Mat'kurd
captivate
in order to
the
Ragas, enumerates nine hundred and sixty possible variations by the means of temperament, but selects from them as applicable to practice only twenty-three primary modes, from which he deduces many others though he allows that by a diversity of ornament and by various contrivances, the
;
Rgas
infinite
waves of the
sea,
be multiplied to an
number.
We have
modes or manners might naturally be formed by giving the and varying in seven difof those
but, since
many
practice,
and some
number
indi-
by two
Whether
it
had occurred
of
to the
velocity or slowness
ratio,
upon the
rarefaction
air,
so
must be quicker
summer than
iu spring
much
persuaded that their primary modes, in the system ascribed to PAVANA, were first arranged accord;
sure myself
but
am
ing to the
number
is
of
Indian seasons.
The year
distributed
six ritus, or
first
season,
OP THE HINDOOS.
the time of the winter solstice, to which
145
month accordingly
but the old lunar
in
the
Gita
mansion
hence the musical season, which takes the lead, includes the
mouths
and
Cdrtic,
name
of Sarad,
frost
then come
Surabhi or fragrant, and Pushpasamaya, or the flower time Grishma, or heat and Vershd, or the season of rain. By
;
appropriating a different
sons, the artists certain ideas,
mode
to each
of the
different sea-
of India connected
to recal the
certain
strains of
with
memory
autumnal
merriment
or of separation and-
months
of reviving hilarity
on the appearance of
blossoms, and complete vernal delight in the month of Madhu or honey ; of languor during the dry heats, and of refresh-
ment by the first rains, which cause in Yet further since the lunar spring.
:
this climate a
second
festi-
year,
by which
comes
also
to
the aid of
music, and
all
worshipped as gods and goddesses on their several holidays, contribute to the influence of song on minds naturally susceptible of religious emotions.
Hence
it
number
of original
modes from
;
seven to six
146
and evening,
by adding two
SdttA reckons
divi-
of
restriction,
;
and the system of PAVAN variations in respect of time retains that number also in the second order of derivative
modes. Every branch of knowledge in this country has and the inventive tabeen embellished by poetical fables lents of the Greeks never suggested a more charming allegory
;
than the lovely families of the six Ragas, named, in the order of seasons above exhibited, BHAIRAVA, MA'LAVA, SRIRA'GA, HINDOLA, or
each of
whom
is
Nymphs, and
or Sons
:
ALBANO
new
aerial beings,
;
fairy-
nor have the Hindoo poets and painters lost the advantages, with which so beautiful a subA whole chapter of the Narayan conject presented them.
land of Indian imagination
tains descriptions of the
chiefly
Rdgas and their consorts, extracted from the Ddmddar, the Caldncura, the Retnamald, the Ckandrica, and a metrical tract on music ascribed to the
God NAKED
among
so
many
beauties
I present
very perplexing,
first
and elegance
OF THE HINDOOS.
Lild vihar&nd, vanantarale,
147
"
"
over
sweetly
"
"
bosom
yon grove
dis-
diversified,
are
which
all of
us have examined,
and among which the most beautiful are in the possession of Mr. R. JOHNSON aud Mr. HAT. A noble work might be
composed by any musician aud scholar, who enjoyed leisure and disregarded expeuce, if he would exhibit a perfect system of Indian music from Sanscrit authorities, with the old melodies of
with descriptions of
with Mr. HAY'S Rdgamdld, delineated and engraved by the scholars of CIPRIANI and BARTOLOZZI.
artifice
of the
Hindoo musi-
modes a
on Music
distinct character
and a very
PLUTARCH'S
treatise
is
since
cannot
procure the
exhibit a paraphrase
;
of his translation,
I
on the
but
of the Greeks, which it to be at some length. " We are might necessary explain " " informed," says PLUTARCH, by ARISTOXENUS, that musicians
82
148
" ascribe to "
OLYPMUS of Mysia the invention of enharmonic and conjecture that, when he was playiug diatmelody, " on his flute, and frequently passed from the highest onically
of four sounds to the lowest but one, or conversely, skipping " over the second in descent, or the third in ascent, of that " he series, perceived a singular beauty of expression, which
"
"induced him to dispose the whole series of seven or eight " sounds by similar skips, and to frame by the same analogy
" his " diatonic
Dorian mode, omitting every sound peculiar to the and chromatic melodies then in use, but without
"
11
adding any that have since been made essential to the new enharmonic in this genus, they say, he composed the
:
" "
Nome,
it
was used in
temples at the time of religious libations. Those, it seems, " were the first enharmonic melodies > and are still retained " who some play on the flute in the antique style without by
"
any division of a semi-tone ; for it was after the age of " OLYMPUS that the quarter of a tone was admitted into " the and modes and it was
Lydian
Phrygian
he,
therefore,
"
who, by introducing an exquisite melody before unknown " in Greece, became the author and parent of the most beau"
tiful
and
affecting music."
effect
of
a mode by diminishing the number of its primitive sounds was introduced by a Greek of the lower Asia, who flourished,
ANACHARSIS, about the middle of the thirteenth century but it must have been older still among the before CHBIST
;
Hindoos,
if
now
return,
was actually
RAMA.
OF THE HINDOOS.
Since
it
149
and the
the
Ndrayan, and the book explained by Pandits to MIRZA KHA'N on whose credit I must rely for that of Gacubha,
;
which
I
cannot find in
my
Sanscrit treatises
oil
music
had
depended on him for information of greater consequence, he would have led me into a very serious mistake for he
;
asserts,
first
what
now
find
erroneous,
is is
the
comdis-
posed in
end.
Three
mode
the
Graha swarah sa
ityuctd
y6 gitddau samarpiiah,
Ny&sa swarastu sa prdcto yd gitddi samdpticah : T6 vyactivyanjacd gdne, yasya serve' nugd minah,
Yasya servatra bdhulyam vddy ans6 pi n>'ip6tamah,
"
The note
called graha,
is
" that
named nydsa,
at the end, of a
song
"
the others
" are subordinate, that which is always of the greatest use, " is like a sovereign, though a mere ans'a or portion." " he means the " the
commentator, which announces and ascertains the Rdga, and which " may be considered as the parent and origin of the graha " " and this clearly shows, I think, that the ans'a must nydsa
"
note,
By
be the tonic
generally
its
and we
third
and
or the mediant
and the
donii-
150
naut.
Magha
there
is
:
a musical simile,
which
may
illustrate
From
of
march
in subor-
" dinatiou to him, as other notes are subordinate to the " ans'a."
If the ans'a be the tonic, or
we may
a note.
BHAIRAVA:
(dha,
ni,
OP THE HINDOOS.
151
HINDOIA:
(ma,
*,
dha,
152
BHAIRAVA
dha,
ni,
sa,
ri,
ga,
OF THE HINDOOS.
153 ma,
pa.
ME'GHA
Taccd
:
:
f dha,
ni,
sa,
n,
get,
(a
;
mixed mode.)
*. ri, ma, ga, omitted in the Ndrdyan.
*,
Melldri
dha,
ni,
*,
Gurjari
Ehitpa.ll
sa,
(.
ri,
ga,
*,
pa,
dha,
*.
*.
Desacri
ni,
sa,
ga,
ma,
pa,
Among
we may safely fix on own major modes, since its form and
: 1
1
and valour."
Now
the diminuscale,
tion of
pa
by one
s'ruti gives
mi, fa, sol, la, si, ut, with a minor tone, or, as the Indians would express three s'rutis, between the fifth and sixth notes.
ut, re,
it,
with
On
by MIRZAKHAN,
:
have
less
reliauce
authorities, it
seemed proper
:
to
Sanscrit
BHAIEAVA
154
SBI'RA'GA
:
OF THE HINDOOS.
escape notice, that the Chinese scale C, D, E,
*,
155
G, A,
sa,
*,
*,
cor-
ni,
or the
Maravl of SO'MA
formed by a similar mutilation of the natural scale. By such mutilations, and by various alterations of the notes, in tuning
the Vina, the number of modes might be augmented indefinitely
;
into his
system,
which
is
the notes of
it),
he sub-
Spring
>
and
;
for
Mdlava, Natandrayan
or CHRISHNA, the
Dancer
all
The system
affinity
with the old Egyptian music invented or improved by OSIRIS, nearly resembles that of HANDMAT ; but the names and scales
are a
little
varied
in
all
modes
are significant,
Midsummer Night's Dream. Forty-eight new modes were added by BHEBAT, who marrys a nymph,
of the fairies in the
thus
manners of arranging the series of notes. Had the Indian empire continued in full energy for the last two thousand years, religion would, no doubt, have
given
permanence to systems of music invented, as the Hindoos believe, by their gods, and adapted to mystical
poetry
;
ment
156
set-it
books have preserved the theory of their musical composition, the practice of it seems almost wholly lost (as all the
When
JayaMva, who has prefixed to each of them the name of the mode in which it was anciently sung, I had hopes of
procuring the original music
;
referred
me
to
those
of the west,
of the
me
to those of the
while they
mean those
of
no ancient
to
the
Gitag6vinda must
from
many
centuries ago,
has
faded for
of it
want of due
culture,
remnants
roundelays of
Mafhura on
may, perhaps, be preserved in the pastoral the loves and sports of the Indian
not, therefore,
APOLLO.
We must
be surprised,
if
modern
performers on the
Vina have
little
or no modulation, or
change of mode, to which passionate music owes nearly all but that the old musicians of India, its enchantment
:
on a leading mode to express the general character of the song, which they were translating into the musical
having fixed
language, varied that mode, by certain rules, according to the variation of sentiment or passion in the poetical phrases,
to it at believe
;
air,
many
me
of
to
though
the
restriction
certain
modes
to
certain
seasons and
mode.
The
we
find,
comprised both
OF THE HINDOOS.
our European modes, and,
if
157
raised
some
a delicate and
harmonic
therefore,
intervals
the construction
of the instrument,
;
and an excellent
" judge of the subject informs us, that, the open wires are
"
in
"ear
" full
uncommonly
and
add,
We
may
metre,
that the
is their
Hindoo
which
mode, according
;
or sentiment in
and
such a phrase may be used) of our at least equal to the most affecting modulations have must musician now the naturally greatest composers
stances of poetical modulation
:
emulated the poet, as every translator endeavours to resemble his original and, since each of the Indian modes is
;
it is
hardly
possible, that, where the passion is varied, a skilful musician could avoid a variation of the mode. The rules for modula-
tion
for
seem to be contained
in the chapters
on mixed modes,
we can
than I
am
we can procure
it
copy
was
set, before
easily
deciphered.
It
is
were unacquainted
though,
like the
Greeks,
they
158
mean only
we
if
who were
ignorant of
it
would give
me
specimens of old Indian airs from the fifth chapter of SO'MA but I have leisure only to present you with one of them in
our
own
original
it
notes.
selected the
mode
of
to
JAYADEVA himself
because
may
lead us to
guess,
that the strain itself was applied by the musician to the very
The words
are
Viharati heririha sarasa vasante. Nrttyati yuvati jan&na saman sac' hi virahi Janasya durante. " While the soft gale of Malaya wafts perfume from the
"
beautiful
clove-plant,
"
mingled
murmurs
of the honey-making
swarms,
Hed
"
dances,
lovely friend,
;
separated lovers."
I
air in
the major
mode
well
of A,
or sa,
which, from
expresses the
IrJ
i?
o
SB
32 o ^
C/l
IT
[of
fe
SS
tef
&
r
,
OF THE HINDOOS.
159
of delights,
a change to the minor mode ; and the air might be disposed in the form of a rondeau ending with the second line, or
even with the third, where the sense is equally full, if it should be thought proper to express by another modulation
that imitative melody, which the poet has manifestly attempted the measure is very rapid, and the air should be gay, or even quick, in exact proportion to it.
:
AN OLD INDIAN
AIR.
frrf
'
la
li
ta la van ga la
ta pe ri
si la
na
co mala
ma la
ya
j> j>
mi
re
^a
1
p\p
1J
ra ni ca ra ca
^i.
ram
bi ta
mad huca
co
ci
la
cu
ji
ta
cun ja cu
ti
re
vi
ha ra
ti
he
ri
ri
ha
sa ra sa va san te
nrit
ya
ti
yu va
ti ja
ne na sa
mansachi
Mi
vi
I
ran
f-
ra
hi
ja
na sya du
. .
te
o
sa
ri
Qdha
ga
ma
pa
ni
sa
160
The preceding
a strain in the
fifth
mode
of
HINDOLA, begiu-
ning and ending with the ri, or the second and sixth
for it
sa, but wanting pa, and I could easily have found words
note
in
and
which
despair of
SIR
W. OUSELEY.
SIR
W. OUSELEY.
WHEN
fine
arts, as cultivated
among
various correspondents settled in the East the communication of such books and original information on those subjects as their situation
country to increase
my
With two
on Persian Music, which from many circumstances I am willing to persuade myself was brought to Europe by that ingenious Orientalist, and is the same manuscript of which
he laments that he had not procured the explanation while
at Isfahan.^
*
But
as
my
From
work
French and
Number
of
A lla mi
is
Shirazi,
name
almost forgotten."
An
the Essay on
164
among
me from
though written
the Persian
language,
From
these,
how-
remarks, that
if
been borrowed in the course of the following any thing curious or entertaining should be
due to
several
my
whom
a residence of
Hindu Music.
airs,
and drawings
from his
letters
from a Persian manuscript treatise on music, which I shall mention hereafter, and for the perusal of which I am indebted
to the politeness of Sir George Staunton.
On
the
subject
of
those
ancient
call
and
extraordinary
melodies,
(
Raugs,
and Rauginees,
are as numer-
\3\j
and
the
powers ascribed to
five first
them
are
owe
their origin
JU
which, from certain circumstances, he once believed to be the composition
of Sadi.
We
find
poet, Jami.
N D OVE E
1
/T\
dfcp:
A HINDU
I
i
JUNGLE TUPPA:
p^=j=j=z=^te 5--i^==-=^^g=
I
Plaintive.
\ii K
mm
tr
ft5__~
2*::^
BENGALEE
ing:
3=f
z>.
Z>.
(7.
a^ Segno.
^
1
+-*
165
of celestial
:
Thus,
invention, these
and of
enharmonic
that
species termed Diatonic. A specimen of these is given in the Hindovee air, Gul buddun tJtoo hum see, in the annexed
plate
j
of
trifling to
:
deserve translation)
Nock
Rangonee
g'joalia
naalo
found in setting to music the as our and Rauginees, system does not supply notes Eaugs or signs sufficiently expressive of the almost imperceptible
difficulty is
A considerable
elevations
and depressions of the voice in these melodies ; is broken and irregular, the modulations
in
the touch
his softly
filled
two of the
six
extraordinary than
Mia
of
King Akber,
166
instantly
became
night,
and the
a tradition, that
is
whoever
shall attempt
to
sing
Raug Dheepuck
to be destroyed
by
fire.
The Emperor
that
Akber ordered NaiJc Gopaul, a celebrated musician, to sing Raug : he endeavoured to excuse himself, but in vain ;
:
he therefore requested
permission to go
friends.
home, and bid farewell to his family and It was winter when he returned, after an absence
Before he began to sing he placed himself
of six months.
in
Jumna
till
As
became hot
moment
to prove
mercy from the Monarch, but sued in vain. Akber wished more strongly the powers of this Raug Naik the fatal flames renewed burst with violence song Gopaul
:
:
though immersed in the waters of the was consumed to ashes Jumna, These, and other anecdotes of the same nature, are related
from
by many of the Hindus, and implicitly believed by some. The effect produced by the Maig Mullaar Raug was immediate rain.
And
it
is
told,
once,
by
from the clouds timely and refreshing showers on the parched averted the horrors of rice-crops of Bengal, aud thereby
famine from the Paradise of Regions.*
*
An
European, in
See
An
Arabic
title
167
effects, is
now almost
lost
musicians
possessed of those wonderful powers in the west of India." But if one inquires in the West, they say, " that if any such
Of
musician)
"
possess
treatises
system of Indian Music. It is not alluded to in the manuscript which I have hitherto persued, nor have I discovered
Orientalists
speak of
it
as being
known
in Hindustan.
The
the music of that country are numerous and curious. Sir William Jones mentions the works of Amin, a musician ; the
the Ragavibodha,
modes)
many
There
is
besides the
Raugaderpun,
(or
Man
(or mirror
of melody)
is also
To
these
am
enabled
learned
Baronet
whom
the
title
of another Hiudovee
of Bausdheo,
into
language on the
first
of
168
the
month Ramjan,
iu
sera 1724.
"
An
book Paurjauthuck:
the object
which
is
to teach
the
From
refer
mem-
and the
which being repeated in three several Ast, hans,* or octaves, form in all a scale of twenty-one natural notes. The seven
notes which form the gamut are expressed, Sa, ra, ga, ma,
pa, da, na, or Sa, ri, ga, ma, pa, written at length, stand thus
:
dha, ni
And, when
Kau, redge
Kekhub
Guudhaur
Mud, dhuna
Punchum
o^A<3 Dhawoth
il$& Neekhaudh
ipoke of a wheel, or
eight)
a very learned Orientalist any thing resembling it,) Persian Sitarah, (formerly the and Ashtaroth, Hebrew the opinion that derived. The Persian Aaarah) (a star with eight rays) are most probably See Mr. Wilfords as the Sancrit. same the &&*> is evidently numeral
Res. Vol. Essay on Egypt and the Nile-Asiatic
III.
169
Of these seven words, (the first excepted) the initial letters music to represent the notes. Instead
lowest,
(Kauredge)
that of the
note,
word
~H (sur)
is
being,
as
it
were,
the foundation of
named "
(says Sir
the important
office
which
it
bears in
the
scale."
The
in
form.
But
find
it
is
not the
initial
:
only
is
we
Rekhub
often
;
thus
described
Dhawoth
,>
and
when the gamut may be expressed accordNeekhaudh ^j to the form ing given by Sir William Jones sa ri ga ma pa dha ni. And in a manuscript before me the first note is
:
always
fully described -~
(sur).
Minor tone
Semi
tone
Major
Major
Minor
Semi
!||
I
I
I
II
I
I
o" w
*
sa
\ j
ra
iJ
ga
ma
the
t_>
~y
pa *
,>
da
m
^^
na
Hindus.
Asiatic
Researches,
Vol. III.
170
The
written at length,
either
and
significa-
tion
Istaud, slow.
Ro, quick.
Gusht, quaver.
.
Jiimbaun, shake.
Kasheed, lengthen, or continue the sound.
^ Js Thurrah,
ed into one.
w^ls Teep
^Uf
as
Ropaulee
is affected by two of those words Thurrah and Kasheed placed over or under the note Dhowoth in the Ramgully, of which I have given the notation
and
red
in the
ink,,
manuscript before
me
in black.
I shall endeavour to
given
in
and
italics for
the words
which
in the
manuscript
are expressed in an
we read Canoon
newaktun Ramgully,
The
SA
Istaud
SA
Ro
GA
Ro
SA
Ro
DHA
Ro
KPY
Istaud
(Jr.-
^
>
171
KPY
Island
NI
KasJieed
DHA
Thurrah
kasheed
PA
Thurrah
DHA
Kasheed
gusht
NI
Thurrah
DHA
Ro
PA
Kasheed
MA
Thurrah
Kasheed
GA
Thurrah
GA
Ro
GA
Kasheed
RI
Thurrah
Kasheed
SA
Thurrah
Kasheed
(which
itself,
;
SA
Istaud
Here
is
SA
signifies sur,
as I before remarked,
put
Kauredge)
Dhawoth, &c., but the reader will perceive the introduction of KPY in the above scheme, not enumerated among the
notes of the Gamut.
I
the manuscript
is described by an Arabic Gas of a different form from the character which represents the note Gundhaur, as may be seen in the engraving, where I have given, copied
a figure of the
explanatory of
its scale.
also,
representations
of the Serinda,
(fig. 2.,)
(fig. 1.)
and
profile
with
bow,
(fig.
3.)
The
are of a
Of the Baaseree,
Apollo
except
notes,
:
(fig. 4.,)
Hindu
each
hole
is
not so
:
divided
is
it
but
many
by half notes
easily
filled
its
tone
soft
by and
plaintive,
nostrils.
and so
that
some blow
with their
172
in the
in
Bengal
it
is
formed a Gourd or
\vith reeda
in
the bag-pipe.
of this
;
In a future
Number
voice
and
manuscript in Persian, on
OF THE HINDUS.
BY
J.
D.
PATERSON,
ESQ.
(From
ot*
D.
PATERSON,
ESQ.
WHEN
that
it
music was
first
reduced to a science,
it is
probable,
was confined
fitted
to the
and studies
the
them
to
first efforts
:
of the science
were displayed
in
hymns
to the
deities
and expression.
their laws to certain
According to PLATO,* the Egyptians were restricted by fixed melodies, which they were not
;
permitted to alter
it
down
as a principle, that
"
and that
it
exhibit in
lities
temples what these were, and what the quawhich they possessed ; and besides these it was not
their
lawful
of
He
adds,
lawful at
whole
On
Legislation.
Dialogue 2nd.
176
years ago, as
neither
more
beautiful nor
same
art."
CLINIAS observes, that he spoke of a wonderful circumstance, he replies, "It is, however,. a circumstance pertaining to law
will
When
and
politics
in a transcendent degree,
you
likewise
this respecting
music
is
true
and
deserves
attention,
because
the legislator could firmly give laws about things of this kind
and with confidence introduce such melodies as possessed a natural rectitude but this must be the work of a God, or of
:
melo-
the Poems of
PLATO considers
to prevent the
effiminacy.
restriction,
this restriction
as proper
and necessary
There appears to have been some such idea of amongst the ancient Hindus, by the confinement
:
viz.,
times,
when the
dis-
are fixed
respectively
as it
probably peculiar to the Hindu music. It is likely, that these melodies were in former times apIn such case
Raginis would derive their appropriation to particular times and seasons, from the times and seasons
177
of the
services to
by the Hindu ritual for the performance which they were respectively appropriated.
:
This
appears probable
the prejudice.
universally adopted
it
and a performer, who should sing a Raga out of its appropriated season, or an hour sooner or later than the time appointed, would be considered as an ignorant pretender to
the
character of a musician.
melody.
The
origin of this
custom seems
lost
in
antiquity.
No Hindu,
account for
it
with
it.
whom
I
We
as
originated,
may, therefore, suppose it probable, that have observed before, in the religious
restraints
when
first
which music appears to have been subjected, reduced to fixed principles as a science.
to
in
Hindus ;
and in
:
as the abridged
ni,
names
said
order.
are
occur in the
Sama
Veda
their present
are as follow
Madhyama.
Panchama.
Dliaivata.
178
Hence we
names
of these notes,
what we
of their
call
Solfaing or
viz.,
syllables
names,
Set,
ni.
The complete
;
scale is called
Swara-
grdma
or assemblage of tones
it
is
likewise
of,
The Hindus
as follow
place the
Rlshabha, of BBAHMA.
Gdndhdra, of SARASVATf.
Nishdda, of SUBYA.
