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CORNELL
UNIVERSITY
LIBRARY
MUSIC
ML
VerSl,y
338.fl2 i882
Ubrary
Cornell University
Library
The
original of this
book
is in
restrictions in
text.
"
HINDU MUSIC
FROM
VARIOUS AUTHORS,
POM.PIL.ED
AND J^UBLISHED
TWO
IN
SECOND
PARTS.
EDITION.
Calcutta:
Printed by
1882.
[All rights reserved.']
the
European Public
my humble
labors
them
me
my own comments
on their views
The whole
will
is
almost
all
the
writers.
The
first
withstanding
its
short-comings,
will
be received with
part
eminent works
hope be
realized,
Should
criticism
on the
the
if
available.
my
a.,
best
acknowledgments are
to
make use
of his work.
The
by the Public
in the
Music of
me
to bring
have incorporated
second part.
As
in
the
my own
have thought
it
My
unnecessary to
first edition.
^
C
\
PART
I.
......
CONTENTS,
A
Page.
By
Willard
..
...
On the GrSmas
Esq.
By
..
By
By
..
Sir William
W. Ouseley
Sir
..
..
By
Lyre.
..
...
. .
. .
By
On the Music
By
India.
J.
of Hindustan.
William
Nathan
(From the
By
Lieut.-Col.
James Tod
..
Col. P. T.
..
Music of Ceylon.
..
By John
..
..
Davy, m.
By Crawfurd,
d., t. e. s.
Esq.
..
Scientific Intelligence.)
By
..
125-160
163-172
.,
175-189
193-197
201-208
Translated
C. Stafford
..
Music.
1-122
J. D. Paterson,
..
Jones
.
By
..
...
of the Hindoos.
Captain N. Augustus
French
..
By
..
..
..
211-216
218-228
..
231-232
235-239
243-273
..
277-282
A. Camp..
285-290
293-294
,,.
297-308
TREATISE
ON
MODEBN
PRACTICE.
The similarity of the music of Egypt and Greece to- that of this
eountry 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.
:
fit
for treasons.
BY
CAPTAIN
Commanding
N.
AUGUSTUS WILLARD,
in the Service of
B, H.
the
Nawab
of Banda.
TO
LADY
W.
BENTINCK,
C.
&C &C
dsc.
Madam,
The
whom
illustrious
much
so
my
of
Governor-General,
present
sentiments
the
benefited
as
conveyed
doubt,
Lord
W.
feel
an
equal
benefit
though not
The
to acknowledge them.
in a private
known
or if recorded
bound
the
for
by them,
concerned,
parties
and
of gratitude
to
particular,
relation
is
for
countrymen in
individually
to
our
statesman,
His Lordship
degree
of
you
Bentinck,
0.
will,
satisfaction,
when
no
entertain
convinced
of
important obligations.
With
it
was
yourself,
respect to
chiefly
Madam,
have only
to
observe,
it
the
that
work
With
my
heartfelt
acknowledgments
for
and
to accede to
work
to your Ladyship.
I
beg
to subscribe myself,
with
all respect,
Madam,
Tour Ladyship's very
obedient,
and much
obliged
N. A.
humble
servant,
WILLARD.
..
..
CONTENTS.
Page.
Preface.
general view
Introduction.
Music.
and contents
of the plan
Its
of the
work
That of Hin-
dustan.
musicians.
liked
by Europeans.
regard to
to poetry considered.
of
life
for this.
Musical instruments.
Relation of music
Reasons assigned
its lawfulness.
Cause of
its
Date of
depravity.
The
its decline.
similarity
which
the music of this country seems to bear to that of Egypt and Greece.
How a knowledge
of the. music of
made
offered.
music.
Hindustanee Music.
What
it is
termed in the
Whether
greater progress in
.
original.
. .
The
15
treatises
Names
Origin of these.
'39
from
it.
The
Oordu.
fifth,
its
possesses greater
advantages.
origin
men on
musical
measure
or
endeavoured to bo
Tartini's deduction of
table.
Their varieties
Time
. .
45
Opi-
Claims of melody
. .
54
.
.
..
.
..,.
.
CONTENTS.
Page.
. .
Of
Mi'sical Instruments.
improvement.
now
in use
Of the Peculiarities
allusions are
made in
their song.
now no
.
90
101
which
Reasons
longer exist,
.
Twenty
in Hindustan, to
examples produced
of
63
much
of the
Detailed description
.
The
. .
Their classification.
several instruments
60
and
. .
108
. .
118
GLOSSARY
OP
A species of
Bishnoopud.