Of these
which
is
1st the
Dddi,
the
Ansd
all
or
key note
and
is
described as the
is
Rajah on
ia
whom
the 2nd
Sanbadi which
Rajah; the 3rd are Anubddi, described as subjects attached 4th Bibddi, mentioned as inimical to him.* to their Lord
;
The Hindus
we call a major tone, three to describe a minor tone, and two the semi-tone not as being mathematically just, but as means of representing to the eye, and to the
:
seem
to correspond to
179
> merely to shew, that a semi-tone is half and that the minor tone is a medium between tone, the major and semi-tone, being less than the former and
latter.
Mathematical calculation
is
out of
the question.
Perhaps they were induced to make this division of the octave, by considering the minor tone as not divisible by two
without a fraction
three, to represent
;
it
for, if
we
but by allowing three to represent each of the two minor tones, instead of four, there will remain only twenty-two,
the
number
of S'ruti admitted.
The
To Shadja, or 4 Tibra Sa
. .
Pa
Cirti
j
}
Cumudvati
Mundd
Chandovyct
or 3
Ractd Dipari
A Idpini
To Rlshahha
Ri
....
Daydvati
180
Gramas
or scales
viz.,
Shadja-
and Gandhdra-Grama.
S'ruti
is
The
of
The Madhyama-
formed from this by a transposition of the major tone between Pa and Dha, and of the minor tone between
is
Grama
Dha and Ni; thus the technical language of Hindu music, Dha takes one S'ruti from Pa, and becomes thus possessed of
four, leaving three to
Pa.
represented.
Tetrachord.
Sa
Shadja
I
Ri
Ga Ma
Pa
Dha
Ni Sa
Grdma
j
181
When
a different
modulation,
:
When
a note
is to
that such
more
S'ruti
mediately below
Shadja Grama to the Hadhyama Grama, where Dha one S'ruti flatter than in the former scale.
If a note is to be raised,
made
the expression
is,
that such a
as its
which operation renders the note proportionally sharper, distance from the note immediately below it is consej
quently increased
distance
is in
and
to
it,
the
Madhyama
Darpana
Grama ;
1st.
the Sangita
by rendering the third note Ga flat, the Ri and Ga is reduced to a semi-tone, and that between Ga and Ma becomes a minor tone.
comes
interval between
2nd.
I
Panchama
at a loss to
loses
am
know how
take place
rather
suspect an error in the text, and would propose to substitute Dha the sixth note instead of Gandhara. The three S'ruti
of
Panchama make
is
by
losing one, it
this
reduced to a semi-tone
is
but
it
cannot lose
There are
:
fifth
note
interval
182
remains unaltered.
must
or, in
in this case
be done by making
Dha
by giving one of Panchamas S'rutis to Dhaivata. 3rd. Suddhaswara gives one S'ruti to Nishada.
Here
not the
applied
Nishada
is
flat.
Suddhaswara
is
name
of a note
but
is
explained to
me
to be a term
of S'rutis.
; for,
compliment Dhaivata
it
It
may,
although
may
Nishada, yet
gains
one from
Panchama, and
If these
conjectures are
(to
:
admitted, and
the
Madhyama Grama
stand thus
refer), it will
Sa
4.
Ki
3.
Ga Ma
2.
Dha
4.
Ni Sa
2.
Madhyama
183
have done, in order to compare those intervals with the S'ruti of the Hindus, and to show the difference.
MALCOLM'S
series of the octave.
MALCOLM'S
tTfitT*5-i
Major
tlTT'Ss'tfl
Minor Mode
or
Mode
or
Madhyama Grdma.
Gdndhdra Grama.
The
differe
184
If
of
we revert to the Shadja Qrama, we shall find it composed two disjunct, but perfectly similar Tetrachords, separated
:
by a major tone both Tetrachords are expressed by the name numbers 4. 3. 2 ; and, if we reject the fractions of the first Tetrachord in the foregoing table, we have the same
number
and,
same numbers
or the exclusion
Those Ragas, in which the whole seven notes are employed, are called Humir huran.
are called Cad'hir.
Those, which exclude one pai-ticular note, and only use the
remaining
six,
particular notes,
is
There
broken
it
Campus Martins
at Rome,)
by which
on this
that,
by the means of its neck, this instrument was capable, with only two strings, of producing a great number of notes that
;
these
two
strings, if
fur-
which consists of a conjunct Tetrachord as B. C. D. E F. O. if tuned in fifths, they would produce an octave, or two
;
;
disjunct Tetrachords.
This
of the
*
may
and there
is
a similar
A fragment of an Egyptian obelisk of the highest antiquity, which had been brought to Rome under Augustvj. It is covered with Hieroglyphics.
185
which
have often
tuned in
it is
It consists of a
;
ed with parchment
wooden body, hollowed out and coverit has a neck and two strings, and is
if I
The Madhyama Grama is evidently our major modes am right, that of Gandhara is our minor mode.
of the
and,
The extent
Hindu
:
which are
the lowest or
first
Septaca, called
Mundra-sthdna,
is
derived
or produced
;
from
The
there
scale is
is
denominated Grama,
assemblage of
(literally village,)
all
because
in it the
differ-
it
Grama
takes
its
name from
by
fifths
and the
and 6th
is
therefore represented
by
Dka
Sa.
that
Si does
to
The
:
Grama may
8
be represented as follow 4 3 2 16
5 4 3
27
15
2
ni
sa
Sa
ri
ga
ma
pa
dha
186
The modulation
its
Madhyama Grdma
probably took
;
from making Madhyama, the 5th note in the scale iu which case you will have
rise
Ni
Si
so,
ri
ga OR
ma
fa
pa
sol
dha.
lit
re
me
la.
;
This
it
is precisely
and here
became necessary to render Dha a comma lower in the scale, which the Hindus express by making Dha receive one
from Pa.
it it
S'ruti
The
the
they adopt-
ed
and with
Grdma, giving
its origin.
name
of
Madhyama, probably
to have
to denote
a similar origin
Dha
ni
sa
ga mi
ma
fa
pa.
OB
La
Which
is
si
ut
ri
sol.
as
their first
became necessary, to give it the same modulation and Gdndhdra Grdma to denote its it was probably called
origin.
S'rvtis I
endeavour to explain what these M&rchhanas are ; or rather what I conceive them to be. Each Grdma is said to contain seven
Murchhanas
hence
they
reckon
twenty-one
in
all.
multiplied by three,
according to the
187
But the
ap-
pears to
me
therefore, that
I
Grama, which
similar
would arrange as
is
composed
of
Tetrachords, separated
the Mtirchhanas of
Grama
suppose to be
1st.
from Sa to Ri
^
(
1st.
2nd.
2nd.
3rd.
SatoGa
Sa
to
1st. 3rd.
1st. 4th.
Ma
Ni
Sa
J
-v
4th.
from Pa to Dha
5th.
6th. 7th.
Pa
to
to
Pa Pa
of
2nd. 4th.
to
Sa
:
8 octave.
The Murclihanas
Madhyama Grama
to Ga, greater third.
Sa
4th.
5th.
Sa to Ma.
Sa to Pa.
6th.
7th.
8th.
sixth.
Sa
to Sa.
tlie
Epic
Poem on
which
is
entitled Mdgha,
Sir
W. JONES
interval."
He
interpretation of
In his version
(which
is
explained
in his treatise
H.
T. C.
188
M&rchhana
Sa to
Grama
Sa Sa
to Ga,
to
minor
third.
Ma.
Sa
to Pa.
sixth.
Sa
to Sa.
The M&rchhan&s
names,*
viz.
and distinguished by
Uttarayita.
RechanL
4th.
5th.
Sud haprajaya.
Sancita.
6th.
Chacranta.
Saubiri.
2nd.
3rd.
Harina.
Culopanta.
Sudhct Mad'hya.
4th. 5th.
6th.
7th.
Marghi.
Purvi.
Rlshica.
This
list is
The
T. C.
personified
H.
GRA'MA.8
189
Mandrd.
Vis'dld.
2nd.
3rd.
Sumuc'kt.
Chitra.
4th.
5th.
Rohini or Chitravati,
Suc'ha.
6th.
7th.
Alapa.
The use
of these
M&rchhanas
is,
in
my
opiuion,
to teach
;
and
and to
rise
and
fall
by
;
ON
FRANCIS FOWKE,
ESQ.
Vol.
I.)
AN EXTRACT OF A LETTER
ON THE
FROM FRANCIS
VINA.
FOWKE,
ESQ.,
THE
of this
Shah ; but the draftsman was not equal to the perspective he would have run all the figures one into the other
:
and as he has succeeded telerably well with the principal figures, I thought it was better to be sure of that, especially
as the other figures can easily be added by a European artist.
I
of the Been.
ment
shall
and I
am
you with facts, highly necessary indeed, but the mere work of care and observation,
happy, by furnishing
to give
you greater
whole
You may
:
upon the accuracy of all that I have said respecting the construction and scale of this instrument it has been done by measurement and with regard
absolutely depend
:
to the intervals, I
my
ear,
194
Been tuned
aware
there
of, will
may
What I myself am not certainly escape your penetration, that be a little of the bias of hypothesis, or an opinion
in
what
But
and
it is
easy to separate
my
my
though they
may
The
The Been
finger-board
is
is
beyond each end of the finger-board are two large gourds, and beyond these are the pegs and tail-piece which hold the wires.
little
inches.
The whole length of the instrument is three feet seven The first gourd is fixed at ten inches from the top,
is about two feet ll. The gourds are very fourteen inches about diameter, and have a round large, the cut out of about five inches diameter. The bottom, piece are is about two inches The wires seven wide. finger-board
on
the
finger-board;
They
manner
o
J3
+*
O
|S
1 So
i*.
^33
II
id "*
11 ^V
i
a
a*
195
The
the frets
is
one inch
|,
and that at
the other extremity about gths of an inch, and the decrease is pretty gradual. By this means the finger never
itself.
The
on with
which he does entirely by ear. This was asserted by Pear Caivn, the brother of Jeewan Shah, who was ill at the time, but Pear Cawn is a performer
himself,
very
little, if
at
all,
inferior to
Jeewan Shah.
tolerably exact.
The
frets
of
Any
is
it
little
by the pressure
of the finger.
at
all
return
immediately to
something
like
so agreeable an effect
for it appears
sometimes to
the
sound half a
tone.
The
in number.
The notes
that they
own
language.
p3 ^S
JId
^1
^3
4-*
J2
^3
13
+3
5 ^ 5 5
**
C*
& & *
r*
*-
t-"
(*
X
c
g.
&
196
197
in
The
air or
style of
is
general that
of great execution.
subject.
of a
number
and
of detached
passages,
in their assent
descent
them
are struck,
from time
to time, in
manner
which the uncommonly full and but the ear greatly contribute
to
;
think,
always
dis-
appointed
and
if
there
is
cipal key, I
am
inclined to think
very short.
Were there
has, at
some
period, been
much
supe-
to
the supposi-
SUNGEET.
BY
FRANCIS GLADWIN,
ESQ.
(From
the
"
SUNGEET
BY
FRANCIS GLADWIN,
SUNGEET The
the art of
ESQ.
is
music
First,
of
two kinds
Annahut,
all
When
man
he perceives an inward noise, to which they give this name. They say this proceeds from Brahma, and that it cannot be
heard without stopping the
Muckut, when
it
ears,
till
man
is
in the state of
becomes part of his nature. Akut, a sound which proceeds from a cause which, like speech, they consider to be an accident of air, occasioned by percussion. They say
that Providence has given
every
man
twenty-two nerves,
and
weakly,
sound uttered.
fifth,
The
through the
sixth,
eighteenth and
:
nineteenth nerves, consequently they are mute but the sound uttered through the others, they divide into seven
kinds, in the following order
:
1,
is
Righbeh,
is like
202
SUNGEET.
season.
3,
It is in
compass
the
Gandhar,
is like
teenth nerve.
4,
Mudhem,
is like
Pun-
chem,
is
like
Dehwat,
is like
the voice of
Nikhad,
is like
An
no
air
air
which contains
If
it
all
Siimpoorun.
has
six,
Khadow.
(or
Owduh
aud
has fewer.
posed of two.
They
Purbutty.
say
Mahadeo and
Sree Raga,
That the
had
five
issued a musical
2,
mode
1,
Bussunt
3,
Beharowg
Puncham
; 5,
Megh.
To
this
Purbutty.
several variations
These six modes they call Raga, and each has the six following are what are most ; but
Malavee
common.
VARIATIONS OF SREE RAGA
3,
1,
;
6,
2,
Tirowenee
Gowree ;
4,
Kadaree
OF
Towree
5,
Maddeemadwee ;
1,
Beharee.
2,
VABIATIONS
3,
BUSSUNT
;
Deysee;
Deo-gurree
Byratty ;
4,
5,
Lellita ; 6, Hindowlee.
1,
VARIATIONS OF BOYROWUNG
3,
Boyrowo
Biratka
;
2,Muddehmad;
6,
Bihrowee
4,
Bung alee ;
5,
Sindavee;
7,
Poonargeya.
SUNQEET.
VARIATIONS* OF
203
2,
PUNCHAM
5,
1,
BeylMss ;
; 6,
;
Boopalee
3,
Kanra ;
4,
Badhunsha ;
Malsree
Pathamunjeree.
Sowrwtty
; 3,
VARIATIONS OF
MEGH
;
1,
Mullar
6,
2,
Assa-
varee ; 4, Kowsekee
5,
Gandhar ;
1,
Harasingaree.
2,
VABIATIONS OF NATNARAIN
3,
Eammodee ;
6,
Kulleyan ;
Aheeree
; 4,
Soodhanuat
5 Saluk ;
Nutkummer.
Others in
Some make
of each Raga.
five
variations
of
each.
Others instead of Bussunt, Behunga, Punchama and Megh, use Soodh Behungara, Hindowla, Dasker, and &oodhanut.
by the Deidabs and the Rekehsir, which are the same everywhere, and are universally held in the highest veneration.
In the Dekhan there are
in different
1,
Soorejperkass ;
;
5,
Penjtalisser ;
;
3,
Sirbetoobehder
;
; 4,
Chanderperkass
Shoomra
and
7,
Surtunnee.
(or local),
each
Dhoorpud
in Agra, Gwaliar,
In the reign of Rajah Man of his named Naik Bukhat three musicians Gwaliar, Singh shoo, Mujhoo, and Bhamioo, formed a collection of songs
Bary, and that neighbourhood.
suited to the taste of every
class
of people.
When Man
Singh died, Bukhshoo and Mujhoo went into the service of Sultan Bahader Gujeratty, and being highly esteemed by
that prince, introduced into his court this kind of songs.
The Dhoorpud
cal lines
of
any length.
They
men Th
204
Dherow ; the subject
is
SUNGEET.
generally love.
Those sung in BenThose of Bunyeela. Jownpoor, Choolkutta. Those of Dehly, Kowl, and Teraneh. These last were composed by Ameer Khosru of Dehly, with the assistance of
gal, are called
mixture of the
called
and
Those of Siud, are called Kamee, and are on love and friendship. Those in the Terhut language, called Lehcharee, were composed by Bedyaput, and are
called Chund.
on the violence of the passion of love. Those of Lahore are Those of Gujerat Juckee. The warlike and
are of
Besides those
many
others,
amongst which
Soohoo, Deyskar,
and Deysneck.
is
two kinds.
1,
Kagalap, the
air.
Roopalap, the
air
with
the words.
Pirbendh,
is
the art of
:
1,
Soor
composing 2, Bered
;
4,
Tinna, or
Amen
5,
Tuntinna, or
Amen
6,
Neehrat, Time,
of the
Paut
This therefore
an excess of time.
six Tuntinnas,
it if
Taul, or measure.
is
If the
Taul contains
called
Meydenee
; if five,
Anundenee ;
Terawely
;
if four,
it
Debnee ;
three,
Bhawaiiee
; if
two,
aud
never consists
of fewer.
SUNGEET.
20o
Wadya,
:
of musical instruments,
and
2,
1 ,
Tut, stringed
instruments.
3,
those
made
4,
instruments.
STRINGED INSTRUMENTS
of hollow
wood an
ell
in
length,
On
the
neck are placed sixteen wooden frets, over which are strung six iron wires, fastened into both ends of the neck. The tone
is varied,
strings.
The Kinner has a longer neck than the Sheen, and has the
gourds with two strings.
The Sirbheen
any
frets.
is like
it
has not
this is smaller
Sirbheen, and it has only one gourd, which is placed in the middle of the neck underneath, and one iron wire. The changes of the modes are played upon it.
The Rebab,
in general,
but some
have twelve, and others, eighteen. The Sirmendel resembles the Canoon.
strings,
It
has twenty-one
some
of
which are of
iron,
some
of brass,
aud some
of gut.
206
SUNGEET.
called
also Soorbotan,
is
The Saringee,
of the shape
of
It has
The A dhowtee
of gut,
is
at both ends,
ment
It
and
it is
drums fastened
well known.
together.
The
another kind of
drum
the Dehl.
of the Awej.
drum
well
known.
bells.
The Khenjir,
little
The Kut-h
or stone
;
and
are
made
of
wood
and joined together in a leather bag. In the Persian language it is called Nie Amban, or the bagpipe.
.
ell
long,
with a hole in
vSUNGEET.
207
Those who sing the ancient songs, which are the same everywhere, are called Eykar ; and those who teach them
Sehkar.
The Kerawunt
Dhoorpud.
songs,
The DTiarhee
are those
who
which
they accompany with the Dehdeh, and Kingerah. Many of these sing in the field of battle the praises of heroes, to
excite the troops to valiant actions.
The Kewall
are
of this
number, but sing chiefly the Dehly airs and Persian songs
in the
same
style.
their
women with the Tal ; formerly they sung the KirkeJi, but now the Dhoorpud, and such like. There are many beautiful women of this class. The Dmzun are chiefly Penjaby women who play on the Duff and Dehl,
voices with the Awej, and the
women but now Sezdehtaly, the men of this and one of the women plays at once
;
The
upon
Tal,
placing
wrists,
backs of the hands, elbows, shoulders, back of the neck, and on the breast.
Nuthwah
These are mostly natives of Gujerat and Mulwah. The dance with graceful motions, and sing and play
upon the Pukawej, Rebab, and Tal. The Keertunnya are Brahmin^ whose instruments are such
as
viz.,
and Tal.
They
praise of Kishen.
as the last
women, who sing the The Bhugteyeh, whose songs are the same but they change their dresses, and are great
are boys dressed like
mimics.
They
exhibit at night.
The Bhunweyeh
greatly
208
SUNGEET.
resemble the last, but exhibit both in day and night. They dance in a surprizing manner in the compass of a brass
dish, called in the
Hiudovee language Take. They also sing the Dhel and Tal, and sing : They reanimals They draw up water through the
:
They run an iron spit down their throat into the stomach They swallow a mixture of different kinds of
:
grain, and then bring them up again separately, with other nights of hand. The Kiinjeree, the men play on the Pukawej,
them Kunchenee.
women sing and dance His Majesty The Nut play on the Dhel and Tal,
:
tures.
dance upon the rope, and throw themselves into strange posThe Behroopee exhibit in the day, and disguise them-
men seem
to be youths,
The Jugglers
a
are so
seem
to cut
man
in pieces,
own
The performers
are generally
women
of
the house,
who
A set consists of
who
play the
Tal,
Owpunks, one and two who stand by with torches. They are, for the most part, instructed by the Nutwah, who sometimes teach slaves of their own, and then sell them.
;
His Majesty
knowledge of
is
its principles.
This
of
art,
means
THE NAQQARAHKHANAH
AND
BY
H.
BLOCHMANN,
ESQ., M. A.
From
tJte
"
Ain-i-Akbari," Vol.
I. )
is.
NAQQARAHKHANAH.
BY
H.
BLOCHMANN,
ESQ., M. A.
Or
may
mention,
The Kuwargah, commonly called Damamah ; them more or less and they give
;
pairs,
more or
less.
is
The Karana*
:
four.
5,
they blow nine together. 6, The Nafir, of the Persian, European and Indian kinds ; they blow some of
each kind. a cow's horn
bal, of
7,
;
The Sing
is
of brass, and
8,
made
The
in the
form of
Sanj, or cym-
which three pairs are used. Formerly the band played four gharis before the commencement of the night, and likewise four gharis before daybreak ;
now they
his ascent,
sun-rise,
play
first
at
midnight,
commence
;
the
Kuwargah a
other instruments, without, however, making use of the Naqafter a little pause the Surnas are blown again, the
qarah;
Or
Karran<J.
212
FAQQARAHKIIANAH.
time of the music being indicated by the Nafirs. One hour later the Naqqdrahs commence, when all musicians raise
"the auspicious
strain."*
1,
is
the
name
of a tune
Bardasht, which consists likewise of certain times, played by This is followed by a pianissimo, and a
crescendo passing over into a diminuendo
;
2,
The playing
The playing
of the old
Khwdrizmite tunes.
Of these his
Majesty has composed more than two hundred, which are the
delight of
young and
old,
especially
Mahdmir
The
swelling play
of the cymbals.
The playing
of
Ba miy&n
Rdhi
daur.
6,
The
bdla, after
which
comes a pianissimo. 7, The Khtvdrizmite tunes, played by he theu the Mursil, after which he passes into the Mursali
;
pauses, and
commences the
when
the
lasts
a pianissimo.
Then
follows
This also
for
an hour.
Afterwards the
wnm-players perform
to a
ano-
ther hour,
proper conclusion.
His Majesty has such a knowledge of the science of Music and he is likewise an
;
hand
in performing, especially
on the Naqqdrah.
Several of these
names
and
bability,
remain
so.
Ndgar
gatraft "means,
behold the
tear.
213
SO.
THE IMPERIAL MUSICIANS .*
I
CANNOT
creatures
of the
harem
on the tongue, and sometimes appears in solemn strains by means of the hand and the chord. The melodies then enter
through the window of the ear and return to their former seat, the heart, bringing with them thousands of presents.
The
moved
to
sorrow
or to joy.
Music
is
cling to
it.
attention,
to
music,
art.
is
who
practise
this
enchanting
There are
Turanis,
numerous
musicians
at Court,
Hindus,
Irani,
Kashmiris, both
The
arranged in seven divisions, one for each day in the week. When his Majesty gives the order, they let the wine of
harmony
flow,
in some,
and
sobriety in others.
We have to distinguish goyandah, singers, from khwanandahs, chanand sdzandaks, players. The principal singers and musicians come from Gwnlinr, Mashhad, Tabriz, and Kashmir. A few come from Transoxania. The
ters,
schools
in
Kashmir had been founded by Irani and Tiirani musicians, patronized The same of Gwaliar for its schools of
of
Rajah
Man
Tunwar.
During
to those
;
of Tansen.
liakh-
his
throne,
Kalinjar.
he
accepted
to
Gujrat,
where
I.-lem
he remained
of Sultan
of
Bahadur
His
(1526 to 1536,
great
singers
A.
1>.)
Shah
also
was a patron
Mahapater.
music.
entered
to
two
were
Ram
Doss
and
Both
subsequently
Akbar's service.
of Orissa.
Mahapater
as ambassador
Mukund Deo
214
of people
would be
too difficult
1.
Miyan Tansen,*
singer like
him has
3. 4. 5. 6.
7.
singer.
Muhammad Khan
8.
9.
10.