Bugeed, Bur.
Bum.
The
Bunsee or Banslee.
flute.
An
Byree, m. Byrum, /.
ha, and
Hindu
enemy.
Crishnu's
flute,
the Pupee-
by the females
C.
Charbyt.
p. 107.
A sort of
Chhund.
Sungscrit,
p. 101.
Chutoorung.
styles. 1,
Cool.
Kheal
A sort of
Curtar, castanets
2,
Turana
3,
Surgum
4,
Tirwut, p. 106.
songs, p. 107.
made
D.
Dadra.
p. 107.
Gholkee.
A sort of
drum.
It is used in contradistinction to
is
strictly in con-
thus characterised.
GLOSSARY.
ii
A species
Dhoorpud.
of song on
tlie
ancient fashion,
It
is
Drums
the
chief of
them
on Musical Instruments,
Nukara,
are
p. 90.
F.
Ulghozub.
Flageolet.
Bansulee or Bunsee.
Flute.
It is
it
now.
G.
Gamut.
Geet.
Ghuzel.
for this is
Surgum.
it,
those in
Oordu, p. 106.
Gramsthau.
gram, and
The
The
is
first
in
extent of
Hindu
called
to
three
Khuruj, or mundar gram, and the sounds supposed to proceed from the umbilical region, which
those of the middle octave, to
is its
gramsthan
are sup-
and the
some
Qrunth.
Guitar.
The key
note.
or brain,
and thence
GLOSSARY.
Ill
H.
A species
Holee, or Horee.
of song, p. 103.
I.
Instruments (Musical).
],
"Tut
;'>
2,
"Bitut
;" 3,
"
Ghun
;"
and
4,
classes
" Sooghur."
For
ments,
p. 90.
J.
Large cymbals.
Jhanjh.
Jut.
A species of
song, p. 105.
K.
Khadoo.
in
its
course
Kheal.
L.
The
are
Words
Wt3 ^mT&mCfl.
consisting
same in Nagree,)
be equally unlucky
and are
'
the two
" Sukun," as
jj|f^fcjT
3.
and the
SR^i^
or
of the following
1.
first
2.
viz.,
three letters
of
Those which
and third
short,
last long,
denominated
4.
first
ijt cTT^f.
M.
Moorchhuna.
Hindu
scale
of
full
extent of the
extends
to
three
GLOSSARY.
Moorchhunas,
that,
a aoor
latter, so
it
it
is
or notes
or
but
it
may comprehend
q. v.,
within
its
compass seven,
eight, or
Mridung.
sort of
Muqamat
Little
Farsee.
their origin
Persian music.
phers.
Persia,
now known
in this
country,
reckon their
Goshuhs.
it
it
The
Muqams,
Hindustan, the
Shobuhs
being
and Bharjyas.
The annexed
the
unknown.
. ..
...
GLOSSARY.
IHmes
of
Moqamti.
Hehavee,
Goshuh.
Shobuh.
Buhare
Nourozi Urub,
consists of 6 notes,
Nourozi Ujum,
..
Ghumzooda.
Nubate Toork.
G notes,
Hoosynee,
Doogah,
Surfuraz.
2 notes,
Moohyyer,
Busta nigar.
Nubate Coordaneea.
Nihavunduk.
8 notes,
Mooturuffe,
Bast,
8 notes,
some say
9.
Punjgah,
Boozoorg,
Sigah
Nigar.
3 notes,
Hisar,
8 notes,
Visal.
some say
Hoomayoon,
10,
Buhre Cumal.
Buhre uslee.
.,
8 notes
Eukb,
Etedal.
Golistan.
Sureer.
3 notes,
Tyatee,
5 notes,
(Mookkalif,
Iraq,
77
..
..
Booh
Hyrut.
Moatedilah.
8 notes,
Muanuvee.
Puhluvee.
5 notes,
Nusb apooruk
6 notes,
Nourozi Khava,
5 notes,
Mahvur,
..
6 notes,
Zaboel,
3 notes,
Ouj,
8 notes
Zungoolub.,
Chargah,
4 notes,
Boosuleek
Usbeeran,
Gliizal,
5 notes,
. .
10 notes,
Suba,
ufza.
Mughloob,
Oosbsbaq
Hyran.
Jumalee.
or
(.Rooe Iraq
5 notes,
Nava,
Shuhuree.
Usbeeran,
Gbizul.
Turub ungez.
4 notes,
Noobzut,
Cocbuk,
Sufa.
Dilbur.
Ouje Gumal.
5 notes,
Hijaz,
nishat.
Ghureeb.
Suwara.
..
5 notes,
GLOSSARY.
Vi
The
Music.
science
This in Sungscrit
of.
is
termed Sungeet.
The
Several treatises
them
and amongst
others to Narud,
benefit is to
little
be expected
to the science.
Musicians.
Nayuh.
He
and
acquainted with
music, both
Bhould be intimately
all
compositions, and
of ancient
He
practically.
Should be
dancing.
for
&c,
qualified to
give instruction.
II
To
1.
practice of music,
Oundhurb.
and
is
One who
is
He who
Goonee, or Gooncar.
2.
the
subdivided into
(Desee),
and
III.
Oooncars,
who
sing Dhoor-
IV.
V.
VI.
is
Pundit.
This term
applied to those
who
literally
and
its practice.
N.
Nucta.
Nuqaruh.
sort of large
&c,
drum played upon with
p.
107
sticks.
GLOSSARY.
It is one of the instruments of the
Nuy
Literally a
reed,
Persian.
Noubut Khanuh.
A Mahomedan
musical
instrument.
O.
Oodoo.
Oopuj.
An
Oorohee.
Ootpunnu.
ad libitum passage.
scale.
Palna.
A species
Prubund.
Q.
..
Qulbana
...
Species of song,
e p.
r 107.
R.
Rag.
Hindu
Ragsagur.
Rekhtah.
tune, p. 61 et seq.
p. 106.
Ritoo.
Seasons.
seasons,
jyas.
The seasons
Busunt,
are
1
Greeshmu,
Burkha,
mm
5a
.9
.2
s o
Shishir,
CD
Ashwin and
Cartic.
Ughun and
Poos.
Phalgoon.
Surut.
Malcous
Shishir.
Hindol
Busunt.
is
and Bhar-
Surut,
Hem,
Hindustan
of
Deepuc
Greeshmu.
Sree
Hem.
Megh
Burkha.
CL0SSARY.
Vlii
Rohee.
Ascending
Kubab.
It
is
scale.
particularly liked
by the
Puthans.
S.
The Hindustanee
Sarungee.
a modern invention.
fiddle,
An
Sitar.
Umeer Khosrow
A species
Sohla.
of Delhi.
of song, p. 107.
Soor.
Soor-bhurna.
meant
Srooti.
to
The chromatic
scale
twenty-two parts.
T.
Tal.
Time
Thoomree.
Time.
melody
or measure of
One
of the
more modern
Tal.
Modern compositions
Umeer Khosrow,
Treatise on music
is called
p. 106.
a grunth.
Small drums.
Tubla.
treble (Zeer)
and the
left for
It is
of
modern invention.
Tumboora.
note,
Tuppa.
and
A
fill
One
perfection
up pauses in song.
of the very
by the
late
modern species
of song
Shoree of Lukhnow,
brought to
p. 103.
OLOSSART.
IX
V.
Veen.
The most
instrument of Hindustan.
Zeer.
Zicree.
The
treble
end
of
a drum.
A species of song
into Hindustan
originally
by Qazee Muhmood,
of Goojrat, introduced
p. 107.
PREFACE.
By
Nor
Pope.
treatise on
the Music
and
of Hindoostan
Pope,
supplied.
is
a desi-
Although
endeavoured to pene-
part of
it
Europeans.
ed to
so
fill ;
how
difficult
it is
It
It
is
far I
rendered
chasm which
this
have succeeded
(for reasons
familiar
any
to
have endeavour-
in
an undertaking
impossible to convey an
of sounds,
together with
that
expressed by
common
cannot be
PREFACE.
to performers,
which
alone
could be desired,
is
elegant
anterior
to
all
the invention of
proved abortive.
How
country ad-
were
ed by Magister Franco,
known
and
here,
only required a
it
made
now
The musical
will ap-
Europe
in use, they
scale, invent-
were both
table,
trifling
degree of
all
their
treatises
it
is
this
During the
cultivated
literature, for
for
earlier
whom
was
for polite
indeed,
the abhor-
established
but when,
its
ex-
practice,
clusively to the
former,
was
PREFACE.
illiterate,
down
rules laid
This
is
the"
why even
reason
attempts to
all
in books, a scienco
became
words,
to procure
there
are
this
although grossly
seems
to
made
in
lic
we
Books alone
must endeavour
laborious,
This me-
illiterate.
and
even
precarious,-
abstruse an undertaking.
which
whom
solutions
several,
purpose
idle.
so
it
achieves to
aspire,
it
end to
is
and
set
Ragi'nees,
which
notices,
to
music,
advanced
in this volume.