Baz Bahadur, ruler of Malwah, a singer without Shihab Khan, of Gwaliar, performs on the Bin.
rival.
11.
12.
13.
Daud
Dhari, sings.
Miyan
Ram Chand
is
said to
have
an interesting passage)
Badaoni
(11,42) says,
Ram
He
appears
to have
been with Bairam Khan during his rebellion, and he received once from him one lakh of tankahs, empty as Bairam's treasure chest was.
He was
first
and he
is
only to Tansen.
is
'
mentioned below.
singer,'
Dhari means a
a musician.
||
LJvl
Kalgwant
(or
Kalanwat,
i. e. t
the singer) died in the 3rd year of his reign, " sixty or rather seventy years
old.
his youth in
my
father's service.
I
One
of his
Muhammadau women."
215
sings.
15.
1 6.
flute (nai).
17.
18. 19.
Nanak
Purbin Khdu, his son, plays on the Bin. Sur Das, son of Babu Earn Das, a singer.
20. 21.
22.
23.
Chaud Khan,
of Qwaliar, sings.
Rahmatullah,
a singer.
brother
of
Mulla Is-haq,
(No.
15),
24.
25. 26.
Mir Sayyicl All, of Mashhad, plays on the Qhichak. Usta Yiisuf, of Harat, plays on the Tamburah.
Qasim, surnamed
Koh
bar.*
He
has invented an
Qubiiz
and
the Rabdb.
27.
28.
29.
Qubiiz.
Bahram
on the Ghichak.
30.
31.
32.
Usta
Ustd Shah Muhammad, plays on the Surnd. Muhammad Amin, plays on the Tamb&rah.
Hafiz Khwajah' Ali, of Mashhad, chants.
Mir' Abdullah, brother of
33.
34.
Qanun.
Koh-bar, as
we know from
the PSdishahnamah
(1.,
6, p.
335) is
The Nafais-ul-Madsir mentions a poet the name of Muhammad Qasim Kohbar, whose nom-de-plume was Cabri.
Vide Sprenger's catalogue, p. 50 (where
we have
pax).
210
35.
Tllli
IMPERIAL MUSICIANS.
of
Pirzddah,*
nephew
Mir Dawam,
of
Khuras&n,
Ustd
Muhammad
He
He was
by a wall
t
falling
on him.
i
The Maasir
service
;
of the
Khan Khanan
Muhammad
Maulana" Sharaf of
singer.
(p. 579), Muhammad Mumin, alias and Hafiz Nazr, from transoxania, a good The Tuzuk and the Iqbalnamah mention the following singers
a Tamburah-player
of Jahangir's reign
Jahangfrdad
Chatr Khan
Parwizdad
Khurramdad
Mak'hti
Hamzan.
During Shahjahan's
reign
;
we
find
JangaVh,
who
;
who
got the
title
of
Gunasamudra (ocean
Lai
Khan was
weighed in
silver,
Aurangzib abolished the singers and musicians, just as he abolished the court historians. Music is against the Muhammadan law. Khan Khan
(11,213) tells
a curious incident which took place after the order had been
bier in front of the Jharok'hah to
given.
(the
shew themselves
daily to the
people,)
He came
" Me-
to the
whom
They
said,
Very well," said the lody " make the grave deep, so that neither voice nor echo may issue emperor, from it." A short time after, the Jharok'hah also was abolished.
is
"
ORIENTAL MUSIC.
THE MUSIC OF HINDUSTAN OR INDIA.
WILLIAM
C.
STAFFORD.
ORIENTAL MUSIC.
THE MUSIC OF HINDUSTAN OR INDIA.
WILLIAM
C.
STAFFORD.
five
great nations
;
all
of
whom, except
music.
ledge
;
the
last,
India is one of those countries which lays claim to a very high antiquity, and to a very early proficiency in the arts and sciences. M. Bailly supposes the Indians cultivated
Christ.
commonly
call
as a proof
we now
the earliest
settlements
people renewed for learning and intelligence, dwelt there. " has been " inhabited, from the earIndia," says Mr. Orme, liest antiquity, by a people who have no resemblance, either
in their figure or manners, with
to
them
;"
may now
day,
appear,
we cannot but
suppose,
early
they
were splendid
in arts
and
220
in knowledge." into
ORIENTAL MUSIC.
We shall
not,
their antiquity,
nor into
and
The Hindus
believe, that
the goddess of
and that their mythological son, Narad, invented speech the vina, the oldest musical instrument in use in Hindustan,
which was
also called
Cack'hapi or
is
Testudo.
Among
in-
sage Bharafe,
There appear to have been in the ancient Hindu music, four principal matas, or systems, and almost every kingdom and province had a
peculiar style of melody, and
music
In the sacred books of the Hindus, their ancient system of is said still to be preserved. These, however, have
;
will
be
nor do
To the learned
natives,
however, the
thirty-six
[or
and raugines,
[or
origin ; and many miraculous powers are assigned to them. " Of the six raugs," says Sir William Ouseley,* " the first
Oriental Oolite ion$.
ORIENTAL MD8IG.
five
21
owe
Parbuttee, his
constructed the
Thus, of
genus ; and of the three ancient genera of the Greeks most resemble the enharmonic. A considerable difficulty is found
in setting to music the raugs
his
produced by two of the six raugs, are even more extraordinary fchan any of those ascribed to the modes of the ancients. Mia Tousine, a wonderful musician in the time of the Emperor Akber, sung 4one of the night raugs at midday
;
the
instantly became in a extended circle round the and darkness the night; voice sound of his could be heard." as as the far palace,
it
possessed the
by
fire
of
it.
Akber
is
manded one
of his musicians,
and
he, obliged to
Jumna
which he
plunged himself up to the neck. As he warbled the wild and magical notes, flames burst from his body and consumed him
to'ashes
;
the
was
and
by exerting the powers of her voice, in this rang, drew down from the clouds timely and refreshing showers
222
ORIENTAL MUSIC.
on the parched rice-crops of Bengal, and thereby averted the * Of course horrors of famine from the paradise of region!
1
no traveller now
meets
;
with
if
singers
possessed of
these
wonderful properties
he inquire for them in the west in Bengal of India, he is told they are to be found in Bengal the inquirer is sent back to the west of India on the search.
but
The
the
violin
flute,
it
was
some
" In a collection of Voyages and Travels, collected for the A true and library of Lord Orford, there is one entitled,
'
away
farthest
part
&c.,
&c.,
by Captain Corvette,
is
whom
he was thrown
and what
to our purpose
He
arrives at
Buckar
'
standing on an island,
lochies,
of the sun.
The
ad-
was
little
met
to
welcome
Fowke
Esq., in a letter to
Sir
Hindu instrument
is
called the
similar in
on
I.,
this instrument
p. 74.
W.
Musical Revive.
OEIENTAL
is
M13SIC.
223
number
of detached passages,
;
in their ascent
and descent
uncom-
manner that
uncommonly
;
full
contribute
always dis-
appointed."
He
adds,
much
practice,
would,
There
is
an excavation at Mahabalipatam, described|by Mr. Goldingham, in the Asiatkj Researches,* which he imagines was originally intended as
it is
Oue
of the group
man
diverting an
infant
there
and holding the instrument as we do." is an account of the pagoda at Permutturn^on which
there are several groups of sculptured figures
What we have
ring
chiefly
hitherto said,
must be considered
music of Hindustan.
it
as refer-
to the
ancient
Of the
as
Sir
excites,
William Ouseley remarks, we can speak with greater accuof the diatonic genera and " many of the It is racy.
*
224
ORIENTAL MUSIC.
melodies possess the plaintive
simplicity of
Htadu
the
pleasing
beyond description.
Counterpoint seems not to have entered, the into at any time, system of Indian music. It is not treatises which I have hitherto perto in the M. S. alluded
sued; nor have I
discovered that any of
our
ingenious
Orientalists speak of it as being known in Hindustan."* Sir William Jones says, " The Hindu system of music has,
and
all
the
skill
of the native
composers
is
is
some of
If
we do not admit
wo must
"
many
Hindu
some
airs possess
great merit.
them
in his
of
which are
ing to Sir
to
John Malcolm, most of the villages have attached them men and women of the Nutt or Bamallee tribes, who
whoso music and songs
minstrels,
form the chief entertainment of the peasantry. These musicians are divided into two classes, Chdrims and Bh&ts; they
boast of a celestial origin, and exercise an influence of a very
be/art
of Calcutta. Works,
YoL
III, p. 17.
ORIENTAL MUSIC.
225
In an account of Penang, given by Wilkinson in his " Sketches of China," it appears that the inhabitants cultivate a species of extempore song, rudely imitative of the art
of improvisatrizing, so well known in Italy. " Upon entering one of their boats, you
immediately be-
sable songsters,
their savage
polacca, which,
al-
the
of seven notes
The
get,
Gamut
sa,
ri,
ga,
:
rekhub ; gundhaur
neekhaudh.
Of these seven
word
it
sv.r is
used,
which
signifies,
were, the
named swara,
or the sound,
from the important office which it bears in the scale."t Sir William Jones says, " As to the notation, since every Indian consonant includes, by its nature, the short vowel a,
five of
the sounds are denoted by single consonants, and the two others have different short vowels, taken from their
* Letter on
zine, Vol.
'
and Maga-
viii., p.
t Sir
Collection!, Vol.
i., p.
76.
C-l
220
full
ORIENTAL MUSIC.
names
is
note
elongation of them.
scale,
The
mean
execution, or
manner
and
ellipses,
by
little
chains,
and
by
is
crescents, all
in various positions.
;
The
close
of a strain
are determined
stand the native musicians, they have not only the chromatic,
to our major
of the
ri,
mi, fa
Hindus applies very nearly "When the sol, la, si, ut.
same syllables are applied to notes, which compose our minor modej they are distinguished by epithets expressing the
change.
S'rati's,
or quarters and
numerous in the days of Crishna, they say they amounted to One of their musical authors, SOMA, sixteen thousand. enumerates nine hundred and sixty possible variations of
the musical scale, but he selects from them, as applicable to
practice,
It should be
is
Hindu word
raga, which
rendered
mode, properly
each
of
of the
mind
mode being intended, according to BHERAT'S to move one or other of our simple it,
*
the Afittical
definition
or
mixed
affections.
Modti of
the
Hindvt,
Works
Vol. iv
p. 157.
ORIENTAL MUSIC.
227
"the
six
ragas,
and
were fixed
and
times
early times,
Now
the Hindus
would consider a performer who sung a raga out of its appropriate season, as an ignorant pretender to the character
of a musician.
The
These strings
The sauringas,
strings are
five in
The
num-
ber
and they are tuned in fourths, played with a bow, and stopped on the finger-board in the manner of a violin ; the
:
larger,
and
are held
and played in
manner
of that instrument.
The Hindu
with a bow.
cithara
is
The common
small kettle-drum.
Two
the sash which goes round the waist, and are beaten with the
fingers,
both hands being used. In those parts of India which are under British dominion, the same style of music is cultivated which is current in
the mother country
visited
;
and Calcutta, in
artists,
particular,
has been
by some distinguished
mental.
228
ORIENTAL MUSIC.
orchestra of the theatre in that city,
in 1824, consistcellos,
The
two violon
two
and kettle-drums.
It
mer
and the most distinguished amongst the singers were Dr. Wilson, Mr. and Mrs. Bianchi Lacy with Mesdames Cooke, Kelly and Miss Williams. Concerts were given, some;
The charge
of the higher
professors
for lessons
Rupees.
J.
NATHAN.
Musurgia
Vocalis.
From
<f
"
)
NATHAN.
THE Hindus
raising the
mind hy devotion
we may
to
each of which
is
eame
strain,
representing so
many
to each.
But
much more
ex-
pressively to the
ear,
we
some
opportune or admissible.*
discussion of
omit a
full
Hindu
belief in
the
God having created the world by the word of his mouth, formed a female deity named Bawaney, who, in an enthusiasm of joy and praise brought forth three eggs. From these were produced three
male
deities,
with the power of creating the things of this world, Vishnou with that of cherishing them, and Sheevah with that of restraining and correcting them.
Seraswaty, the wife of Brimah, presides over music,
harmony and
elo-
quence
she
is also
was
first
This god-
Rags or Ragat,
232
to the inquiry.
semitones.
It is also
possible
notes into
Qrahas or planetary bodies, they may have added them to the harmonious numbers, and thus produced the No-Ragini
or
by the powers of Harmony. He believes, that they had not only the diatonic, but the chromatic scale ; for, although the latter has been referred to Timotheus in the time
excited
of Alexander,
it
is
it
nymphs
is
harmony
can be sung or
played, and this at distinct and stated hours of the day or night.
There once existed, say the Hindus, a musical mode belonging to Deipec
or Cupid, the inflamer; but
to restore it
it is
now
fire
lost,
from heaven.
is
SCIENTIFIC INTELLIGENCE.
From
the "
XXV., 1834)
WILLARD'S TREATISE
MUSIC OF HINDUSTAN.
WITH
the exception
and
Researches,
we have had
little
Grammar, and
ill
capable
of appreciating the
of the East.
The instruments
magnificent
known
Solwyn's
work
contains
accurate
therefore,
and consequently of high expectation, was received with the as author was known to be a skilful peravidity,
former himself on several instruments, and to have enjoyed local advantages
of
observation
ment
at the native
little
court of the
Nawab
us,
has his
volume
disappointed
being a familiar
reader,
and pleasing account of his subject, intended for the general and rendered more inviting by frequent allusion to
236
the music of the
ORIENTAL MUSIC.
West both
An
author
would
have
required
extensive knowledge of
varied metre of
heroic,
;
and
for
erotic
professors
held to be disreputable
as
forsworn by many, from the abuses which have crept into our theatres. Still in these degenerate days there are
exceptions, and the
sacred
Vin
may
occasionally be heard
pouring forth
Gamut, of time, of and oriental melody, rags raginees (giving a long catalogue of compound rags) instruments, vocal compositions, and of the
peculiarities of
Our author
of
manners and customs exemplified in the songs Hindustan. Then follows a brief account of the most
a
celebrated musicians,
copious
glossary
of musical terms,
of the varieties of
of Hindustan never appear to have had determined pitch by which their instruments were reany his own to a certain height, each tuning person gulated,
The musicians
adapted by guess, to the power of the instrument and quality of the strings, the capacity of the voice intended
ORIENTAL MUSIC.
to
237
From
note
be accompanied, and other adventitious circumstances. this it may be observed that it is immaterial which
Sir William Jones is designated by which letter." makes the Kharaj, or key-note, on the Vin, to correspond with A, but the author thinks it would be more systematic to
tune
it
it was the intention to speak of the diatonic intervals, or of the absolute pitch of the instru-
ment.
The notes
of
sub-divisions instead
doue with
a distinct
us
them has
name
Soar.
assigned as follow
Srutis comprised.
C Kharaj
Rikhab
Ri
Oa
Pa
Ma
Dha.
A
JB
Dhyvat Nikhad
Ni
Duyavatee, Reictica, Runjunee. Sivee, Crodhee Bugra, Prusarunee, Preetee, Marjunee. Kshuttee, Recta, Sidpunee, Ulapunee. Mundutee, Rohinee, Rummya. Oogra, Joobhanka.
first
The
fifth,
intervals
between the
and sixth notes are divided into four parts j those between the second and third, and sixth and seventh,
and
fifth
each into
three
parts
and those
between
the
third
and fourth, and seventh and eighth, which with us are reckoned semitones, each into two parts." Captain Willard
asserts
under
the
division
'
time,'
notwithstanding
the
authority of Tartini and Dr. Burney, that no musician can execute measures of five notes in a bar "There is
Hindustan comprising seven and other unequal number of notes in a measure, and that they have musicians in abundance that are able to execute it. We
beautiful melody in
should
much doubt
this fact.
238
Indian
ORIENTAL MUSIC.
Harmony
is
re-
instrumental melody
for it is
consti-
tion
2.
and variations.
They
all
is
denominated
by us Eondo, the piece being invariably concluded with the first strain, and sometimes with the first bar, or at least with
the
first
3.
is
a certain
number
of measures,
frequently repeated with slight variation, almost ad lib. There is as much liberty allowed with respect to 4.
pauses, which
may
The author
corrects
'
Sir
William
Rag by
'
the expression,
mode,' or key,
t'kat
:
rag
series
signifies rather
tune' or
air."
The
personification of rags
of pictures called
known
to reinterest
it
these
series
accompanied by engravings of a selected but we are aware that this could not
set
airs)
is
strikingly
marked
in
some
of these
ORIENTAL MUSIC.
239
We
posing the
first
line
by transand adding
Aehvagari dil burda za man (to) jalva numai, Kajkulahi zar rin kamari (ham) tauga qubi, Man bavasalash ky rasam in (ast) bas ki barahash, Khaka shavatn rozi (ta) bosam (man) kufl pai.
numa,
&c.)
Oh
thief of
With head dress awry girdle of gold boddice bound tightly When, when shall we meet Ah-not in life not till my ashes
!
shining so bi-ightly
He
treading so lightly.
CATALOGUE OF INDIAN
MUSICAL INSTRUMENTS.
COL.
P, T.
FRENCH.
From
the
Academy,
Part
I.
COLONEL
P. T.
FRENCH.
upon
to describe
Instruments of India, presented by Colonel P. T. French to the Academy, I will now proceed to do so,
of Musical
in the
have to
:
tune any of them had this been possible, their uses and effects would have been
readily understood than
;
much more
description
made
is
especially
for
them by wire-drawers
this city.
I
in
not obtainable in
detail
have therefore
alone, with notices of the uses to which they are put by native
my own
experience.
vfc
Nos.
1,
2, 3, in
CATALOGUE.
NATIVE NAME
(Jhang).
native music
but
all
shapes
The
larger
metal,
when
244
CATALOGUE OF INDIAN.
own
form
fitting
and
flageolets,
by which the temple music, chaunts hymns, and the like, is generally executed. Cymbals differ in form and sound
:
gongs ; others of a softer and more tinkling character, are used with softer music. In all,
effect of large
is to assist
done very
skilfully
which
there
In the south of India another kind of cymbal is used, is in the form of two cups, of bell metal, and of which
is
no specimen here.
which
Of these one
is
held in the
is
left
struck
by the
other,
is
Players on
and upon
their edges,
as to
form notes in
may be
accompanied.
is
played with more execution than may be conceived possible from the nature of the instrument. I have heard professors
it,
which,
if
and diversity of
time,
music.
(Thalia).
GONG.
It is beaten in
tem-
or as calls
to
sacrifice
or
ceremony
at different
MUSICAL INSTRUMENT.
hours of the day, and
245
is used by many of the professional mendicants of the country, more especially those religious who are accompanied by bulls or goats which perform tricks.
The
accompaniment to vocal music, nor to any but the loud, crashing and generally dissonant music of temple ceremonies. It is not used by Maho-
common
medans.
5.
*f
(Gunte).
BELL.
As a musical instrument, the bell is used somewhat in the same tnanner as the cymbals before mentioned, but more rarely.
No ceremony of sacrifice or oblation, however, is ever performed without preliminary tinkling of the bell, which is
repeated at certain intervals according to the ritual.
of sacrificial utensils is complete without
one.
No
set
To
describe
bell
at
me
no
hand
it is
as ancient as
Hinduism
itself,
and the
rituals,
liturgies,
made
of
it.
By Mahomedans,
bell in
am
aware of
is
un-
known.
6.
u*^
or
(Goongooroo).
bells are
ANKLE
used by
BELLS.
all
dancers,
male
Hindu
the"
Mahomedan.
They
above
ankle,
the feet
move
in steps,
and produce a faint clashing sound as which mingles, not unmusically, with
246
CATALOGUE OF INDIAN.
and
they not only serve to mark the lime, but to keep the dancer or singer in perfect time and accord with the musicians.
These
bells
of their profession
with
all
No
dancer ties them on his or lier ankles before performance, without touching his or her forehead and eyes with them, and
saying a short praj'er or invocation to a patron saint or
nity,
divi-
Hindu
or
Mahometan.
Nor
is it possible, after
a female a cere-
invested with
them
is
to
He
a purpose from
it
is
Strings of these small bells are also used for horses, and tied
round the fetlocks of prancing chargers with gay tinsel ribbons or pieces of cloth, also round the necks of lap-dogs, and some of a large size round those of a favourite plough or cart
bullock.
The
with sleigh
bells.
No
post
end of his pole oil which is slung the leather bag he carries ; and on a still night their clashing sound, besides being heard
at
a great
distance serves to
scare
(Seeng).
HORN.
watch setting,
Used
for the
most
part, are
Hindus of low
it is
MUSICAL INSTRUMENTS.
the business of one or more of the watchmen to blow
247
the
when
the
watchmen go
In large cities
its
watchmen
or police
and there
is
seldom a guard or
detachment of native irregular troops without one. In all processions, temple services, and especially at marriages and
other festive occasions, this horn
ing
blasts
for
is
indispensable
it
and
wail-
at the funerals of
Hindus
and
castes, or equally
so at the
cremations of
Hindu
princes.
No
native authority
frequently several,
in his train
and as towns or
is
villages are
heralded by flourishes
the head of
the cavalcade.
others from the town or village gate, whence the local authorities
come out
to
meet the
offerings of
welcome.
On
and
the discordance
is
generally indescribable.
Itinerant mendicants of
many
;
instrument,
carrying grain
sounded at intervals
up
at
is
not unlike a
in the
common
hands of a good
player
248
CATALOGUE OF INDIAN.
of
many
the
calls,
shrill
which have a startling and peculiarly wild effect as heard from the walls of some ancient fortress, or from village
towers and gates as night
falls,
horn-blowers,
used in concert with other music, but always independently, as I have already explained. There can be no doubt, I think,
that this kind of horn I observe in the
is
and
Museum
if
Academy
or Celtic instrument,
or for
the peculiar adaptation of their joints, and in the form of the mouth-piece, they are identical.
8.
). fjrjft ( in music at temples, and in other religious chiefly
Tootoore
SMALL TRUMPET.
Used
accompanies the next in order, and may be called the tenor trumpet, the other being the bass. No calls or modulations are blown upon it, but it is
sounded at intervals, several being employed, with a wild shrill effect, in concert with the pipes on which the tunes are
played.
9.
Rtf
Kurna).
is
LARGE TRUMPET.
used chiefly
local
[m
religious pro-
honour of
divinities.
It has
a few hoarse bass notes, which contrast with the shrill tenor
of the Tootoore,
MUSICAL INSTRUMENTS.
249
or priesta attached to
These instruments are almost invariably played by Brahmins Hindu temples, and by persons atof
the
country,
who
jurisdiction,
ments attached by royal permission to nobles of high rank, Mahomedan as well as Hindu ; and they are sounded at the
of the regular daily performance ; but in all do not exist cases, for there are distinctions in they the classes of instruments, according to the rank of persona privileged to play the Nobut, which involve the presence or
five
stated periods
otherwise of the kurna, those of the highest rank only being The Nobut, as a peculiar institution of native able to use it.
The kurna, or
large
trumpet,
is
esteemed by
instrument of music in
sacrifice.
cession on the
pets,
is
perhaps worthy of remark, however, that in the proArch of Titus at Rome, one of these trumto
sacred candle-stick
with
seven
branches, and other trophies from the Temple at Jerusalem ; and thus it may be inferred that it was used in the ancient
Jewish ceremonies.