The
it is
will be deve-
sufficient
here
less
as
for
of Indian
practice
that
after
still
The
if
we take the
fruitsimili-
trouble to
reputed Kemiagurs
in this country,
all
of
whom
many
prove
themselves to possess no more knowledge of the auriferous art, than the reader can himself possibly be
sessed
of.
2A
pos-
PREFACE.
A taste
for the
classics
No
school education.
is
It is therefore
tender age,
or
difficulty.
is
of Greek or Egyptian
To
From
interest.
The
and
for
which
forgotten.
a two-fold
tions
must
origin
traced,
be productive of some
There
is
will, I
I believe,
na-
been
presume to hope,
fruit.
a refinement on
is
mony which
expression
and
it
"and most
Although
presents
am
us
to
blank
its
when
adorned
harmony
will
adorned
the
is
it,
nudity,
least."
accompanies
human mind,
it is
the
a very sub-
reasoning
on
the
fertility,
of genius.
Indeed,
perhaps
all
the most
this
is
the reason
of the
PREFACE.
of harmony,
pensates by
however
which
its
novelty.
At
a good
in
measure com-
we
harmony
is
nothing but
mind,
but
study,"
natural,
is
which
" Enthusiastic
illiterate
tolerable
con-
are
art,
the latter
artificial.
To be convinced that
not been accustomed
till
habit reconcile us to
sentiments of the
with
whom
we need only
it,
travellers
several
we have
to, is
refer
taste,
to
the
little intercourse.
Eu-
rope, the boast of civilization, will likewise throw an additional weight into the balance of impartiality
nations
of those
music or science
is
when the
It should
a practice.
to
visit
Europe,
and who
utmost perfection
who had
or a concert, directed
frequent inns
sic of
its
and taverns
itinerant scrapers,
were
it
such as
mu-
title,
PREFACE.
first
traveller's
But when we
enlightened
possess
travellers
itself.
with
respect
same
the
to
surely
subject,
what
On
sceptical.
by Europeans
who
understand not
'
says,
affect a taste
"There
for
Asia Minor,
are
music
amongst
but they
musical composition.
always out of
wires,
upon which
are
An ill-shaped
tune,
narrow
wooden
with
many
discordantly,
case,
tam-
ornamented
and
a sort of
flute,
constitute
yet
it is
extremely
common
to
amongst
see,
most detestable."
In a note on this paragraph, the Doctor says,
ideas were committed to paper
many
years ago
may
have
" These
and only
be their theory,
their
PREFACE.
me
(and I had
many
as
From
or musical performers.
tones into
ness
minor tones,
of melody by
of
music
delighted',
but
Turkish
sweet-
harmony
judgment
only
memory, and
reject
notes,
Mr.
Dallaway
says,
own musical
theory."
as
it "first
occurred to me,
as
described by
me
to
place.
From the
occur to
him that
and Rome,
monk
all
lived in
of Arezzo,
it
it
did not
who
is
celebrated to have
acquired eminence.
either
several
In more
bright examples in
infancy,
early
in
sight
fact, several
the study
of music
in
infancy,
his
his divine
was to be
recommended
chiefly
to
blind persons.
men
capable of
are
On
it
was
The
generous
and Dr.
Gilchrist,
ores of literature.
it
be an
to
inexhaustible mine,
Several
like-
The poetry
after
by the
considered by
while
it
of a nation
traveller
him that
is
and the
its
curious,
and
it is
seldom
cularly in Hindoostan,
religion,
set
of
men
reputed, for
sanctity,
at least
how
is
trea-
despicable soever
PREPAdE.
sufficient to
inserted
many
in
Journal, No.
Flutist's
air
6,
which
could point
will be, I
to
presume, allowed
is
but why
to obtain
we never
it
strive for
whenever we
it
but
We
as
think
it
in our
and therefore
never, never
the
after,
venture
shall
please,
may we
forgotten
possessing in-
seldom sought
say,
power
in general
beauty in melody,
become a
ancient Egyptains
am
however convinced,
an endeavour
to
would be inclined
I
appears to
me
ed to decide.
Should
my
it
how
far
my
feel
happy
to
have contributed
respects
theatre of the
Egypt,
countries
belle lettres,
and which
modern world.
Greece
and
which the
Rome
European
are
the
scholar
only
is
ancient
taught
to
PREFACE.
10
reverence
the
as
he
rest
generally thought
rank
India
consider as barbarous.
to
is
all
not
any approxiraity in
as deserving of
of,
is
whether
this
found
we
better
graft
If a
civilization.