10. ^t^TTT
11, 12,
Do.
REED
PIPES.
all
parts of India.
What
bagpipes are
F-l
250
CATALOGUE OF INDIAN
India.
Although
in the
is
precisely similar to
hands of good players more melodious. They have seven and eight holes, respectively, and thus would appear to have
no great compass but in execution, whether from the effect of the lips and tongue upon the reed mouth-piece, or the
;
of fingering upon the holes, combinations are formed which include semitones and quarter notes, and thus the expression of chromatic passages ad libitum, of which native
manner
is
are very
From
if
their great
unpleasant
the open
but at a distance in
air,
and
their use is
almost
out-door
oil
They
regular
employed
all
occasions, whether in domestic or public religious ceremonials, processions in festivals, temple music, and the like ; and the
music played upon them varies with the occasion on which they are used. Marches, and military music exceedingly like
pibrocha in character
for funerals,
pieces for
welcomings, departures
and the stated music of the Nobut, have all separate modes and effects. In the Mahratta country, in which I know them
best, the simple melodies of the people,
joyous or plaintive,
style of execution
of"
which
is
often sur-
and combinations
which are equally curious and interesting. In the Nobut or honorary band of musicians attached to
noblemen, temples,
or
shrines of
saints,
Mahomedan
or
MUSICAL INSTRUMENTS.
251
Hindu, the best performers obtainable are generally employthe performance is accompanied by drums, tenor ; and and bass, and large kettle-drums, which are tuned with the
ed
pipes,
and form useful aids to the general effect. The music played generally traditional, as no written music is ever skilful players not unfrequently invent from ; but played
ia
new
airs,
recognised divisions
which are founded upon the several modes of of music, and these are taught to pupils,
thus perpetuating continual changes, whether for different hours of the day or night, or for extraordinary occasions.
Not
which
shrillness
but I do not
any specimens of them in this collection. In the Mahratta country the players of these pipes are called gursee, and the office of piper is hereditary in every
village
or town, accompanied
by portions
of land,
and
cer-
village at harvest,
and
other
common with
members
office
The
and
of
"gursee"
and
officiating at certain
ceremonies
on
all
the gursee
entitled to
certain
perquisites,
the rights to
which are
strictly preserved
H.
'ft^rrT
^T
IJT-
15.
(HolarchaSoor).
TENOR
and second
bass, of
specimens.
252
is
CATALOGUE OF INDIA*
played without intermission by different persona. They effect of the drones of bagpipes, and can be
tuned to any key which the leading instruments require, by altering the position of the mouth-piece or reed, and the pipes
are tuned to different keys iu the
same manner.
16.
if fir
(Poongi).
SNAKE-CHARMER'S PIPE.
six notes,
upon them
and various
with other
musical
of jugglers,
acrobats,
and the
like.
By
be exhibited,
reptiles raise
aud as the
their
themselves on their
tails,
expand
themselves to and
fro,
accelerated
by the rapidity
of
So also in
hand, the poongi, accompanied by a small hand drum, seems to assist the performer, especially when throwing knives or
balls
into
the
air,
catchiug
them
in succession,
and throwing
them up
have an
is
again.
is
I think there
effect
upon
denied by many.
As an
instance of this,
may mention
my
garden at
Ellichpoor, and of which every one was in dread, was caught by some professional snake-charmers in my own presence
by means
of the poongi.
It
was played
at first
very softly
MUSICAL INSTRUMENTS.
hole
253
showed
its
head, he retreated
itself in a defiant
gently
till it
was
fairly outside,
and erected
manner.
At
that
dexterously
by
by a forked
stick,
strong pincers.
completely cowed and exhausted, and finally transferred to a basket for education as a performer. There was no mistake
as to the identity of the
reptile
j
for
a portion of
its tail
an attempt to destroy it. The same men afterwards drew snakes from the thatch of my house, all of which seemed to obey the fascination of the pipe.
off in
17. 'flMiUr
(Soar Sotta).
18.
tTFlTT
<J
(Tumboora).
19.
or
They
with pegs at the end, along which the wires, one brass
steel, are
and three
string
is
fitted
assists in tunning.
No
made on
these instruments.
Almost
all
ins-
truments iu
any other.
They
254
CATALOGUE OP INDIAN
it
So
much ornament
and
employed by professional
esteemed a mark of
in-
native singers,
it is
any other adventitious aid than the simple chord of the tumboora. In most instance the singer plays
himself,
though
was sure
of correctness of time,
is
and accord.
The tumboora,
therefore,
works and hymns, and of scales and exercises in singing. It is never used in company with pipes or flageolets, or indeed with any other instruments ; but, as I have described is simple, and often very charming when a good it, the effect instrument is used which has a mellow tone.
21. fatTTT ( Sitar ).
PERFORMANCE.
The
the
it
though
have heard
steel
for
treble,
and eighteen
frets, or,
and
will be seen
capability
for execution
is
unpleasant.
The
down, and a
skilful
exactly.
frequently played
is
wonder-
MUSICAL INSTRUMENTS.
ful,
255
at will,
ff?;
23.
^=rr (Kuchwa.)
Numbers
as
21,
and power, but in having two strings only to play upon, tuned in thirds, from strings in the centre, which are tuned to the chord of the key or primary note ;
respect to
is not always struck, but ouly occasionThis instrument, which is difficult of execu-
met
with.
frets,
but
from the top and two at the sides, which under those played upon, and are used in combination
effects.
This variation of
No. 21
is,
Guzerat country.
24, 24A, 25.
7ir3f% (Taoosee).
sitar,
This
is
No. 21.
;
No. 24 has
seventeen
are eleven strings of very fine steel wire, which are tuned
to eleven separate notes in the direct scale,
aud
upon.
Their use
is
to
effect
modulations by vibration of
the hand.
No. 25
is
an instrument
strings,
of the
same
character,
iu the
256
CATALOGUE OP INDIAN
Vina.
The
which
differ
The
most
the vina,
it
wanting to this
collection.
it
In form
does not
much from
has
and sweetness, though the peculiar effect of notes sounded upon brass and steel strings is never absent. The finger board of the vina with nineteen frets is 2j octaves, and the
frets
music
D, Dfc E, F, FJ G, Gfc A, B& C, C#, D, Dft C, F, F& G$, A, D. To hear, so as to understand, any really classical
Hindu music,
I
it
have occasionally met with some very learned and and accomplished performers, principally from Mysore and the
South of India.
One
of these
men,
after playing
many
upon them, changed the key of and began a piece which was familiar to me, the instrument, it was, in fact, a great unaccountable though from him
Hindu
airs
and
variations
having once taught an English lady a good deal of his own music, which she played upon the piano, she had in turn which he preferred, he said, above taught him this Sonata,
English Music," and his version of it, considering the defects of his instrument, was really very beautiful.
all
other
"
The
fact
of nineteen
have enu-
merated, and their extension according to the Hindu system affords satisfactory proof of the capabiltiea of of
fingering,
is
ment
of India.
MUSICAL INSTRUMENTS.
257
26.
^rrf?T (Sarungi.)
28.
27.
^tft^T (Sarrooda).
fsniUXT
(CMkara).
played iu the
These are the ordinary violins or fiddles of India, and are same manner, though differing from them in
respects,
some
three,
Of the
No. 26
is
the most
commonly employed.
87, Sarrooda,
may
28
is
and accompanies
an inferior
fiddle,
which
is
hands of strolling players, or mendicants, reciters of short plays or poems, and ballad singers. The Sarungi has four and the execustrings of cat-gut j it is played with a bow
;
tion
upon it by accomplished performers is frequently striking and pleasing, while the tones are nearer perhaps in quality to the
humau
voice
with which I
am
acquainted.
is
than those of any other instrument Considering its small size and
powerful than
appearance, and this
that
may
be
First,
and, parchment, stretched over the wooden frame the are below which that gut-strings played upon, secondly, there are eleven others of fine steel wire, tuned exactly
of
with the
scale,
efiect
of
is
is
imagine
introduced into
It
forms
an excellent accompaniment to the voice and an old friend of mine, an excellent musician and violin player, the lato
Captain Uiberue,
to prefer
one of these
G-l
258
instruments to his
CATALOGUE OF INDIAN
own
pieces in which
The
to
some
would be quite ; the to native instrument without alterpossible improve and in its such case it character, ing might prove a useful
it
own
but
addition to our
own
orchestral effects.
is
From
as
it is
its
size,
the Sarrooda
;
difficult of
execution
and
in
it
combines the
sometimes played
29.
*jK*i<<d
(Sar Mundal.)
This may be styled the Indian dulcimer. It is by no means common, and therefore good execution upon it is not often met with, nor indeed at any time is it very pleasing,
owing
30.
3fa
which
(Been).
is
Wire-strung guitar,
chiefly
used by mendicants
In some degree
it
resembles the
vino,
power or sweetness, nor indeed capability of execution. This instrument has twenty-three frets, and there are five
strings to be played upon,
occasional effects.
31.
3'^'f*T
(Toontoonee).
An
ter.
bal-
struck rapidly by
to the voice.
accompaniment
The
MUSICAL INSTRUMENTS.
259
32.
^
by
f^fWT (Hulkya),
(Duff.)
class,
35.
sreTT (Dayra).
36.
^r
These
five
the
common
the
hand.
pieces of
wood or twig
while with
The measure aud tone can be changed and varied by the manner in which the notes are played by the sticks in the left hand, and iu this respect the drummers are very
drumstick.
expert.
ments
No.
7.
Every
village,
bastions,
walls,
ia
and the
like,
has one
and
in native
In
all
sorts of processions,
;
employed
but
tliey
drums
of a
more
scientific character,
which
will be described
iu turn.
37.
^fcr (Dh6l).
38.
39.
<fr<rfifi
(Dholke'e).
40
q<3TT
is all
(Piikhwaj).
Which
and in
used exclusively as accompaniment to the voice, concerted music. Some musicians prefer the
260
tulla,
CATALOGUE OF INDIAN
which
is
will
be described hereafter
pukhwaj
sionals.
On
which both
and
bass, are
played by the hand, the points of the fingers, and occasionally the palms, the notes which are produced assist the voice ;
while the time, however complicated,
est exactness.
is
This drum
is
dough is usually put upon the bass side, which tempers the skin, and keeps it in tune. Among instrumental
and a piece
of
is
all
others,
whatever they
may
be, are
tuned
41.
*gg<* (HoodooTc).
42.
<gffi
(Ddk).
These drums are used by ballad singers, mendicants and the like, and need no particular description. The latter use
them
the
name
or
of
some
divinity,
sung
to
wild
melancholy
cadences.
43.
zrrfSTT
(Bahya).
44.
f^rgf! (Jilla).
COMMON
particular explanation
village musicians,
They and
are
often found
45.
qwfe (Sumball).
Pukhwaj
but not so
much
used.
MUSICAL INSTRUMENTS.
261
46.
<n^T (Tulla.)
bass,
by many players. They are tied in a cloth round the waist, when played, and the hands are exclusively used, with extraordinary execution. The tone is mellow and
delicate, and,
violins,
forms an excellent
accompaniment to the
of copper, and,
The
tulla
drums
are
made
quite an art
among
They mark
the time,
which
is
of a very
differs in
many
account,
of study
and from the very florid passages required, years and practice are required by the perfomers.
47. 5^r
(Nul).
KETTLE-DRUMS.
our own, and Generally used on horseback, much like our own irrein and beaten by sticks. In native cavalry,
are carried in front on the gular cavalry regiments, they is march, and by their sonorous notes the line of progress
indicated to prevent straggling.
48.
Used
chiefly
^T (Nobut.)
is
name
to the
be-
played
262
and used much
associated the
CATALOGUE OF INDIAN
like our
own
it
;
are usually
smaller
kettle-drums, 43 and 44
and a per-
50.
TRf (Skunk).
CONCH SHELL.
but
is
sounded dur-
ing religious
ship,
ceremonials,
idols.
in
processions of
Hindu wor-
and before
it
;
No
is
tune,
upon
the
capable of
much modulation by
notes,
lips,
and
its clear,
mellow,
humming
heard at
early
morning and eventime from Hindu temples and the groves about them, have a peculiar though melancholy effect,
of these instruments,
be esteemed incomplete
as a science, the follownecessarily be,
brief as they
must
may
some respects
for it
anything more complete than Sir William gives details to a greater extent than
now
to
the Academy.
First, then, as to notation
we
find the
Hindu gamut
to
be
in
essentials similar
to our own.
their scale,
or "Swaras,"
which form the foundation of the primary modes, and which are named as follows
:
MUSICAL INSTRUMENTS.
Sharja.
263
Puuchama.
Dhaivata.
Rishaba.
Qandhara.
Nishada.
Madhyama.
of which the initial
letters
Ma, Pa, Dha, Ni, Sa, corresponding with our Ut, Ri, Mi, Fa, Sol, La, Si, Ut, and the Hindu scale may be thus
written
ABCDEFG
:
--o-
SA,
Rr,
GA,
MA,
PA,
DHA,
Ni,
SA.
ours, to express
But the Hindus have adopted no especial symbols, like sound or time and in writing music, accord;
ing to the ancient system, the air and time of the melody
are
expressed
by lengthening or shortening
together in the air.*
the vowels
may
fall
This in
;
itself,
it will
be admitted,
is
becomes
intelligible to
performers
the scales,
some of which
and
difficult,
con-
sist of repetitions of
Each note
are defined
is
thirds,
264
CATALOGUE OF INDIAN
;
gamut, aud cau be expressed by the voice or, taking the viua as the standard instrument, on and between the frets,
by a manner of fingering known to performers aud teachers and the Sarungi or violin, can be used with similar effect.
Again, taking each fundamental
classical definition or
Thus we
find
7X12 = 84 modes:
seven
primary, and seventy-seven secondary, which are known under their separate appellations. The requirements of the classical
system are, that each melody formed upon any of the above
primaries or other adjuncts should be complete in itself
;
and
no deviation from
or permitted.
The
modes
are distributed over the hours of the day and night ; aud no professor of Hindu music, or educated performer, would be held excusable by a critical audience, if he trans-
gressed propriety so
eougs,
much
or
instrumental
performances,
which belonged to
another.
In illustration of this
"
rule, Sir
A melody,
or phrase,
commencing with
where the
fifth notes,
first
as in
and the second between the seventh and eighth, the natural scale ; and ,the G$ and (?$, or ga and ui,
mode
of
such a
it
fifth
at
MUSICAL INSTRUMENTS.
by an
allegory.
265
and Megha, are six nymphs, each of whom is married to a Kagini, and each has eight children. Thus we have six
six semitones, as
husbands
;
and
modes or
divisions
making
system divides of rags or modes into six and thirty secondary. Each of these is known by primary, the note which begins it or ends it. As an example, the
third
Sa, or
A,
is its
diminished by one
" sruti"
or part of a note.
mi,
with a minor
mentioned in
my
can be
executed
upon
several of
them
This will be accounted for by the fact of the system of music prescribing twenty-two srutis or divisions or furnishing each note, or of notes, to each whole octave
sarungi, &c.
;
it
may
be
two
srutis"
to
more than " twentyan octave were inadmissible and the notes
if
;
to which
any number of
srutis
is
admissible is determined
by the key note, or primary. " are " Semitones," says Sir William Jones, placed as in our own diatonic scales, the intervals between the fourth and
fifth,
and and
fir*t
fifth
sixth,
and second are major tones ; but that between which is minor in our scale, is major in theirs.
26C
CATALOGUE OF INDIAN
scales are
The two
made
it
to coincide
by taking a
;
'
sruti
from
to Dha, or
by
sisters.
srutis,
Every
sruti is a little
nymph
In
like
tached to
it ;
manner, every note has its fairy attendants atand these being furnished with names, the
known
at
once,
in their proper
order, and without confusion, to scientific Hindu musicians. There are many Sanscrit, as well as Teloogoo, Cauarese,
still
in
existence.
Indeed, in
had ceased
as
such,
Mahomedan
historians of
that
in A. D. 1294,
pleted by the
afterwards,
Mogul
general,
the profession of
of
and female, musicians, and their Brahmin instructors, were taken with the royal armies and settled in the north. The
works that remain on the subject have been examined by competent oriental scholars, who have discovered that music
as
among
of
sound,
variations
instruments, divisions of
tion
;
and, as a consequence,
essential particular.
Indian music
is
wanting in this
most
MUSICAL INSTRUMENTS.
This, ami
267
the pedantic divisions into modes, so jealously from infringement:, have prevented Hindu music guarded that improvement and extension which from and its science
elsewhere.
In this
respect
music
is,
singing
and playing are in unison, and whether trebles, tenors, or basses, which are often joined, and in all instrumental music,
the execution
is
of the
same
character.
It is needless to
produces monotony,
if
and causes
not repellant,
am bound
to state,
good or
classical
ears.
however, that very little of the really musio of the Hindus is ever heard by
is
European
What
ordinarily played to
them
is
the
commonest
ballads and
ditties,
love songs,
sung by ill-instructed screaming native durbars, marriages, and crowded dancing women, late The Nawab Shumsh-ool Oomrah, ceremonials. other
at
and Hindustani
of Hydrabad,
sets of dancers
for instance,
consisting of several
and singers to stand up together, each set women as singers, and a proportion of
,,
instrumental performers. All sang and played together whatever they pleased, and the clamour of different tunes, with all tlieir varied accompaniments, was quite indescribable. It is no wonder, therefore, that the English guests
Need
I say, that,
were
all
the best
singers and
268
CATALOGUE OF INDIAN
command
more
at the
effect
might even be
paitifully hideous
intrinsic beauty,
nevertheless, exists
and the ancient r&gs or modes, with their simple melodies, and the marvellously difficult, and often charming scales, droopuds and laonees, and other exercises of vocal and instrumental performance, and the plaintive and beautiful ballads
and Mahrattas, would, I think, amply repay It would be a gratecollection by one competent to make it. were the Government ful gift to the musical world at large,
of the Rajpoots
of India to undertake of the best
a complete
collection
and exposition
it exists
as
in the
The music
that
much
is
in character
it
as national music
is
a great deal of
very interesting,
love
flow
songs
!
many
modes
are illustrated by
rous events of ancient and mediseval times are subjects of ballads much like our own, descriptive, picturesque, and
most
original
In the Mahratta
that ballads
country,
I can state of
my
own experience
and
recent English
Mahratta risings against them, and the more and Mahratta wars, and are full of local
of love
adventure and spirited description } while in all the grades songs, under their several local denominations,
nay,
worthy of being rescued from their present obscurity, and of being preaerved among the musical records of the world.
MUSICAL INSTRUMENTS.
269
In his Essay, and to illustrate the manner of notation of the ancient Hindu system, Sir William Jones has quoted a
very simple air of Soma's,
of the
most ancient
and composers. This, with a few airs contributed by Colonel Tod, in his work on the Rajpoots, form nearly all the Hindu music now on record ; and these,
Hind a
writers on music,
common tuues picked up from ordinary singing men and women at nautches, are the only specimens of Indian music now available for reference or comparison. There is much to be regretted, I think, in this, not only bewith some
cause
national music
is
a plaintive
I
Hindu
air of the
most
ancient
which
my
accompaniment
to
admit of
and importance of this collection of musical instruments, which I consider to be unique. I have never seen so large a one in the possession of any native connoisseur, and my
impression
is
that there
is
nothing
so
complete in any
European museum. A few, and very few, instruments are wanting to make it perfect, and these might be easily supplied.
On
is
these grounds,
therefore,
I consider
that
this
under peculiar obligations to Colonel French for Academy valuable alike from its original cost his valuable donation,
and expense of transport, and as au illustration of the musical tastes and acquirements of India ; and I have no
doubt that suitable acknowledgment will be made to him.
270
CATALOGUE OF INDIAN
Kurna na paee
bat.
WORDS by
by A. M. T.
M. T., from
Hiudu
Ballad,
Accompanimeut
Andanti.
sst
aij^^n^|-ir^^=^^1^
<r
N
-j
i**l
F*"L_! -^-h-j
those
fondest
words
which
-F-^-
i_jjL.!_j_:
^-
MUSICAL INSTRUMENTS.
271
272
CATALOGUE OF INDIAN
is
the
dri
ving
rain
Nor
place
=M=-
d 3
^ *
*=
25=
MUSICAL INSTRUMENTS.
273
J,
Ah
now
vainly cry
Dear
see
me
lie
fail
rest, oh,
breaking heart
thee, that
Peace cometh
now to
take
Ah why
!
Kind death
me
to
Kurna na paee
bat
Ab myn.
Oodowjee
!
myn
bulaeen leongi ho
Mohe
le'chulo
oonhen ke
pas.
l-i
2~\
MUSIC.
BY
LIEUT.-COL.
JAMES TOD.
Antiquities of Rajast'han.J
M USIC.
BY
LIEUT.-COL.
JAMES TOD.
I,
page 538
to
540.)
As
music
the vina or lyre, we may conjecture the simple bamboo (bhans) which formed the first flute (bhansli) was in use before the Chatara* the Greecian Cithara,\ the first invented
lyre of Apollo.
and
the Spanish guitar of modern days. The Greeks, following the Egyptians, had but six notes, with their lettered symFrom
t
'
cha,
six
'
and
'
tar,
a string or wire.'
Strabo says, the Greeks consider music as originating from Thrace and
which countries were Orpheus, Musseus, &c. ; and that others " who regard all Asia, as far as India, as a country sacred to Dionytiut " country the invention of nearly all the science (Bacchus,) attribute to that
Asia, of
of music.
Asiatic,
We
perceive
them sometimes
describing
The
names
and others
is
likewise, are
(^)
and the
).
278
bols
;
MUSIC.
and
it
was reserved
add a seventh.
in the thirteenth
of this.
I,
Hindus numbered
Venus, Mars, Jupiter, Saturn, hence they had the regular and as, in the pruriency of their octave, with its semitones
:
into grahas,
or planetary bodies,
so they
them
harmonious numbers, and produced the no-ragini, their nine modes of music.* Could we affirm that the hymns
to the
composed and set to music by Jydeva, nearly three thousand years ago, and still chaunted in honor of the Apollo of Vrij, had been handed down with the sentiments of these
mystic compositions
(
idea,)
we should
from their simplicity, that the musicians of but we have every that age had only the diatonic scale reason to believe, from the very elaborate character of their
say,
;
is
from
minuteness of sub-division, that they had also the chromatic scale, said to have been invented by Timotheus
its
carried
it
from
An
early ages,
it
is
yet a desi-
deratum in Oriental
it
From what we already know of the science, theoretical precision yet unknown to Europe,
little
and
The
children of the
epics
music ; and the most powerful potentates sang the episodes of the great of Valmika and Vyasa. There is a distinguished member of the Eoyal
Asiatic Society,
and perhaps the only one, who could fill up this hialus ; leisure and inclination of the Right Hon*ble
point.
MUSIC.
279
god Heri, he
is
attitude, playing
on the
flute to
the
:
nymphs
encircling him,
" In song and dance about the sacred hill ; " Mystical dance, which yonder starry sphere " Of and of in all her wheels
planets,
fixed,
intricate,
divine
own
ear
mode
These nymphs are also called the no-ragini, from raga, a of song over which each presides, and no-rasa, or ' nine
passions,' excited
by the powers
of
harmony.
May we
?
not
In
is
typical of
by way
as
column
of Cheetore.
page 543
The
tures of the most ancient Saxon Cathedrals in England and on the Continent, to
Qopis.
harmony.
Scandinavia,
the
ancestors of tha
280
movements
of those
MUSIC.
who
fair
and the dialogue is replete with harmony.* The Chobisf of Mat'hura and Vindravana have and the effect of the considerable reputation as vocalists
companions are
full of grace,
;
modulated and deep tones of the adult blending with the clear treble of the juvenile performers, while the time is
of the
is
occasionally
very pleasing.
page 648
but Every chief has his band, vocal and instrumental most carried the celebrated some Siudia, away years since,
vocalists of Oodipoor.
The Rajpoots
and
it is
The tuppa
plaintive
is
simplicity
perhaps
*
still
more
to the
Norman. J
at Sindia's Court,
years' residence.
t
The anniversary of the birth of Kaniya is celebrated with splendour where the author frequently witnessed it, during a ten
priests of Kaniya, probably so called
festival,
The
most
clubs.
The mimic
assault
of Kansa's castle
by some hundreds
militants with
The tuppa belongs to the very extremity of India, being indigenous as far as the Indus and the countries watered by its arms and though the peculiar measure is common in Rajast'han, the prefix of Punjabi shews its
;
origin.
till
conld
Mwar.
MUSIC.
281
art,
is
is
has a small
the shehna, or
They played
;
and
feeling
and these
of the palace in the silence of the night, produced a sensation of delight not
unmixed with
pain,
which
its
peculiarly
who
In-
we may enumerate this among the principal amusements of the Rajpoots and although it would be deemed indecorous
;
to be a performer,
Who
wander sound the tooraye from his turreted abode, perched like an eyrie on the mountain-top, can ever forget its
graduated intensity of sound, or the emphatic hem
'all's well,'
!
hem
Chund remarks
be doubted
mon may
Whether profane music was ever combut sacred music was a part of early education with
his brothers were celebrated for the
Rama and
harmo-
nious execution of episodes from the grand epic, the Ramayuna. The sacred
canticles of
Jydeva were
set to music,
and apparently by himself, and are The inhabitants of the various monastic establish;
ments chaunt
to the
and
modulated cadences of the hermits, singing the praises of Pataliswara from their pinnacled abode of Aboo. It would be injustice to touch
incidentally on the merits of the minstrel Dholi,
who
The
is
many
which
not dissonant.
;
these countries
stringed, wind,
and percussion.
But
as it is
formed by
it
precedence,
282
MUSIC.
species of bagpipe, so
ia
common
to all the
Celtic
It is
races of
Europe,
tneshek,
called the
but
man,
is
described
likewise the
double flageolet
fection to that of
Europe
the
call
them),
BT
A.
CAMPBELL,
ESQ., M.D.,
Asiatic Society o
NEPALESE.*
BY
A.
CAMPBELL,
ESQ., M.D.
IT
is
classes
men
the
forming
of
Nepal
tion,
may
that
underneath
enumerated
are
common
however,
to the
designa-
This difference,
;
but
the
castes furnish
this
science
who now
rule Nepal.
and many of the higher and middle castes practise Their labors professionally, and indulge in it as amateurs.
at certain seasons enlivened,
(bansuli)
from
it
as the sharper
Mohalli
religious
*
(flageolet),
and at marriages,
births, feasts,
and
an
processions, a preceding
figures refer to
band of music,
The
in the
Museum.
ED.
286
indispensable portion
smallest ceremony
nor
is it
uncommon, on the
festival
day
(of
As
professional
musicians,
are the
which their military bands are furnished, the chief of which bagpipe, made and played on the Sarkis' The flute,
and a variety of
No.
1.
Ph&nga (Newari),
its
is
a trumpet-shaped instrument
made
to
of copper,
in diameter at
bore
is
diminished to the
pieces,
diameter of th of an inch,
it is
formed of three
the
one
fitting into
the
other
is
and
instrument, and
its
;
slender
is
it
when
by a
*
at its
A Nepalese
OF THE NEPALESE.
instrument at right angles.
287
the opposite
end
of
at pleasure,
bringing
it
it
to
when used
iu
a crowd,
tances.
called
is
but carrying
horizontally under
other circums-
exclusively to the Newars, is " the musical iustrument of the Gods," and by them,
within the valley, when the setting sun gives the signal for
the performance of the evening sacrifice.
No.
rudely
2.
The Mohalli
Newari
),
or Nepalese flageolet.
Is
executed,
is
mouth-piece
and from the most ordinary materials. Its nothing more than a bit of palm leaf folded,
!
and cut into a convenient shape the body of the instrument is made of two pieces of sdl wood, bound together by slips of
barnbu,
(8 in
stops,
;
its
made
of copper, gradually
to that
ins-
inches at
open termination.
The complete
trument costs about two-and-a-half Nepalese Rupees. The Mohalli belongs exclusively to the Newars, and many persons
of this tribe use
it,
who
are not
professional musicians.
Its
common
are lively
Indian
flute,
and pleasing, even to a British ear. To the Newars it seems to sound magically, for it has the power of inducing the
poorest and most fatigued laborers, to join in the dance, and
it is
at feasts
and weddings.
No.
3.
The Sinyha
It is
made
entirely of copper,
when put
288
a cow's horu,
pieces,
its
composed of four
calibre
The Singha
the
is
among among
Parbuttiahs,
and
is
in
considerable
of India.
professors
demand
of the
plains
its
seem unable to
It
is
mould
rudely
manufactured, and
about
three-and-a-half Nepalese
Eupees.
No.
4.
The Nag-pkeni
It is only
or
Turi,
a Parbuttiah instrument
last in
exclusively.
different
from the
being of a
smaller size and having three vertical turns in its shaft, like
a French-horn.
Its noise,
for
music
is
it
scarce produces, is
of sheet
anything
hut
harmonious.
It
made
copper,
tinned over, aud costs one Rupee eight annas. No. 5. The Bansuli, " or rural ffute" of Sir W. Jones. It
is
is
much more
identical
like the
it
common
in
English
;
fife
in its tones,
and
with
form
is
Parbuttiahs.
No.
6.
The
Saringi.
This
is
of that
violin,
name used
in India,
in so far as it is
it is
In
only played on by the lowest caste Parbuttiahs, Nepal aud by begger boys, from among whom I have not seen or heard of any Pagamnis. The dancing girls, imported from
Benares annually for the amusement of the durbar, have their accompanying fiddlers ; but these being foreigners, are not
alluded to here.
OF THE NEPALESE.
No.
7.
289
of India,
is
The
Sitar,
or three-stringed guitar
used by a very few persons in Nepal, whose proficiency is most wretched. Professors of this instrument from the plains
of India find
at least
may
be heard at
No.
to
8.
Cymbals of various
to
size,
all religious
or
and feasting
untuned instruments.
chief of
zinc,
by the discordant noise of these They are made of mixed metals, the
is
which
is
composed of
copper and
in
No.
is
9.
a small clarionet,
M&rulli of the Parbuttiahs, Beaugh of the Newars, about nine inches long, with eight stops,
made
of a single piece of bambu, the mouth-piece being formed by blocking up one end of the canal with a bit of wood, except a small slip through which the air is breathed. The
is
it
No.
10.
No.
11.
DholucJc,
drum
ia
used by the Newars, and called by them dishi. No. 12. Beh (Newari), commonly called Krishna-beh,
the pastoral flute of that
is
God (KBISHNA)
so celebrated iu
290
history,
common
;
reed,
with
along
its shaft.
seum
do not
of the
feel at
Asiatic Society
of
Bengal in January
last.
account
general
it
may be
stated
that
the instruments
al-
is
far
from discordant
on a Hindu play enacted here last year was upwards of 50 strong, and in some of the melo-dramatic portions of the performance, the tunes were not only enlivening and harmonious, but of a highly inspiriting caste. The Nepalese have no written music, so far as I have been able to ascertain. Among
the numerous volumes of Sanscrit literature, collected by Mr. HODGSON in Nepal, he informs me there is a very large
acts,
which he
infers
must
have flourished
In these
is
deemed
of sacred origin.
The
most probably identical with that of the the Hindu portion of which is traced to the same
fountain.
MUSIC OF CEYLON.
JOHN DAVY,
M.D., P.R.S.
(From
"An
Account of
the Interior of
Ceylon
MUSIC OF CEYLON.
JOHN DAVY,
M.D., F.K.S.
is,
more
or less, a poet
>
or, at
can compose what they call poetry. Love is not their a young Kandyau does great inspiriug theme, but interest not iudite a ditty to his mistress's eye-brows ; the bearded
;
chief is the
favourite
of his muse,
it
to
whom
he sings his
petition iu verse,
whether
be to
indulgence.
All their poetry is sung or recited they have Their most tunes seven by which they are modulated. " the resemfrom the Horse-trot ;" admired tune is called
blance which
horse.
it
bears
to
Of
fond,
their music,
which
it
is
and prefer
not understand.
number
already mentioned.
are those of which figures
Their most
are given
:
common instruments
No.
1.
The
is
made
of
jack-wood, covered with deer's skinj and beat with the hands.
No.
2.
is
beat at one
end with a
No.
3.
The Tam-a-tom,
beat with
two
sticks,
the
in a
bent to form
circles,
and kept
294
No. No.
4. 5.
6.
MUSIC OF CEYLON.
The Udakea, is beat with the fingers. The Tallea, made of brass, is beat with a The Horanawa
;
stick.
No.
its
its
mouth-piece
is
of talipot-leaf,
The fusiform
No.
wood attached,
is to
separate
the
bits
different kinds,
The Venah, or Venavah, has two strings of one made of a species of flax, and the other
which
is
of horse-hair,
bells
attached to
used as a
fiddle-stick.
cocoa-nut shell,
polished, covered
with
of the
Venavah
and Udakea, are very noisy, and are seldom used, excepting in temples and in processions. Each kind of drum has a
different
sound.
shrill,
The Horanawa,
and
its
is
the
Kandyan
pipe,
is
extremely
bagpipe.
of
The Venavah
strolling
hand
lame or blind son of Apollo, who wanders about the country from house to house, amusing the villagers, and supporting himself by his simple instrument. The
some
Udakea
is
It is usually
At
night
it
is
many
of
whom
is
it,
and are
in the habit
of being
to
sleep
by it;
for
"nothing
gentle
(they say)
Udakea."
From
Indian Archipelago,'
CRAWFURD,
MUSIC.
AFTER
Each
thia
ESQ.
but
it
is
among the
art.
it
to
a state of improvearts,
much
all
a state of society.
This
is
These instruments are either wind instruments, The two stringed instruments, or instruments of percussion. first are remarkably rude, and it is only in the last that the
and bands.
perfection
of Javanese
music
is
to be discovered.
all
I shall
a short description of
these in
succession,
In doing
this, I
am happy
"
to say, that
my own
deficiencies
are supplied by the skill and learning of Dr. Crotch, the well-
known auther
Music."
airs,
I
of the
taken down by
my
298
the advantage
Duke
of
On
shall
quote without
earliest
is
the
consists of a
like
number
of tubes of
bamboo
the barrels of an organ, and of graduated lengths so as to form a gamut or series of notes. The tubes are loosely
placed in frames, so as to the whole of
its
end
is
shaken
and
troop of forty or
fifty
mountaineers will be
seen dancing in wild and grotesque attitudes, each individual playing upon an Angklung, himself
his
and
Among
the musi-
a large
like a
is
German
flute,
but iu
them
The
among
and never
in a band.
known
The
fife
or flute they
Sanskrit
name
the
bangsi points
Trumpets they
acquired
from
Persians
and
Europeans, as
pret.
we
The
sruni
which we read of
in native
299
Of stringed instruments they have three, the chalempung, The chalempung has from ten
and
is
The trawangsa
is
occasionally found among the Sandas or mountaineers of Java. This is the same sort of lute which we hear of among the
Malays under the name of Kdchapi. The rabab, an ment borrowed from the Persians, is a small violin
instru-
of two
strings played with a bow, and producing perfect intonation. This is played by the leader of the band in a Javanese
Orchestra, but
is
wanting in the
have had
It is a
little
handsome
instrument, made
front of parchment.
The instruments
is
The drum
different
many
Besides the
the
hand
is
good one iu the collection of Sir Stamford " the sound is feeble and unmusical."
EafH.es,
that,
the well-known
is
correctly
writ-
common
may
to all
and
its
source
;
age of
Java
if,
indeed,
was not
originally
borrowed from
the Chinese.
The gong
is
and
which have not been determined, some of them are of enormous size, being occasionally from three to
tin, in proportions
They have
nob
iu the centre,
which
is
300
gum. They are usually suspended from a rich frame, and the tone which they produce is the deepest and richest that
can be imagined.
was suspended from the centre of a most superb wooden stand richly carved, painted and gilt. The tone of these instruments exceeded in depth and quality any
of gongs
"A pair
of percussion to be mentioned
is
may
laid
be
iu
it.
These, accord-
Ketuk and
Kampul.
A series of
Bonang.
Crotch,
clear
arranged in a double
of
Kromo and
intonation
its
and
The
last
of
instruments
percussion
called
are
the
Staccados,
in
the
Javanese
language
Gambang.
shall
These are of greater variety than any of the rest. The first I mention is the wooden Staccado, or Gambang Kayu. This consists of a certain number of bars of a hard sonorous
wood
hammer.
and
common throughout
ly
among
the
Malay
The
only
made
different
names
in the
to
the
number
of bars,
301
of
their
is
construction.
The
tone
;
the
wooden
Staccado
sweet,
but
not powerful
A
of
of Gander.
This consists of
supported
thin
instead
of
bars
metal,
by
to
is
bamboo tube
all
On
the fabrication of
those instru-
ments, Dr. Crotch observes, after viewing those at the Duke of Somerset's, that he " was astonished and delighted with
their ingenious fabrication, splendour,
intonation."
described,
of
according
to their ar-
omission
are
some
instruments,
or the
bands or Orchestras, pitched on the same scale in perfect unison, and each apdivided into
propriated to some particular description of music, or some
particular occasion.
so often
The
first is
Manggang,
Some
it is
played at public
The name
of
band resembling " the croaking of sometimes bears, was probably given
after
from
its
want of
harmony, more improved and perfect ones. The next band is the Salendro, the most perfect of all, whether for the number of instruments of which it consists,
or the
number
The Pelag
is
like
302
the S&lenlro ; but
some
and
all
The Miring,
of the
as
its
name imas
are
more
particularly
employed
accompaniments
tions.
iu the
different
Bali, or band according to the fashion omits the r&bab or violin, an instrument borrowed
;
have described.
In other respects
The Sakaten
still
is
This
is
played only before the monarch, and on very solemn occasions, such as the great religious festivals.
The Srunen
band, as
its
is
In this
name
some
of
them
complete
five
baud
two hundred to
hundred pounds
On
fol:
very interesting " are all in the same kind instruments," he observes,
Dr.
Crotch's
observations
in which scale so
by the black keys of the pianomany of the Scots and Irish, all
Indian
the Chinese,
and North
American
result of
all
were composed.
The
some
my
examination
is
303
is
which
a
it is
unnecessary to particularize,*
scale.
comI
posed
in
common enharmonic
are
all
have selected
in
simple
common
Some
of
;
the cadences remind us of Scots music for the bagpipe others in the minor key, have the flat seventh instead
of
tions
In many of
is
the
same
passages
artful
and ingenious.
The
irregu-
larity of the
rhythm
in
of
The
melodies
It
is
are
interesting."
the tunes, of
great
variety,
are
memory.
In the plates accompanying this work will be found the gamuts of the principal instruments of percussion, with five Javanese tunes, and one Malay air, selected by
scales or
es
and
DANCING.
The
love of dancing, in a variety of shapes,
is
a favourite
Indian islanders. It is somewhat more, indeed, passion of the than an amusement, often mingling itself with the more
serious
business of
it
life.
is
among the savages of America, nor among the Hindus and Mahomedans of Western India.
exists
*
The
difficulties
here alluded to are, in our present state of information, some errors which had found their way
tch.
304
Like the
latter,
;
in
which dancing
is
exhibited,
always
in
all
As
Asiatic dancing,
the
especially
arms, down
to
ployed.
To the
of
warm
any display of
agility
would appear as
dancing
indecorous,
and
The dancing
of three kinds,
may
be considered as
serious
the private dances of individuals at festivities, and the exhibitions of professed dancers.
Of
lebes.
the
first
If a warrior
kind are the war dances of the people of Cethrows out a defiance to his enemy, it is
done in a dance in which he brandishes his spear and kris, pronouncing an emphatic challenge. If a native of the same
country runs a muck, ten to one but he braves death in a
dancing posture.
When
solemnity
is
accom-
panied by a danoe.
There
is
message
is
to be
ear,
the messenger
305
The ambassadors
follow"
prince in Java
into
another
when coming
and
retiring from the presence of the sovereign to whom they are deputed. When the persons whose business it is to let
the tiger loose from his cage into the hollow square of spear-
men, as above mentioned, have performed their duty, and received the royal nod to retire, an occasion, one would think,
spared, they do so in a slow dance with some risk of being devoured by the
Mahomedan
religion,
all
for the
men
when heated
Upon such
all
the evolutions of a
mock
fight.
At present the
most common among the Javanese, practice with every chief of whom dancing, far from being considered scandalous, as among the people of Western India, is held to
be a necessary accomplishment.*
*
Respectable
women never
practice.
"
It
women
to enter the
had
row
number, and their weight increasing gradually from These were set in a row, on a table in the
general's house, where, for seven or eight days together, before the circumcision day,
of the
they were struck, each with a little stick, for the biggest part day making a great noise, and they ceased that morning. So these dancing women sung themselves, and danced to their own music. After
M-l
306
join in
it,
sex,
dancing
is
confined to those
circle
whose profession
strangers,
In
of
in other words,
with
common
prostitute.
The
is
The
skill,
little
but in inferiority of
from the
common
them
Those
still
vdio have been often disgusted with the latter, will find
less to interest
in the former.
is,
The music
generally
to
which the
dancing
is
performed
indeed,
incomparably
Western
Now
it
and then a
single
may
for
be found, but
whenever an
tion
effort is
made
it
at raising
the accommoda-
of an audience,
The
songs sung on such occasions are often nothing more than unpremeditated effusions, but among the Javanese,. to whom
I
al
am now more
some nation-
sultan's sons,
and
Ms
nieces,
danced.
Two
two were
silk,
These young ladies were very richly dressed, and small coronets on their heads. They were
I did ever see there,
much
and
fairer
than any
women
their noses,
though but small, yet higher than the other women, and
Dampier's Voyages, Vol.
I,
p. 342.
307
The
among
the
Java-
concubines inin
tion of
women among
Commodore
of Achin is
fifteen or
King
somewhat
and each
of
them having
drums
in their
door,
making their voices answer the drums. After that there came in, at a little two little girls, very oddly dressed, but very handsome, and whiter
than any
I ever
saw in
so hot a country.
Upon
their
of hat,
made
of spangles of gold,
foot
which
plume about a
hung down upon one ear. They had large ear-pendants of spangles of gold, hanging down to their shoulders. Their neck was covered with necklaces of gold,
and upon their shoulders was a sort of jacket of gold, curiously shift, or waistcoat of cloth of gold, with red
made
of gold spangles.
Their girdle was tied above the haunches, from which there
gold,
hung
a cloth of
of gold,
bells of gold
hung upon
them. " Their arms and legs were naked, but, from the wrist to the elbow, wera adorned with bracelets of gold and jewels, as well as from the ancle to tha
calf of their leg.
At
them had
;
upon
by joining
their hands,
and
lifting
them up
to their
head ; then they began to dance, with one knee upon tho ground, making several motions with their body and arms ; after that they danced upright,
with a great deal of
agility
as
if
making as if they shot a bow, and sometimes and hanger in their hnnds. This lasted about half
an hour,
my
opinion,
308
were pretty well
gold upon her.
tired,
French dancing-masters had seen them, they would have owned their
performance not to have been what
tion of Voyages, Vol.
I,
we account
barbarous."
Harris's Collec-
p. 732.
309
Scale of the
Gambang Kayu
or
wooden
Staccado.
10
11
Sumadaug
,>
\.
4t-
312
Longki.
Slow.
3=
-i
J-U
p*5-
ff
PART
II,
CONTENTS.
Page.
By
..
George C. M. Birdwood,
c.s
i.,
315
On the Hindu
some Additions
to the
By
R. H. M. Bosanquet
317-335
Patriot."
. .
By
. .
Sourindro
. .
Mohun
. .
339-397
On the
By
Carl Engel
..
..
401-404
By A.
..
C. Bur..
..
..
407-412
of Music
Professor,
from
"What
is
Music."
By
..
Isaac L.
..
and
New York
..,
415-417
" Imperial Gazetteer of India." The Indian Art of Music from the
By
the Hon'ble
W. W. Hunter,
C.I.E., LL.D.,
;
Director-General of
Statistics for
President, Education
..
Committee of India
..
..
421-423
FROM
GEOKGE
C.
M.
BIRDWOOD,
1880.
c.s.i,,
M.D.,
EDIN,
N-l
MUSICAL INSTRUMENTS.
Indian Musical Instruments are remarkable for the beauty
and variety
paintings
last
of their forms,
at
two thousand
is
identical in
is of
equal antiquity.
Ambala
sold
["mouth-harp"],
made
at certain
by hundreds.
of the large
towns and
and those
of Srinagar
[Cash-
and
of
Tamkur
in
made
of
marked excellence
Mysore, are specially prized. They are also at Parashram and Malwan, both
Collectorate
of
in the Ratnagiri
the
in
Bombay
Presidency.
Channapatna
wind instrument
gold.
often beautifully
mounted
in
silver
all
and
that
is
It
is
naturalists,
drill
and
required to
make
it
sonorous
into,
is
to
a hole through
its base.
When
blown
the
wind
a loud, sharp, passing through the different whorls, produces and piercing sound, which is heard far and wide, and hence
its
war trumpet.
of the
It is used in religious
pers
The
and a
Conch
is
a smaller
one, the
Mazza rapa
Both these
species,
third, the
bracelets of Dacca.
ON
THE HINDU DIVISION OF THE OCTAYE, WITH SOME ADDITIONS TO THE THEORY OE SYSTEMS OF THE HIGHER ORDERS,
R. H.
M, BOSANQUET.
(Proceedings of
the
Royal
to
Society
of London.
20, 1877.)
From March
],
1877
December
<fcc.
319
On
the
Hindu
division of the
Octave,
of the
tions
to
higher orders."*
College,
F. R. s.,
By
of St. John's
J. S.
Oxford.
Savilian
Smith,
Oxford.
Re-
My
which
drawn
to
some publications
In partiis
among
the Hindus.^
division
S'rutis.
and
have called the higher systems, and the theory of such systems has not been sufficiently deveI
what
what
is
necessary for
of the
the classification,
discussion and
practical treatment
Some
by the
light
may
following quotation
be thrown on the object of the paper from the work of Fetis before
referred to.
from the
:
artistic point
of view,
pour
6tablir
l'6tat
veritable de la
faudrait
* Sometime after the paper was read, the author's attention was called
to
M.
t
which
is
XXV,
p. 540.
I, S.
"Hindu
M. Tagore, President,
la
Fetis, Histoire.Gc'ne'rale
de
Musiqueval.
320
sidant
une connaissance comp!6te del'art et de la science, ce qui n'a pas eu lieu Jusqu'an Jaurcl* hui. Cette etude
exigerait,
faite,
non
seulementle
savoir
technique, mais
un
preconcu.
Dans
ces conditions
seulement,
on parviendrait
tonalite"
des
Inde
inoderne,
ce
que n'ont
fait ni
Fowke, ni
W.
Ouseley, ni Willard, ni
mdme W.
ciation
The point
so
far
as
it
relates
to of
Hindu
music,
that until
producing and controlling such systems as are likely to be met with on instruments with fixed tones (e. g., the har-
monium) and of thus comparing such systems with actual facts, we can have no certainty as to the results, at least in
the present state of musical education. Fetis employs the principle of the comparison of intervals with equal
of the writer's of speculating of 22,
temperament semitones, which is the basis methods > but he nses it only for the purpose
on the connexion between the Hindu system
24, or
of each semi-
The use
of
method
has
for instituting
escaped
him.
(the
And
yet
it
Vina
historic
and
'
An
Elementary Treatise
1876.)
(fee.
321
enough of
itself to
The Hindu
forms
that which
is
described
by most of the
is
writers,
represented
commonly
du names.
322
In
we suppose
for
moment
which
perfect,
we
Shadja Grdma,
the form
we
should give to the scale in just intonation, second of the key, and raise the
when we wish
key of
C we
the good
fifth,
d-a.)
The other
Madhyama Grama,
native writers say
Are the
The
nothing about
this, but the European ones for the most part that suggest they are not. For instance, an English reviewer
recently wrote,
"
S'ruti
is
This appears
idea that
modern
is
But
the language in
which the
different
when
it
consequently we
may
infer
very widely from the exact intervals, which are the foundation of the diatonic scale.
For this purpose we shall only need to recall the values of the perfect fifth and third in terms of equal temperament
semitones of 12 to the Octave.
give us the values
of
system.
323
or 7-^r nearly.
The
perfect third
is
-13686 semitones,
or 4
73
nearly.
To
made by x
units
of the
or T T
x
:
22.
units.
...
Interval in semitones.
Exact interval
in semitones.
Major third
Fifth
3'8182
3-8631
13
fifth of
7-0909
the system of 22
is
7'0195
Hence the
or J of a
sharp by about
'07,
comma
very nearly.
is flat
The major
third
by
-045, or
! of a
comma
nearly.
(Comma
The system
it
of
|J= -21506.)
properties
;
has both
fifths
number
of notes.
The
these
employment
lie
for
lies
is
in the
fifths
of
system of a comma
regarded as the
flat.)
extreme limit
this
has fifths
no
stress is laid
already so
perfect that
It is thus
wrong
system of 22 would
These
324
instruments admit
of.
error of fifth
and third
is
is
far
are accustomed.
SYSTEM OF
Interval.
Difference of.
..
22.
Units.
Interval.
Exact Interval.
4-9805
2.0391
Fourth
Fifth
and Octave
fifth
4 '9091
2-1818
..
Fourth and
4 3
2
.. ..
..
..
1-6363
1-8240
1-0909
3-2727
11174
3-1564
-7067
Minor third
Minor semitone
and third
1
-5454
equal temperament
point of view
;
European musicians are concerned, the deviation from is the most important thing in a melodic
and
this is
widely from equal temperament sound out of tune to the European ear ; and, as harmony is not employed, the justification
which derivation from perfect concords is felt harmony has no opportunity of asserting itself.
to
give in
it
will
be possible to make
practically
on the intervals
used in
India will be to provide some instruments suitable for manipulating the system of 22 divisions in the Octave, and then
to
compare
its
by the Indian
is
musicians.
out what
the
The
&C.,
325
other
on estimations of
intervals,
than integral numbers of equal temperament semitones, if made by ear only, even with skilled musicians. The habit
of estimating fractions of intervals numerically
completely uncultivated
among
us
consequence
or nothing.
mode
in which the
principles
an
ins-
trument that
will
and exhibit in a graphical manner the singular harmony to which its notes are subject.
laws
of
what
is
(The
temperament.")
The
.-.
12 semitones.
12 E. T.,
=7
octaves = 84 semitones.
is
The
(very nearly)
7 r'T
>'
And
in other
systems there
is
between 12
fifths
and 7 Octaves.
is
Now
this is
to
make
this
When
But sometimes
if it is
divided
;
into
if
two
units,
we say that
of
and so on.
326
The forms
my
12,
and that
Order
1.
17
29 34
27
41
..
53
118
2.
3.
22
15
39
what
The accompanying illustration (Diagram I.) will make clear is meant by saying that the system of 22 is a system
second order.
of the
of the
The numbers
;
are
the characteristic
in
numbers
fifths,
system
they
are
arranged
order
of
i. e.,
cast out.
The departure
of the
sharp
fifths
from E. T.
is
represented by displacement in a
vertical direction.
its
Then the
apart.
circle of 12 fifths
has
has
its
may be
introduced
introduced
midway between
and
2.
327
f$
cfy
g^jl
ed
ib.
2 11
20
7
16
3
1
12
21
17
4
13
FORMATION OP THIEDS.
Thirds
fifths
may
with which we
any number
of unites above or
In the system of 22 we have seen that the third is 7 units. Looking at the circle of fifths, the third by 4 fifths up is 8
units.
"We
may form
ascending through 4
one unit
i. e.,
the third
formed in the
one
It
This mode of formation has not been previously considered. leads to the following observation, which is important in
:
modulation
of fifths.
classification
We proceed
to a further
328
By
two ends
of the
circle of fifths is
r units.
Let r circles of
fifths
be placed in
all
juxta-position, so
one unit apart, and consider the third formed with the starting point of the uppermost series.
Then we
the third
shall define a
x,
when
lies in
In the system of 22, the third (7) to c (0) lies one series below that in which c is, so that we may define the properties of
it
is
of order 2
and
class 1.
The simplest systems of higher orders are those which form their thirds either by 4 fifths up or 8 fifths down
in the
class
same
series
those
may
be spoken of as of order r
o,
and order r
class r respectively.
to.
sidered in
my
I proceed to indicate
means
fifths
up
is
4?.
n
In a system of class x, the third
departure
is
is
ita
jr
12__
n
3x r n
And
this has to be
perfect third,
=--13686
jr^ nearly.
condition.
nearly
DIAGRAM
II.
329
(i)
and
(ii)
are
sufficient
they present no
difficulty,
and
myself
The departure
1 is
clasa
represented by
._
4.
n
The system of 34, of order 2, class and thirds of exceptional excellence.
interest for
1,
This system
may be
of
modern purposes.
first class
have equal-tem:
for
(i)
vanishes when
x=-
or,
class is
System of order
x which make 3x
r,
negative need
there
is
2,
there
is
PBACTICAL APPLICATIONS.
In the
light of the foregoing investigation
we
generalized key-board,
application
;
it is
down.
The systems included by these conditions are all those of the first order, positive and negative, and all systems of any
order of class o or class
to be interesting with
r.
These embrace
all
reference to
European harmonious
P-i
330 The
of the
is
founded
higher systems
and
I shall presently
investigate
its
transformations.
will afford a
The keymeans
first
systems of the
Hindu system of 22, or the system of 34 above mentioned. But before proceeding to discuss these arrangements,
is desirable to provide the extension
is
it
necessary for
dealing with
r
classes other
than
and
o.
GENEBALIZED NOTATION.
The notation which I have hitherto employed has always assumed that the deviation, or departure, due to a circle of
12-fifths is identical
Thus C
1C represented both
this representation
In non-cyclical systems, and in systems of the first order, is consistent and satisfactory ; but in
The departure
'
systems of higher orders these two conceptions diverge. of 12 fifths and the unit of the system can
The
"
choice
we
will
make
is,
tem.
Thus
/c
will
C
the
\c will
second order
on.
/ / /c
in systems
and so
331
continuous series of
fifths, at
the point
be
r.
Thus the
unmarked
series
to that next
above
it
//ft,
2nd
3rd
&-///&
&-////#
Introducing the
and so
on.
We now require
as follows
be of class
in
x,
we
the
series
of fifths,
and
Order
2,
Class
.1.
4 Steps up give
1
e,
Unit down
:
e,
which
is
Third to
C
1
4 Steps up give
jd$,
/d$, which is the third.
Unit down
Whence,
ria
in order 2, class
1, b, e, a,
(letters of the
memoall re-
technica word)
form
thirds
system of order r
up, and
all
x, b, e, a,
d form
thirds with r
x marks
x marks down.
Transformations of the generalized Key-board.
necessary to require, in the construction of the generalized key-board, that all the keys shall equally fit all the bearings, to reader it possible to produce any required
It is only
332
position
keys.
it
is
is specially
of the finishing
processes
question
it is
there
is,
however,
no
difficulty in
securing
it
when
desired.
The distance of the end of the key on the plan (projection on a horizontal plane) from a line of reference drawn from right to left determines the form of the key completely. There are 12 such fundamental positions so that we
;
may
a func-
tion of a
of
to 12.
After
such that the old 12 has the same position as the new
of a series of 12
fifths
may
be
number
of
which
its
pattern
is
a function.
DIRECT KEY-BOABD.
c
1234567
Increase of the
//J
ff
g^
9
d$
10
g //
/c
11121
well
as
so that according to
this,
the original arrangement, rise on the key-board corresrise in the series of fifths.
ponds to
INVERSION.
Before the key-board was originally constructed, it became matter for investigation how far it would be advantageous
to
make
correspond to
fall
on the
key-board and
vice versa.
333
question of manipulation
the
it is
advantages are iu
very desirable to
some
and
examine
arrangement
of
practically.
will
The
problem
example
:
transformation
bear
upon
this
It is possible to convert a generalized key-board of the " direct " arrangement" above described into an inverted one"
INVERTED KEY-BOARD.
g
12
11
d a
10 9
b
7
ft
6
<$
5
g%
4
d$
3
a$
2
If
1
\c
12
To complete this transformation in an extremely practical manner, we have only to determine the condition that white
and black notes
Looking
shall
at the
key-board of an
which
as
we
see that,
as colour is concerned,
it is
d and
sides
from
either, present
right
to
left,
this
purpose con-
included.
When
is
inverted,
i.
e.,
right
placed in the
and so
on, such
The
becomes a
series.
is
that of
an inverted
334
Systems of the
tem.
rth order
may be
defined
vertical
notes) in the
circle of 12-fifths.
It
easy
to
general case.
The
of
level
of the
ends
of the
series of 12-fifths,
fifths,
must
amount
to
12 steps by course of
and to r steps by course of units. Consequently the whole difference of level of the ends of the series of fifths
must be made up of 12
patterns
;
primary
course
steps, or steps
each step
in
of fifths
made up
of 12 primary steps.*
cient supply
in this
Although system of any order can always be constructed manner, it will not generally be the case that they
simply because the large
be,
in
the general
By any system
some
It can
going rules.
be easily arranged according to the foreThe peculiarity in the result is, that perfor-
mance on a complete system of the second order and first class, by means of it, is nearly as easy as performance on
system of the
first
order by
means
335
The problem
thus solved both of the Hindu system of 22, and for the
Diagram
II. (p.
C/e
is
a major triad,
whence the major thirds are than on the first order key-board
somewhat
less
advantageous
C /e* g is the minor triad. In the general transformation of the rth order, transformation with regard to colour (white or black)
practicable.
is
not generally
it
would
be
of both colours
every pattern
are
*
more
limited.
factor of r
Any common
out,
since it is only
:
r.
XXVI.
HINDU MUSIC.
HINDU MUSIC.
THE Hindoo
embodied
in
May
1873,
and addressed
to the Director
of
Public Instruction.
After an interval
fit
of
about
eight
to answer
it
that criticism in an
gave
rise
to a
columns of the Indian Observer, between Mr. Aldis, Principal of the Martinere, an accomplished critic, and Mr. Clarke.
The controversy
have
with
essay, also
interest
has
closed
only
lately.
parties have
apparently exhausted
war of words.
We
are sorry to
still
misconception of
Hindu Music
fresh
and that the more ; committing he proceeds, the more he involves himself in a maze of His mathematicism has proved a snare hopeless delusions.
by
errors
Music.
will, in a
We
believe
kindly spirit,
which we, in
all
humility, offer to
treasure.
him, he
may
yet
We
will
now proceed
to an examination of Mr.
340
At
first
HINDU MUSIC.
sight
it
would seem as
essay
if
Mr.
Clarke's
chief
object in
writing the
it
was
to
by enveloping
one
is
iu a
cloud of mathematicism.
But no
ia
it
himself
that mathematics
no
is
more indispensable
indispensable
for
one to
to
be a musician than
statuary.
all
him
be a painter or
In
things,
an
educated ear
of all tonal
capable
detecting and
combinations.
The
susceptibility
of
an art
being examined by mathematical tests is some thing different from mathematics being indispensable to its comprehension
or acquisition.
fic
Principles of music,
embodied into
it
scienti-
theories,
may
does not
in order
necessarily
We may
that those
Hindu Music.
still
But
is
incomplete and
" The
state
of our
Graham,
is still
and
difficult of sciences,
theory of
music."
There
is
form from
the European
system.
We
shall
we proceed
application
will
of Acoustics, as
exists
among
the Hindus,
of its principles to music. Mr. Clarke, we hope, us to the of eminent European permit produce testimony
professors
of
contributing to the
HINDU MUSIC.
does much, to mystify and obscure " I must vindicate on the
it.
341
Dr.
Weber
says,
myself
allegation, that,
according
in
to
the
foregoing
division,
not
mentioned as a
of
part,
much
musical
composition.
For,
must necessarily
and,
be
founded
on
harmonic
their
acoustics,
on
this
account
commence
books of instruc-
But
else
profoundest musical composer, the greatest contrapuntist one may be a Mozart or a Haydn, a Bach or a Palestrina,
;
is
to its fifth as 2
to 3
and
in
my
honest
musical composition, betraying a decided want of understanding of the subject, to mix, as they do, with the doctrine of
musical
composition,
such
demonstrations by fractions,
from
which
to
musical composition.
for
To me
it
appears just as
it
would be
painting,
instruction in
colors, of straight
and curved
;
and
;
instruction in
or,
with the
of speech
to
child,
in
order to teach him to say papa and mamma." Dr. Marx's observation of mathematics in relation to music are
more pointed.
He
says,
is
not to
342
calculate,
HINDU MUSIC.
but freely to invent
;
and
this requires no
mathe-
and
feel
consciousness." and, therefore, might be called artistic enforces same the takes Aristoxinas view, forcibly The great matheor either reason allow not will and doctrine same the
matics to have any share in the arrangement of the intervals. He thought sense the only judge. He therefore determined of the the 5th, and 8th by the ear, and the difference
4th,
4th and the 5th found out the interval of the tone.
Professor
Graham,
in his essay
of musical composition,
effect
while
mathematics on music, says, "In Italy we may hear persons who cannot read music, singing very agreeably
of
in two, or three, or four parts, in
harmony.
of
Do
such persons
together
way
the
They
ratio
have
1:2,
no
more
moon.
of
than they
the
Similar false applications of mathematics have tended greatly to produce that mysterious obscurity which has hitherto been
artificially
of musical
But
it
The truth
of
universal application,
and may be perceived in all countries in the fact that the greatest musicians and the most tasteful composers did
not pretend to a knowledge of mathematics.
the students of
of
Who
oriental
of
music
is
ignorant of the
amongst names
MIHJA BULL-BULL
of
NICOMACHUS
Arabia,
HINDU MUSIC.
the great CONFUCIUS and
of Turkey,
343
CHAONO
of China,
OSMAN EFIENDI
SEN,
ASAPH
of
the
Hebrews,
THAN
AMEER
KHUSRU, NAYAKA GOPAL, HURIDAS SWAMI, and RAJA MAN, HAHA, HUHU, SARANGADEVA, NARADA, BHARAT, and NARAYANADEVA of India ? And yet who will venture to say that any one of them was a mathematician ? The extracts we
have given, we hope,
Mr. Clarke's
will
infallible test of
mathematics.
boldness iu
of
We
admire
Mr. Clarke's
venturing upon
with, as
it
Hindu Music
He
is
He had
who seems to be
is
And
the result
made
Rga
capacity, of
though
is
the simplest
instruments,
popular
Hindu musical
He
evidently under-
musical
in
system of
cism will
the
Hindus.
critic's
our
estimate of the
knowledge of the subject of his critibe perceived as we examine his theories one
in
by
one.
Rdga
ia use
Hindu Music.
In
modes
he evidently supposes that Rdga and Mode are synonymous. Let us see how Danneley defines the term " mode." " A " or a scale is called major, when its third mode," he eays,
344
diatonic note
is
HINDU MUSIC.
composed of four chromatic degrees
;
or
is
as,
natural,
natural,
sharp,
sharp &c.
mode
when
iu
composed
of but
;
as
C E
flat
DF
natural
is
composed Let us again see what view of four chromatic degrees." Captain Willard takes of Eaga in Hindu Music
:
third
note of which
"Mode
(India)
of this
country
is,
Baginee."
in
my opinion, termed That and not Eaga or " " The word mode," he continues, may be taken
significations
two
different
the
of style,
latter is
and the other of key ; and, strictly speaking, this the sense in which it is usually understood in music."
is
Neither
" It
tune
Bga
construed by
is true that a European melody written in the fundamental mode can introduce and sometimes will introduce
all
Hindu tunes
cannot."
We will again
a Eaginee
quote "Willard.
" It
is true,"
(or Eaga) is not to be considered exactly in the same situation as a tune is amongst us. It is not strictly
may
one
Moreover,
tunes
Edga
its
may be
multiplied
into
innumerable
when
HINDU MUSIC.
nyasa, &c., are so arranged as to follow each oilier hi
succession.
345
regular
Again, Rdga
is
or bars, as the tune is. The truth is the English language has not a corresponding term for the R6ga. To express it by the term mode would be nearly as accurate as to express the
idea of quinine
chiretta
by the word
chiretta in Bengali.
How
could
when
there
no term
for chiretta
1
in
In the same way there is no equiBengali valent term for Riga in English, nor one for mode in Bengali.
for quinine
in
The
idea which the word Rdga conveys has not its counter-
part in English.
To
to
term
recommend
critic
number
of its varie-
In one part of his essay he says, "Hindu Music, which employs 36 modes, &c." If he attempts to give a
swaragrama
of all the 36
modes he
refers to,
he
will perceive
the distinction between mode and Rdga. He would have, however, avoided the mistake into which he has fallen, if his
researches on the subject
hearsay.
ficial
had extended
a little
beyond
of tho
The
enquirer
literature of
Hindu Music
B-l
346
"
HINDU MUSIC.
KRISHNA, enchanted by the music of his flute, began singing, and the GOPIKAS (sixteen thousands in number) followed him one by one, and thus are produced sixteen
thousand Ragas."
Narada Sambdda
Again, our
critic
I,
Chapter.
and nine in
The
is
in
To
1
whom
that
is
We would take
lines
commend him
to the
following
:
which occur in
:
q^fa:
sftun
^r:
s^ffare
classes
of Ragas
(in
Hindu Music)
is
produced by a
grama
consisting of five
and that produced by a grama of six tones is called shadava, while the third one produced by a grama of seven tones is called samptirna."
called odava,
Sangita Darpana.
It
may
The
diatonic scale
quite.
Sitara,
After giving a very short and meagre description of the the simplest and the most popular musical instruin use
ment
HINDU MUSIC.
347
" But the frets (of the Sitara) are then' inconveniently close
together."
It
would be
difficult to
practice.
our part,
be very
demonstrate this practically if our critic wants a happy demonstration. We do not know on what authority practical he ventures to make the statement that " the Sitara cannot play
in
flat."
it
Any body
can do
it.
We
find
no
difficulty
it
playing
without displacing the frets. Here, again, is another illustration of the mischief of hearsay knowledge. There would
have
if
made on
ed
who
in
possess-
some
knowledge.
Mr.
Clarke,
another
place, says,
harmony."
that
This
a very
unqualified assertion.
in melody,
It is true
but
it
is
not void of
harmony.
The
meaning
These are
but
all
of
them
*LW (Rakis
and
its
definition
as
348
follows
:
HINDU MUSIC.
*^f (Raktang}
sounds
is
that which
bination of the
of all
kind's.
This
is
harmony.
Vide
^^cl ^TS
an imperfect knowledge of his subject has betrayed the critic into absurd blunders at almost every step. "We have another instance in the
of writing with
The disadvantage
following extract
" The Sitara thus stands in the mode, and can be made to
stand in any one of the thirty.six modes employed in Hindu
Music.
in use renders
certain
modes
are derived
from the Sitara or that the Sitara has been invented to play those particular modes. This latter seems to me highly
improbable."
It is impossible to have
Sitara is
an instrument
Captain
yesterday's
invention.
was,
according to
Willard, invented
by
AMEER KHUSROO
of music,
12th century.
the
Hindu instruments
is
of which the
modern
Sitara
NARADA long
Rdgas had been practised on the throat. That this most ancient instrument, whose invention is almost coeval
after the
Music,
did
not
precede
but
Ragas appear from the following extracts student of Sanskrit music every
:
"
The Edgas
are
known
HINDU MUSIC.
Ei-go
349
instrument.
<T^JT:
35153
Vfiid,
in
music, namely,
of
that
which
is
made
to be
is
wood and
is
Now
JTC^iftJnT
(Gatraviua)
called
Sdma- Veda singers wholly depended upon this Vind in singing hymns from the Sdma-Veda. It is capable of producing
both tones and articulate sounds.
of wood, is
Ddravivind, which
is
made
"
jvtcf
350
"
HINDU MUSIC.
should
here be
first
explained."
Mr. Clarke in a kind of condescending style reproves us for our obstinacy in maintaining that
flat.
sharp
is
the same as
"
my
is
that
sharp
flat
ments
like violin
anywhere, &c."
If
We
we
What Dr. Adolph Bernnard Marx, Professor of Music at the University of Berlin, says on this point, will,
we suppose, be accepted as a conclusive settler of the dispute. The attentive student," he states, " will, however, soon
same
as
"
observe that two keys have each two different names and that
cflat is the
b,
and /'flat
is
the
same
as
e.
Such sounds
(as regards
c flat,
which only
differ in
name but
same
enharmonic sounds.
Thus b and
f sharp and c, c sharp and d flat, a flat and g sharp are enharmonic sounds or notes. It may at first appear strange that each sound should thus have two different names
and
flat, b
;
and the student may be inclined to ask why not call the black keys always c sharp, d sharp, &c., &c., or dflat, eflat
&c., &c..
Why is
e to
be called sometimes
flat,
and
some-
times e sharp.
For
names there
more
of musical composition."
HINDU MUSIC.
" Again, the critic asks,
if
00 i
no difference between
there
is
G
a
sharp and
in
flat,
The
reply
is
simple one, and have saved him the trouble of this enquiry. The words of Mr. Hullah are that they " are used for transposition, modulation,
minor
scale
and chromatic
scales."
In Sanskrit they
are used to
We are
mark the ascending and descending of a scale. free to confess that we made the assertion, which
is
disputed, not
what we observed in English music. As Dr. Weber states " When must a tone be written as the elevation of a lower
one,
and when as the elevation of a higher one 1 This is a point to which we have not yet attended. For the present
sufficient to
it is
sometimes the other, just according to the different relations Under which the tone occurs."
Again
:
respect to this
e. g.,
C and
D, when
it
occurs as
sharp
is
it is
appears as
flat
flat,
sharp
Q
ia
flat,
is
not so low as
D sharp, E
E
double
sharp
is
as F,
flat is
double sharp
;
not
quite so high as
or
flat, <fec
This difference
between
is
called
sharp and D flat, F sharp and G flat, and the like, an enharmonic difference (which we call the dif-
ference of
These differences, however, are exSrooties). small and thus tremely imperceptible to our ear, and we may
with entire propriety and convenience have but one and the
same key
for all
they
352
HINDU MUSIC.
also be called enhaWionically parellel tones.
may
Thus only
sharp and D flat, for A sharp and for C and D and E double flat, &c. double sharp flat, " Whatever be the bearing of this circumstance iu other
for
if,
instead
mere twelve keys which we now have within the compass of one octave, we should have a distinct key excluof the
sively for
flat,
&c.,
one for
E and
double
another for
flat,
and
still
multitude of keys."
do not appear to us to be quite satisfactory. We hold that there must be difference between G sharp and A flat according to the division by Srooties.
this theory,
but
should he deny the Srooties (quarter tones) he will only contradict himself.
Any how
his statements
we say is that he is right only when he admits the Srooties. With regard to our critic's complaints as expressed in the
following extracts, we sympathize with him on his want of knowledge of the Sanskrit language in which the theories of the art of music are clearly expounded " My Bengali critics assert that I do not understand what
:
How
can I
if
my Bengali critics while they go on piling heaps of hard terms about Srooti, &c., also omit altogether to define that
of which they say I
fail
HINDU MUSIC.
353
tried to
We
We
make the
idea
of Srooti clear to
him by a
And any
definition that
we
attempt will always fall short of his comprehension because of his ignorance of Sanskrit. But we will make
may
another
effort.
The
A
and
to
be perceivable by the
ear.
It is
of twenty-two
kinds.
"Every
Again
:
distinct audible
sound
is
a Srooti."
" It
is
a Srooti because
it is
to be heard
by the
ear.
Tones
number,
viz.,
heart, throat,
and head."
8-1
254
successively higher
HINDU MUSIC.
and higher,
i. e.,
and so
on."
The critic's failure to understand the term Srooti has led him to a curious blunder in his attempt to give a division of
the Srooties in the
Hindu Swaragrdma
:
from
G
B
to
is
A
ia,
to
into
two Srooties."
The truth
to
which
cor-
responds to our
to ^f
we have
from
to
B which
corresponds to
to
flam
fnm<3\'
" There are four Srooties in
11
tj SS
B -"
an<*
or
and F, three in
^3l
or
jrrerc
md fimK
and
We
Engel
:
following passages on the point in Carl " Smaller intervals than semi-tones are in use with
some
Asiatic nations,
Hindu
scale
twenty-two Srooties corresponding to quarter-tones." Mr. Clarke finds fault with us for using the term quartertone for Srooti. We owe him some explanation. We used
the word in the absence of a better one, though
we
are fully
is
is
not a Srooti.
The term
used
HINDU MUSIC.
in all English
355
works where
it is
a Srooti, and
difficulty
by us. In terms for Srooti, Raga, corresponding Murchchhana, Tala and several other words commonly used in
in
similarly used
employing any one of them in an Engcomposition on music the choice of words conveying an
in
is
approximate meaning
Then Mr.
ask what
is
" I therefore
is
:
it
a quarter-tone aa
is
?
usually denominate
or
it
"
We
sometimes a quarter-tone and sometimes the third of a tone. There are four Srooties between q^Sf and ^jBfJT and therefore
each
Srooti between
^r^jq and
JTl^rpc;
is
To prevent
the
is
definite places pointed out there cannot be a quarter-tone and third of a tone in any and every place. As to our critic's
the latter alternative (the dogmatical conclusion that "if third of a tone) is selected I think it may be demonstrated
that
is
impossible."
We have just
perfectly musi"SjJ
proved that
"^Z cal
when a
Srooti
is
and
31 it is
and
JT is an unmusical one.
To come now
He
asks,
"
How many
octave,
C and
in
353
HINDU MUSIC.
in
And
in
it
C and D
lies
There
mistake, but for which there would have been no occasion for
them.
D in the upper octave there are four A B in the lower octave, three. "We and between and Srooties, shall only remark that there is no difference in number beBetween C and
tween the three saptaTcas
but in quality. Ratn&vali which says
:
increase
in quantity
We have again
recourse to Sangita
different
kinds of tones.
Then these
rise
are
and
higher and
different
highest
up
in tone
( as
the
quarters)."
from
(
uncalled-for.
The
distance from
to
or
from
to
B)
C and D,
critic
does not,
we hope,
they
equal to three.
Again,
the difference
is di-
vided into three Srooties, does any one of the Srooti intervals
coincide with the semi-tones, or do the three Srooties divide
to
The ques-
Between
and
HINDU MUSIC.
but four Srooties divided into four equal intervals.
the truth which
reason approves.
all
357
This
is
"It
is
intei-vals so that
'.
the Srooti
altogether
e.,
This
is
going a
little
if
too
far,
it.
What
he has to tune a Raga 1 Will he flick the or do string merely something else ? Will it not be necessary
do
to
remove the
frets as often
and whenever necessary, and tune Raga may come out ? His replies to these
Our
"
critic
singer
be produced
who can
sing the
C and D and
between
G and A
I will
me
as
am
thing,
Frye."
Security,
it is said, is
to sing can
diffi-
the third
note without
done every day by practised singers and has been in use amongst us from remote antiquity. Very distinct
It
is
allusion is
made
to
from
358
HINDU MUSIC.
?TT:
Vina or
in the stringed
thus clear that the Srooties are both tuned and sung.
very happy to satisfy Mr. Clarke not only before
We shall be
number The
to
evidently
seems to be incapable of appreciating the Srooties. His disbelief in them, however, does not disprove their existence any more than the disbelief of a blind man in the existence of
colors disprove the colors themselves. Neither can it affect the
only
in
this
Nathan
truly
observes that
the
Greeks by whom it was considered much easier of execution, but it is now lost. It is evidently of much of ancient date
as Aristoxinus ascribes the invention to
quarter-tones,
tration
all
of
which consisted of twenty-four which admitted of the same demonsfollowing extract from Dr. " as to the to the point. He says,
as the
is
Srooties.
The
Graham
very
much
Hindu, Persian and Chinese scales and the use of the quarter-
HINDU MUSIC.
tones arid other minute intervals,
359
what
we
we published on that
new Edin-
burgh Review for April 1822, pp. 521-528. We have examined a number of Chinese wind and stringed instruments brought home in June 1837 and have found semi-tones in all of them.
Professional musicians who followed Napolean to Egypt remarked the frequent and dexterous use of very small intervals by some singers." Can we help inferring that the tones
"
:
A late
travel-
ment with a
would be
singers."
difficult,
That they
use
among many
:
uncivilized
which we transcribe the following passage " Even some uncivilized nations possess according to the
accounts of the travellers such a discernment of intervals as
to surpass our
own
to have
made with
and
it
of very
t Specimens of Popular Poetry in Persian as found in the adventures and in the songs of tho people inhabiting the shores of the Caspian Sea by
Chodgoho.
SCO
minute intervals
in
HINDU MUSIC.
order to play perfectly tunes iu
all
keys.
The Swiss
still
As
anything
theory of music,
we
Sanskrit works
is
on the
as fully dwelt
upon
as in
any European
treatise,
only
it is
not mystified by
obscuring mathematicism.
hold that
it is
We
w.
"
the
(
11
Sound, which
is first
air within
y[[^f
human
),
mouth and
is called
nada
first
form of words through the mouth, and From this jjj^ ( nada ) or of instruments. means thirdly by
is
expressed in the
of
music
is
evolved."
STOJT
* C. 8. P. 54.
HINDU MUSIC.
"
(
361
but without
is
And
)
singing singing
is
to be explained
first,
nada
all.
is
the root
of
tone
is
Without sound singing is impossible, without sound is impossible, and impossible, without sound Raga
(
therefore 5|T^
Q ada
ia
tne
a11
The
origin
and nature of
this
jff^
nada
) is
as follows
or
(!)
vital air or
P wer and
Again
"
From nada
arises srooti,
and from swara comes Raga, and from Eaga comes Gita, and therefore tho soul of Gita is sound. The instrumental music
follows Gfta."
we contend, that our scale is natural and is well represented by M. Momigny's doctrine which holds that a true scale is derived from nature and requires no mathematical
Hence
it is,
calculations.
Our
critic
boatmen whom
observes with some emphasis that the Hindu he heard " employ occasional sharps and
362
HINDU MUSIC.
flats that could not be played on the Sitara.'' Apart from the question of the accuracy of the statement about the boatmen's songs we will simply dwell on the principle invol-
ved in the criticism, and say that there is not a single Indian melody with occasional sharps and flats which cannot be
played on the Sitara. Let our critic we will demonstrate our position.
In extolling the boatmen's songs as the best and the most approved specimens of Hindu music our critic makes the
following remarks:
" I think most Europeans who take the trouble to compare this (boatmen's song) with the best specimens in Sangita Sara
&c.,
will
readily
credit
my
all
statement in
my
letter of 17th
May
critics)
that
'
while
contempt and almost abhorrence of the boatmen's songs, I have heard many Europeans declare that the boatmen's
chants are the only music in
called music'."
There
is
above that
such a refined appreciation of musical lore in the we know not what to say. But it requires no
comment.
to find that our critic drags other to countenance his own idiosynwith him Europeans along we ask how crasies. May many Europeans understand the
We
grieve
language of the boat-man's song or its so-called musical cadence ? All native boatmen do not sing in the same strain
and in the same language. In the Eastern districts there are classes of boatmen who may be marked out by broad
distinguishing characteristics.
are distinct
manners
guage.
and their songs are different in strain and lanThe boatmen of Noakhally are not like the boatmen
HINDU MDSIC.
of Dacca,
363
songs in
selves.
boatman as to
his nativity
large classes of
and
its
example.
who
navigate
tributaries are
They
of
sing
much
They usually
educated and
come
in
contact with
larger
number
it
may
move
in better
They are therefore expected to be better educated and more civilized than their fellow-laborers in the eastern
If there
it
districts
merit.
and yet their songs indicate no tunes of musical is any thing for which their songs attract
is
notice
their
in
What however
most
is
He
"
says
When I had travelling in my boat Koylash Chunder Sen (Additional Deputy Inspector of Schools in Dacca) I got the boatmen to repeat the words to him. Koylash Chunder
told
me
imperfectly understood
took no note."
3G4
It is very
difficult
HINDU MUSIC.
to
in
arguing
with a person who can be so credulous. Cannot our critic favor us with one or two of the songs which so charmed him 1
will
suffice.
He
the
popular songs of a nation must be composed in the language spoken by the people. Can he refer to a period when Sanscrit
was the spoken language of the masses of Bengal, and of East Bengal in particular ? Where did the boatmen learn Sanscrit songs ? We know of very few Pandits who can recite
extempore Sanscrit songs. But the writer betrays himself when he says that " the boatmen often sing very nicely
in
tune
though their
&c.''
voices
may be rough
and
their
style uncultured,
mispronounce Sanscrit, but if they sing in Sanscrit it cannot be in uncultured style unless the songs be of their own composing.
We
made a Bangal of him, and we fear that his Deputy treated him with a canard. We now come to the discussion of our critic's remarks on
" our musical notation, which he condemns by saying that the
nationalist Bengali musical notation is valueless
and ought to
be superseded at once by the stave." To say the truth we do not very clearly understand the gist of his objection. We
may, however,
goes
is
all
tell
as far as it
that
all
we
sufficient for
practical
purposes.
What
the Europeans
same in three
lines only,
arbi-
trarily divided into two halves as the Europeans use both the
hands.
We
he condemns
notation,
of
HINDU MUSIC.
which he
will
365
by Sir William Jones in signs and symbols of
find
a full exposition
;
the Asiatic
Researches
many
is
of the
now become
simply
we have endeavoiired
to introduce such
sary to
adapt
to
Sanscrit notation
one
line
Hindu Music was represented by means of with certain signs and symbols and the initials of the
;
seven notes
reason
The
of this
that the
still
way as the Tonic-sol-fa method of the Europeans. It will be remembered that the Greeks represented three octaves by
three different letters.
ing-
Now
it will
the three octaves the Europeans not only require the stave
lines
of five
many
Now we
put
it
to
Mr. Clarke to say which is simpler the stave of three or the stave of eleven, and which would occupy lesser space ? There is a great diversity of opinion among English musicians regarding the stave in use.
Nathan
in his History of
in
general use, which may be met with at this period in some of the old church music."
" " " The old way of noting or writing music called the old
and four
spaces, which
is called
the
"
staff."
On this
certain
366
on the
pitch.
lines
HINDU MUSIC.
and spaces as the tones are higher or lower in
the old notation, to the singer, arises
The
its
difficulty of
not shewing plainly and promptly, which is the keytone Doh, which the third of the scale, Me, which is the fourth,
from
Fah, &c. For, on the preception of key-relationship, the power When once the Tonic Solfa-ist has of the singer depends.
heard the key-tone and knows that a certain note before him * * * But until he sees the is Ray or Soh, &c., he can sing it.
key-relationship of a tone he
is
at a loss.
No
information as
last
from the
tone
that
him
and accurate preconception of the tone to be struck, to which he has been accustomed." To remove this difficulty
clear
deemed unnecessary.
When
is still
imperfect even in English music how can it be sufficient for Hiudu Music which is rich in Kagas and which abounds in
And
yet
superseded by the
English stave.
Every nation that has a music of its own has also its own system of notation for writing it. Whether that system be
an advanced one or not,
it
may
be.
And
improved and scientific even in such a case the notation will have to
be studied separately.
not understand
how
we have
become
in
many
respects,
we
confess
we
system of
The English
is
system
of
needs be
observed,
imperfect
for
and
insufficient
the purposes of
Hindu Music
is
the
distinct
HINDU MUSIC.
from that of European music.
scribe
to'
367
cannot, therefore, subit
We
was
essential to
common European
dies
When
it is
admitted
necessary
for the
quarter-tones
alone and some more for the MurcTihanas and the varieties
of Tdla &c.,
consistency
we
tion,
Indeed, we
fail
who knew
no English might play a melody from an English or French piece of music, when it is not denied that he must submit to
the
difficult task of
ing the language, and learn the modifying signs not only for the quarter-tones but also for other innumerable varieties of
Tolas, &c., referred to above. It
may from
in
this be imagined
order to underthis
in
B ut why impose upon him work when in the three-lined Hindu notation
heavy
spite of
the signs for Srooties, &c., which, however, are very distinctly marked upon the Swaragrdma he has only to mark the
different
swaras in their
initial
its
thing
lines
is
at the perfect
command
Only three
mark
chest,
and
clear
To
we
give below a
diagram of our Swaragrdma of the Saptakas which is so natural and at the same time sufficient for all practical
purposes.
368
HINDU MUSIC.
ft
*r
< ft
Now mark
Here
is
diagram of eleven
HINDU MUSIC.
369
glance the position of the notes upon them, and such will
exactly be the case
if
To remove
limited to
lines, as
this incon-
number
of lines
is
five,
and why
Dr.
Marx
says,
has the
line,
which
divides the staff into two equal parts and thereby facilitates
its reading.
number than
five,
say
a sufficient
number
be unnecessary. five, say seven, greater to obtain a sufficient number of order In degrees, the spaces
number than
lines
between the
above and below them are also employed These five lines together are called a
in use
which
is
now
These
five
lines
4.
5.
6.
7.
8.
9.
10.
11.
representing
first line,
But the
Hindu Music
is
at once apparent.
As
insufficient
The
ledger-lines,
how-
ever, are thus used for the purpose of representing the notes
u-i
370
HINDU MUSIC.
;.*
11.
12.
13.
---.
14.
15.
*
d
* * ^ *
a
*
^3
Recourse
is
had
to
Thus
look
and the
which
an almost
number
of
ledger-lines
will
have to be
ent
clefs.
is really
or space.
as
it is
For these various purposes they remove the notes impossible for them from the nature of the staff to
For instance,
line
if it
had been
deter-
the staff in the last example be the should above place for one lined c, then we quoted should at once know that the note on the first space must be
first
of
d,
on the second
;
line
e,
first line
be small
for the
sounds themselves.
than one lined
c
But
it is
obvious that
if
the
for instance, e
line,
HINDU MUSIC.
371
and g would have
its
above
it,
place on the second line. This is indeed a complicated and The situation of a note must be confounding method.
definitely fixed, if the object
places of
the
rest.
thia
purpose certain signs called clefs, which have been introduced to point out a certain line as the fixed place of a certain note. Of such clefs there are at present in use three,
or treble
and there may be more in future. These three are first Q clef, sometimes called the violin clef, the C clef,
clef.
The form
of
G or treble
clef is as
shewn below
If
we required
we should
have to place it upon a third ledger-line below the staff ; the three-lined a would have its situation over the fourth ledger-
Here the English musicians use g the first note, which would be impossible in our Swaragrdma. For G corresponds to our q, and ij cannot
line
above the
as
staff,
and so on.
first
note of the
q^afjf^ ^^f^
3T1T5T
Further,
instead of C, which is the recognized fundamental and this c they use on the note, ledger-line. Again, the first note must, as a matter of course, occupy the first line, but
here
the
ff,
first note,
must stand on
to Europeans.
it
may appear
Moreover, in the
first
it is
shewn that
372
takes
the
first
it
HINDU MUSIC.
line,
and therefore
so.
clef.
But
Formerly in France they used G as the first note and upon the first line but we do not know why they have changed its position. The C clef shows,
in reality
does not do
it
occupies
:
is
It occurs in this
form
And
alto,
this again is
employed
is
as canto,
and tenor
clefs.
The canto
a table of
upon
the
first line.
Here
notation.
.^^^
^
gab
This table
above the
staff,
2.
case the
will
*
upon the third line and the tenor clef upon the fourth line. But in the former be on the first line, which corresponds to our
case e will be on the first Hue, which
mziH>
an(^
n *ke ktter
first
represents
the sounds of the notes of alto clef and the second presents the notes of the tenor
clef.
HINDU MUSIC.
373
-*-*
c
cdefgab
J:
iL
These are the three ways in which the C clef is now employed. The ancients used it in the second also, and we cannot
account for the modern alteration, neither do we understand
clefs is
is
now
used.
It
may
be asked
why
canto clef
inapplicable to
;
Hindu Music,
is
since the
one-lined c
may
the answer
^fXcf
or JT^TCT Saptaka.
In Hindu
music, whether vocal or instrumental, we commence our grdma from the lowest or the But the discant or ^flcff.
g^PCT
canto
is
Here we
may
which are natural, when divided and sub-divided as in the European music, an endless number of ledger-lines must be
used.
And
1
will the
would change the character of Hindu music, which does not admit of any minute divisions and sub-divisions.
system Supposing
were,
it
clef,
which
it
In modern music
it
named thus
374
HINDU MUSIC.
Contra Great.
w.'
f
ABCDEFGABcdefgabcde_
it is
When
cient,
it is
found
insuffi-
drawn.
Thus contra
line, they require an additional ledger-line for the notation of contra ; above the staff, a third ledger-line must be drawn
for
b,
and so
on.
In old English
music, however,
third line,
and
change already,
place in future.
clef upon the upon the fifth. Thus there has been a and we know not how many more might take
we
occasionally
also
clefs
but what
is
the use of
so
many
clefs ?
and misleading
as
Weber
says,
single line."
of one clef
lines
To this perhaps it might be urged that the use would necessitate the multiplication of ledgerboth below and above the staff, as in the Bass clef ;
two
ledger-lines are
for example,
e ;
two-lined
c, and perhaps not less than three-lined c, all which is avoided by the
clefs. Admitting the explanation to be reasonable, have the why Europeans then in modern music discarded not only the G clef upon the first line, but also the C clef upon
use of the
the second
line,
and
and
a
according to
many
Keally,
all this is
HINDU MUSIC.
puzzle to us
difficulties
?
375
is
is
this
the
system
which
to
solve
our
many
inno-
and
notwithstanding
these
represent
octaves,
Again, the
English musicians divide this stave into two equal parts, the
reason of which
is
inexplicable to us.
Perhaps
it is
done in
both the
hands, or
it
may
all
harmony.
explanation
But
be for male and female voices being used in that we say is mere guess the correct
best furnished
may be
by
is
Europeans.
admissible in
But
Hindu
Music in which the melody requires that the series of tones should come in succession nor have we any instrument like
;
the pianoforte which to be tuned requires two hands for two kinds of tones at one and the same time.
explanations
it will
be evident
of notation.
We
will
now
Hindu
system of notation.
of which
we
have furnished but a rough sketch, the lines used are in proportion to the number of tones in an octave, which are eight ;
sometimes so
many
haps with the view of making them correspond to the number of strings in a harp, or for other reasons which are un-
known
to us.
376
HINDU MUSIC.
us
5ETC
^Z
JT f( *T tJ
fa
corresponding to
which together constitute a saptaka. There may be more than three saptakas in Hindu Music but they are not in general use. The three lines on which
are the seven notes
;
the saptakas are placed indicate by their position three kinds " and of sounds, viz., TRT. We do not re
^^(^(, W<[*J
quire different
clefs,
nor changes in the situation of our notes we always make E)^5f the base or
:
the
first
3^5f
or c in European music
settled.
has
and permanently
This peculiarity enables us to avoid the Introduction of different clefs, the use of numberless ledger-lines, and the
change of situation of the notes. We have three saptakas in common use, for which only three lines and nothing more
are required.
Pssl
*
*
Iu the foregoing diagram, shewing the notation of Hindu first line has the lowest saptaka, and
If
were necessary to use more saptakas, we could use dots under each note to mark their position, either below the
or above the
first
uppermost
line.
Thus,
it will
if
we
place one
it
show that
has
a place in one saptaka above that line and if we put a dot under ^ff on the lowest line, it will shew that it has a place
;
Similarly
two or more
HINDU MUSIC.
dots
will
377
represent as
many
This
is all
that
we
of forming
the
and from
all
To guard
is
against
our object
not to
is
quite
of the European
will here
add that
if
system will not be an improvement. "We we have recourse to the division of scale
will
by means of clefs, one line for each saptaka From what has been said of the notations of
it
be
sufficient.
different nations,
will
complete
representation of the differences of their music, must use If the Europeans use lesser number of signs different signs.
it is
Murchchhands, Talas So our notation, as we have shewn, is adapted to our of comprehenrequirements, and is both simpler and easier
variety of signs to represent Srooties,
&c.
while
it
We
by adopting,
of
possible, the
European stave
for
the repre-
Bengali course would save themselves the labor of learning one nota" tion more," that a Bengali who knew no English might play
sentation
melodies,
For
v-i
378
this
HINDU MUSIC.
dissent
of reasons.
In the Euro-
pean notation we cannot use all the signs necessary for the full representation of our music without making it indistinct
and cumbrous.
Some
of the signs
we
refer to are
in vocal
of
Krintanas,
such
as
Murchchhana-krintana,
As a-krintana,
&c., the
^^T^pTC
known by the name of which in the Mahomedan instruments, the Rabdb, the
in several
strings
Sarode, &c.,
greatly
used
in
various
ways,
contribute
;
to
the
grace
and
ornamentation of
A'sla,
our
music
varieties of
Sfc.
such as
several
Gamaka-A's'a, Murchchhana
others
are
A's'a,
These
and
not
represented
party,
in
the notation of
the
so-
called progressive
them
if
does
not
make the
else,
for nothing
at
tegrity of our system of music. They may ignora them, but we are prepared practically to prove their existence whenever we may be called upon to do so. Again, that which we hold to be the very foundation-stone of Hindu Music, we mean the
Srooties, or the
quarter-tones of the
Europeans, in which
we
place
misnamed progressive
delusions.
the Sanskrit
works on music must be expressed either vocally or by means of instruments, and if we fail, it is plain we are ignorant of
the method.
even in
its
improved
as incomplete
can
HINDU MUSIC.
possibly be.
379
it
The numerical
the several
signs introduced in
require
of different nations,
and so
will
new
which
distinct
of other nations,
Will
it
and that in the languages of those nations. be possible for an Englishman or Frenchman, who
knows no Bengali, to play a melody from a piece of Bengali music as represented by these notations ? The signs, moreover, have been differently used for the purpose of represent-
how
will the
out without special instruction 1 For instance, they use the sign of Soma for the English pause, while this the very starting point in
of comprehension to the
is
as
difficult
We
European as the Raga. could point out other anomalies, but what we have
the notation in question has been formed on the
Above
all,
all
the clefs
divided as they are, are quite insufficient for the representation of the A'ldpa of a Saga. The A'lapa consists of four
divisions,
^r^lft,
^n,
these
called a
without which the Raga. is incomplete.* It is (cTTf), thus evident that Mr. Clarke's assertion "that if it was
essential to represent quarter-tones,
staff
Tana
would be far more preferable to the nationalist's notation &c.," is barely an assertion, and does not admit of proof.
We think we
*
have adduced
part
Mr. Clarke's
An
RatMvali in Sanscrit.
380
HINDU MUSIC.
theory about the adaptation of the English system of notation to the music of
civilized nation, that
all
has a music of
we
attempt to replace
will
it
we
by means
tration.
new
signs.
illus-
own with
distinguishing peculiarities.
characters,
as ho,
se,
chang,
an*
There
impossible
them down
correctly in the
Take again Japan. As far Hues of the Japanese were pricked.f Captain Turner was informed that the Buddhist priests in Thibet
musical
in
characters
Nor
of
are the
their
Egyptians and Hebrews without a contrivance Java and other islands of the Indian own.J
sea
possess
some
kinds
of
of
notation quite
sufficient
for
the musical
requirements
They
is,
and the
style
of their music
may
They have also been translated into English by the Rev. Howard Malcolm's Travels in South Eastern Asia.
W.
Style.
t Historical, Technical and Literary Description of Oriental Music and Musical Instruments by Villoteau.
Opus
cit.
HINDU MUSIC.
very numerous.
381
They exhibit as many as hundred and fifty own character.* In Ceylon too, music
cultivated with great ardour.
be
There are
pieces of music to be
Pali language.
The Turks
or rule.
ponding to ours,
rich in
but,
possessing quarter-tones,
very
difficult of
system of notation.
in octaves,
in
unison or
and
very imposing.f
The Arabs
music only.
They
modes
formed by union of these. Their manner of noting music is by forming an oblong rectangle, divided by seven lines perpendicular to its sides, representing together with the
lines eight intervals.
color, val.
two extreme
of a different
inter-
Each of these
lines
is
tones.
The notes
by the
to seven
yek, du,
si,
tschar,
peni, sehesch,
letters of the
European music, by the first seven which are in the Arabic, alif, be, gim, Alphabet,
sain,) are subdivided into seventeen
Howard Malcolm.
II.
382
HINDU MUSIC.
of notation, new rendering this scale in the European system for the be invented to quarter-tones. But signs will have
to the
minor seventh a
flat
will
be semi-
Thus,
it is
the European system impossible to represent Arabic music in of new signs for
quarter-tones.*
its
The Persian music very much resembles ours. It has also own notation, the reduction of which to the European
and impracticable as that of
ours.
scale is as difficult
Now
we
leave
it
to
i.
e.,
the
in-
We
we must
till
music
au attempt be made to
adapt the English notation to the music of the different nations, it will be necessary, we believe, according to Mr.
Clarke's plan,
to
make
wants and peculiarities of each nation, but then the result "a will not be that Bengali who knew no English might from an English or French piece of music." a melody play
But the
difficulty
we have
just represented
is
not
all.
As
at
all
progressive)
the
new
signs
we have
stages
of progress
and
We
will ask
Mr. Clarke
alteration
A Treatise on
o
HINDU MUSIC.
undergone in the course of the
last
383
much
more it is destined to undergo. Had European system been an immutable or a system, what necessitated John Curwen's modifications (which by the bye closely resembles the ancient Sanscrit notation) and what guarantee have we
that they will stop
here
already
adduced
fact
it
may now be
except by
safely
assumed as an established
invented
that,
the
of
systems
the
by them,
the music
oriental
nations cannot
be
represented
by the
European
notation.
In
this
opinion
we
it
" respectby Ambros, who says that ing the national songs which have hitherto been published,
are well supported
must be observed
that in
all
of
them the
original
charac-
ter of the
if
not obliterated,
by the arrangement 'of melodies for the pianoforte, or by the unwarranted addition of accompaniments of some kind. In many instances where the songs are usually performed in
unison, they retain,
former characteristics.
when harmonized, but faint traces of their Even in instances where an accomexists,
its
paniment
originally
peculiarities are
often
so
arrangement
that
to
it
becomes
almost another
lity of
composition."
And
as
the inapplicabisaid
of
the European
of
the music
other
nations
is
equally true of
Hindu Music.
tion arises as
quarter-tones,
The
as
difficulty of adopting
much from
for
enumeration.
We
will cite a
A great difference," says by us. " Willard, prevails between the music of Europe and that
of the oriental nations
in.
it
re-
384
HINDU MUSIC.
modern
Hindu
aira
known
of setting
them according
The
Hindus have quarter-tones, a fact which renders it still more difficult to express their music by our own system."* Mr.
Whitten, in his lecture on the music of the ancients, delivered
at the Calcutta
of the
question.
airs are
Few
of the
Hindu
known
Europeans, and
to
it
music according to the modern system of notation, as we have neither staves nor musical characters
sible
to set
them
whereby the sounds may be accurately expressed."f Another writer, an equally independent authority, goes on to say,
that " considerable difficulty
is
the Ragas and Raginis, as our system does not supply notes
or signs sufficiently expressive of the almost imperceptible
and depressions of the voice in these melodies ; of which the time is broken and irregular, the modulations
elevations
its
European
system of notation.
progressive friends,
an indirect demonstration of the difficulty of representing Hindu Music by the European notation in the three lines appended to hia article, and wo are glad to find that Mr. Aldis takes our view of the case.
J Oriental Collections
by
Sir
W.
Ouseley.
HINDU MUSIC.
385
we hope have the goodness to practically illustrate his theory with their invaluable aid as to how the Hindu system of
notation
may
We
will
be superseded by the European. conclude with a few words, pointing out certain
which Mr. Clarke has, perhaps unwittingly, fallen in respect to certain musical facts and personal questions. In discussing the question of notation he incidentally
errors into
is not the Bengali notation but an invention of four years ago, taken up by " a small
but rich party in Calcutta." We are sorry to say, that in making this statement our critic is entirely mistaken, or
has allowed himself to be misled by the party to which he has apparently surrendered his critical judgment. If he
had referred to the published works of his countrymen, he would have discovered his mistake. Amongst others we would
take the liberty to
recommend
Sir
W.
Jones'
The notation
commence-
ment
In proof of
its
antiquity
we
M a
10)
,gj
w as H
^
tu
fol
co
^i
>
^ ^ J
O
**
o H
o
25
HINDU MUSIC.
387
We
state
will
may
Mr. Clarke's information that the party which shares our opinions in musical matters is nearly as numerous
for
as
to
comprehend musicians of
all
proficiency
In the appendix will be found a paper containing autographs of all the eminent Hindu and Mahomedan musicians of the
day,
We do
little
the
be-
we know does
not, perhaps,
extend to
much
yond a knowledge of the notes on a harmonium and the explanation of the notation. But we have taken the pains
to study the particular
we have presumed
to write.
we venture
to express a
What grieves by any unfriendly feeling, us most is that a gentleman of Mr. Clarke's erudition, scientific attainments, natural abilities, and high character,
or hostile spirit.
who
are
what they write about, and who have made him an exponent of their crude views and egregious misconceptions. If this
paper
satisfies
we
amply
repaid.
HINDU MUSIC.
389
^
<?_
f^?r,
*T*T,
-,
390
HINDU MUSIC.
wr*r
HINDU MUSIC.
391
?ft
^PTR
^T di^^f 't
TTf
392
HINDU MUSIC.
PROFESSOE
MOWLA
BUX,
Of Bombay.
HINDU MUSIC.
393
l5
'
'
jl
^t
r
LJJ
^^j3 ^
JlJ
^J
r
U
x
j.
i
394
HINDU MUSIC.
xJ
UK
^S
JLc
HINDU MUSIC.
395
U*
&J
o;
^
j)
(^ U*
UiU KJ
JX()1>
^ ^ UK
KJ
fl
- e
Jojli
-t
396
HINDU MUSIC.
;-H
* *
*
*
HINDU MUSIC.
397
J.
JJtll
* 4
udl
ON THE
TO THE STUDY OF
NATIONAL MUSIC;"
BY
CARL ENGEL.
ON THE
THE
sa,
ri,
ga, ma,
diatonic
our
major scale, are subdivided into twenty-two Srooti, corresponding to quarter-tones, but not quite exactly, since there
are only 22 instead of 24 in the compass of an octave.
Whole
402
the key-note
of the
HINDU MUSIC.
natural key.
The musicians
of Hin-
dustan never appear to have had any determined pitch by which their instruments were regulated, each person tuning
his
own
to a
certain
height, adapted
capacity
tious
circumstances."*
is
is
not
of
much importance
in our inquiry.
the fact
those from
dkani,
inequality,
tone with a Srooti borrowed from the next tone of the scale.
for the
Hindu
Rdgas and
for
scales, or rather
formed
either
by substituting
the
prime another interval of the scale as fundamental note, or tonic, as in our ancient Church modes ; or by considering
certain
intervals
of
or
by omitting one or two intervals entirely. In illustration I subjoin a few specimens of scales selected from a number
given in
Sir
Hiudus.'t
it will
W. Jones's essay On the Musical Modes of the Two of them, called Todi and Saindhavi, resemble,
'
Phrygian mode.
A treatise on the
Calcutta, page 27.
t Asiatic
Researches, Vol.
Ill, p. 55.
HINDU MUSIC.
inessential,
403
entirely omitted
and may be skipped by the performer. Intervals (as in Maravi and Hindola) are indicated
thus
Todi.
Saindhavi.
404
indicates that the
HINDU MUSIC.
interval is a one-third-tone higher than
flat,
and
|t|
that
it
flat.
The minims
be seen,
it will
differ
from ours
in so far as
the seventh
is
minor,
and the two steps from the third to the fourth e /, and from the sixth to the minor seventh, a b flat, which in
our notation would be semi-tones, are in the Arabic scale
only
one -third-tones.
The
intervals
written as crotchets
denote the intermediate one-third tones between the respective diatonic intervals.
ARABIC INTERVALS.
,0*3
to have
employed
the
at
an early period
seventh
Arabs,
about
middle of the
exhibited.
After-
BY
A. C.
BURNELL,
PH.D.
Sdman
me, that
as
it is
Here, as in other
there
are
numerous Cakhd
practice of the
I
differences
and
I shall,
therefore, follow
the
Kauthumi
CaJchd,
the
only one
formation.
of
which
sufficient inis
The
art is
European
who
studied
it
in India
Dr.
Haug
is
now no more.
The foundation
old,
they are,
of notes, but
modes do not appear to be used, except one. The Sdman Chants resemble in some respects the Gregorian
or Plain
another in
many
points
the
with pas-
by the
and
are, to
The
India, and
it is
not too
impossible to find
of
MSS. come from different parts of much to say that it would be almost two MSS. which precisely agree. MSS.
only
copied
the
ganas
F. 370
as to the
are
by
professional
Sama-
cfr.
)
of Helmholtz,
(3rd ed
2 Above PP.
408
Veda priests for their
terest
HINDU MUSIC.
own
use,
of in-
to the
public
every copyiat,
follows
and signs of his own to assist him in chanting the notes. It would be useless to give the complicated notation as
used in
the S. Indian
have
already
to several
hundreds.
The
principle
more simple.
1, 2, 3, 4, 5,
modern notation by numbers is far are marked by the numerals 6 and the last (really never used) by 7 or x>. Of
of the
these the
It is
first = F and the rest E, D, C, B, A, G. necessary to point out (as there has been
much
con-
accented in the
;
but
the
in
The
connect
difficult
difficulty
nature
has
It
is
not
attempts of
understand this
1 I
It is also
:
Yah SSmaganSm Prathamah Sa Venor madhyamasvarah To dvitiyah Sa Gindharas, tritiyas tv rishabha smrita.
The common Hindu
Sir
scale corresponds
but
for
W. Jones
I
has
(as evidently
in the
key of A,
which
and, in
fact,
he
is
but
misled
mo
and
admittedly, wrong.
HINDU MUSIC.
409
Ut
La,
grades
Mi,Fa,Sol,La*
excellences
somewhat similar
Uddtta
Nishada, g&ndhdra.
Anuddtta
Rishabha,
vata.
Svarita
Shadja,
Dhai-
Madhyama, Pancama.
The three sthanas represent three octaves. The names of the seven notes differ, and some have
several names.
The
know
of is probably
that in the
Sdmavidhdna Brahmana*
krushta,
Prathama,
or antya.
In
(e.g.,
Say anas
etc.,
numbers prathama,
pond
gdndhdra, madhyama, pancama, dhaivata and nishdda of usual music, but in reverse order,
i. e.y
the
first
note of the
priests,
last.
is
the fourth
of the
Sdma
and the
In
etc.,
given as prathama,
atisvarya (7th).
1
2 See i,
8 of
my
3 So in the Svaraparibhdshd.
Mandra
is,
i,
the
fifth tvara.
ii,
however, the most usual name for 3 " ucco gan") gi, ji, di, di,
the
first
The antya is not mentioned (S. T. I., i, 1.) note, and that it is generally called prathama
(in his C.
17)
Syana
in
I,
g.,
16
and
on the Arsheya br.) mentions where the Saman has the first note
marked.
Z-\
410
HINDU MUSIC.
dently
arisen
'
:
of
notation by numbers.
prenkha' which adds two matrd to the preceding syllable and ends with the second svara, it is marked v, or in
There are
S. Indian
MSS.
'
pre'
sometime occurs.
'
Namana? which
' ;
co;
karshana'
up the
all
'
includes
Vinata'
'
is
marked by
or
S and
consists of 1
and 2
where
in
Vinata'
occurs in the Grdmageyagdna, Prenkha is put The two remaining vikritis are embellishments
:
the
Uha.
Atyutkrama
be noticed.
;
only
abhigdta
requires
to
it
Sdma' Veda by
literature, the
but I shall not attempt to explain them, as most have arisen out of the peculiar notation, and it
technical terms,
intelligible
in a short
With
these explanations
it is
now
men
of the
Sdma Veda
It
must be
there
a total want of
in the adaptations of a
P.
VI.
e
frs
1
-3
I
I
p. vn.
.1
f
ti
<c
i
-8
'g
HINDU MUSIC.
411
the notes
is
Sdman
made
Notes
are,
alone
r,
;
marked
in N.
Indian
MSS.
in S. Indian
MSS. by O.
Vriddha,
Where
a group of
notes and a
The bar
or division
The length of the note depends on the vowel, and not on the length of the syllable according
to be sung with one breath.
to prosody
thus in
'
citra'
the
first
note
is short,
the last
is
always Vriddha.
the S. Indian letter nota-
is
obvious
that such chants can never have been thus preserved exactly
without
letters
of the notes
this.
on the
text,
For instance, the syllable hum' which so often occurs in the Sdman was called originally (as the Brahmanas prove)
hinkara, and
'
sound.
certain
cult to
Sdman to more notes than others. Again, it is diffitrace much in common between what are nominally
members
of different Cdkhds.
explanation of
the
will
chants (as
cases notes
printed in the B.
edition) in the
flat,
but
412
assertion
less ('a
HINDU MUSIC.
(iu
Sdma Veda;
it
was
in-
am
some
'
"priests,
at
all
which others
reject.
Thus the
Sdma Veda
it
is,
contains the
incantamenta*
of
them 1
and
therefore,
of
belief
which we find
The
is
remarkable, and
it
our word
Latins
;
'
incantation'
is
still
a witness to
belief. 9
among the
I think
the
German
is,
be found
sufficient
to
oldest Indian
music was.
India has not as yet attracted any interest, 3 and the best
historians of this art have
questionable information.
I have in hand
to this subject,
is
When more
ever
it
done,
if
be done,
it
hope to return
and to elucidate
so far as
my imperfect
P. 9.
J.
Grimm,
"Deutsche
Mythologie"
pp.
987
flfg.
t.
little
studied.
is
BT
JKusic"
ISAAC
L.
RICE,
New
York.
musical system which next claims our attention is Though unlike that of the
is
no
less
The
latter
power by a mystic symbolical system. But it was not the characteristic of the Hindoos to enter into such geognostic
They, too, were susceptible to the influence of but they were too in;
mysteries.
phenomenon
they
your existence in the futile efiort to untie a knot, when you can cut it, and sever its most intricate ramifications at a single blow ?
2.
Why spend
Music
is
God Mahada-krishfive
na,
who caused
sixth
Rdgas
to
heads.
The
owed
existence to Parbuti.
Afterwards Brahma
in
Each Rdga was then perwho and god protected governed it, each Ragini a nymph. The Rdgas were the primary modes, the Rdgisecondary ones.
Later, Sarasvati, the spouse of
nis the
Brahma, presented mankind with the most beautiful of instruments the Vina. The demi-god Narada was elected to
teach
its use.
Then Mahada-krishua endowed the Rdgas with The Rdgas, in turn, endowed the Rd-
Men, animals and inanimate nature were henceforth One Rdga was possessed of the
power of raising clouds and producing raiu. A songstress versed in that mode at one time saved Bengal from au
41 G
HINDU MUSIC.
sun to vanish.
tigers.
imminent famine by intoning. Another Rdga could cause the One charmed serpents, another lions and
All heaven
is
is
filled
with music.
;
Indra
surrounded by Gandharvas
war and sing his praise in peace. Yea, the terrible Shiva himself was charmed by the magic of Havana's Vina. Music
is
it is
god-compelling.
3. original system was much elaborated in the course of time, so that it grew to contain HO less than sixteen thousand modes, each of which was governed by one of the
The
sixteen thousand
nymphs, who attempted to gain the love of Mahada-krishua during his incarnation. The nympha are
the Rdginis by the six
had
Rdgas,
it
wedded
to five Rdginis,
;
each family
chief modes.
Rdgas were construed as being also gods of This was done, because there appeared to be a great analogy between the frame of mind produced by each
Later,
the
the seasons.
of the Rdgas, and the one natural to one of the six seasons
into which the of one
divided.
The
joyful strains
;
the gay characteristics of another, of the ripening of the fruits; while the sad and melancholy melodies of another,
of the fading and falling
leaves.
In time
it
came
to
be
the
HINDU MUSIC.
season,
if
417
How
for
differently the
the emotive
power
of the
music
On
gloomy mysteries
other,
on the
the
bright,
fantastic,
!
And
who
that
the
Hindu
philosophers,
age to
call
force a
God The
that
first
is
to say, to
theoreticians,
Raga
as a
sober name,
signifying
mode.
As
of modulation,
any
be-
number
came
modes
fit
and
this
number
by some on
calculation,
of
gical philosphy.
The
tones, with
how and where they originated, by whom were they propagated, and then the wildest speculations on the subject were the order of the day. The peculiar poetical character of the ancient Hindu showed itself in the
was
to specify
question
"
What
is
music
"
?
as
part
of
the
question
"What
is
Nature?"
A-2
c. i. E., L. L. D.
of India,
President, Education Committee of India.
regular
system of notation had been worked out before the age of Pdnini (350 B.C. ?) and the seven notes were designated by their initial letters. This notation passed
from the Brdhmans through the Persians to Arabia, and was thence introduced into European music by Guido d'
Arezzo at the beginning of the llth century.*
Some, indeed,
(in Prdkrit
Greek
letter,
in
Sanskrit, grdma),
after
literally
a musical scale.'
elaboration,
Hindu music,
under
the
a period of
excessive
sank
Muhammadan
Of the 36
were Hindus.
chief musicians in
Indian musicians employ a more minute sub-division, together with a number of sonal modifications, which the
enjoys.
European scale. This is one of several fundamental differences, but it alone suffices to render Indian music barbaric
to us
;
giving
it
alte Iniiien,
ii,
195
;
(1830)
&
Gruber's
Encyclopedic,
xvii,
1840)
quoted by Weber,
Ind. Lit.,
422
filNDU MUSIC.
the perfection of harmony, and which c ' have for ages touched the hearts and
fired the
trained to recognise
modifications
sound
;
which the
other hand, have been taught to expect harmonic combinations for which Indian music substitutes different combinations of its own.
declines altogether
airs
represent
the
full
and the
effects
Indian instruments
slowly elaborated
during
requirements of
of
its
Hindu music.
modes
(rags')
The complicated
rests
structure
musical
upon
five,
three
separate
systems,
six,
one
of
which consists
of
of
the
other
of in
and the
living
other
seven
notes.
earlier
It
preserves
a
the
state
some of the
Greek
music,
forms which
puzzle
student
of
of
side
by
side
with
the
Revival Music>
Hindu
to
create a
the
European notation. He has organized an orchestra to illustrate the art ; and presented complete col-
lections of
Hindu instruments
to the Conservatoire at
Paris,
HINDU MUSIC.
and to other institutions in Europe.
subjects which the
423
One
of the earliest
as its theme,
was
a Sanskrit volume entitled the Victoria-Gitika (Calcutta, 1875). No Englishman has yet brought an adequate acquaintance
with the technique of Indian instrumentation to the study
of
Hindu music.
The
Europeans in India regard it merely proves their ignorance of the system on which Hindu music is built up.
END OP PART
II,
Printed by
C.
Bose
&
Co.,
Bow-Bazar
Street, Calcutta.
Acme
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