Egypt,
in
and Kome
Greece,
the
who were
desirous
of
sword),
(the
Mahomedan
and although
of
falsity
demonstrating but
which
with
the
So that
all
consist
in
to
the
improvement of
sciences.
learning
Hindoos
of the
their
of illiberal
idolatry
thought of
were no encouragers
it
so did they
equally superstitious
eradicating
never
if
Iu India, to
Europe.
in
persecutions
princes,
If
and
they
having
tree,
birth
it
superstition
day,
nay,
soil,
this
the root of
nations,
bearing
it
the
seems to
palm,
at
of
me
sufficient to authorise
least
in
this
branch of
science.
far as
I
it
hope
is
now
have
PREFACE.
succeeded
difficult
to
"Had
*
last
but
;*
will be
I
permanence to systems
by
presume
obtain
two thousand
believe,
in describing.
wanting here,
their gods,
of
and adapted
mystical poetry
to
but
time of Alexander, that, although the Sanscrit books have preserved the theory of their musical compositions, the practice
seems wholly
of
it
in
When
of
each of
of the
mode
who has
in which
it
prefixed to
was anciently
music
but the
while they, I
mean
if
from
all this,
Apollo."
it
vol. I,
p. 440.
who might
likewise be a musician
12
PREFACE,
and persevering
Many
this
country to
primitive state.
its
revived by zealous
clear
and restore
will
music of
the original
why
its
and
Orientalists,
it
but have
also
consulted the
India,
the
Veeukars in
first
musicians of
Lucknow,
and
who has
writ-
of Benares,
The reader
will not
find
work a translation
this
of
treatises
much
of
as
is
theory,
noticing
as
cular
the
difference
nations of Asia,
between
sung in
the
this
parti-
to
poetry
country
of
several
some ancient
now out
practices
and
the
British Go-
vernment.
Jones
the
motives for
which
will,
hope,
appear
PREFACE.
13
sufficiently
the
presumption.
will
not
will likewise
be unacceptable
but
The immense
led
me
have
variety in
a great
treatises,
many
still
original
practised, has
had
done,
European
its
practice,
important.
All the
and the
species
subject
not appeared so
of composition
have been
and a
brief account
superadded.
of the
to
principal
mu-
is
INTRODUCTION.
The
verse of Chaucer
not harmonious to us
is
him, thought
Music.
Its
power on
it musical.
human
the
How
cians.
rally
ments.
live
mind.
That of Einioostan.
Not gene-
The manner of
life
Progress of
which should be
decline.
and
Comparisons
to
offered.
re-
Whe-
this
How
Greece.
Na-
this.
Musical instru-
to its lawfulness.
progress in music.
with
music in Hindoostan.
Date of its
who
liked by Europeans.
tive
they
Dittoes.
latter.
considered as fabulous
after
Nature
is
portion
'to
takes ages
mushroom
of
experiments.
develope
springs up
its
in a
The
is
in pro-
few hours.
INTRODUCTION.
16
mind,
adventitious
more
"
all
observed, to be the
it is
of nature
it,
circumstances surrounding
it flourishes.
The invention
actuated by
men
is
who had
them
Men
command have
it
mankind,
it is
not in their
lence to an extensive
circle
power to
of limited
leisure in
benefit, or allevia-
goodness
whom
over
men
of
a supeiior order.
All
guage.
Dr.
that
antiquity,
mankind
Burney*
its
says,
origin
"Vocal music
is
is
and pain,
The
articulations,
voice
of passion wants
but few
all
till
* General History of Music from the earliest ages to the present period,
.vol.
i,
p. 464.
INTRODUCTION.
17
by particular convention,
by degrees rendered
unintelligible.
it
of nature,
and
by
retained
still
while our
artificial
tongues are known only to the small part of the globe, where,
after
talk of love,
and of
hatred,' says M.
de Voltaire,
'
'
We
in general
those passions.
pleasure, of
It
is
species.
The
want of
colors.'
for
though a word
may
From
melody
can be
is
to
man
that vocal
little
And
Nile.
tion
indeed,
when we
reflect
souuds
early
children
adapt
early
the
how-
INTRODUCTION.
18
practices take place
there
is
is
music to Muhadev
the invention of
for
in
The Hindoos
but after
its
its professors.
refinement
She
is
Indians of America,
With the
have
left
that of
is
or the
natives of Hindoostan,
she
may
progress towards
Congo."
be said long to
music, and
see, its
still
maturity
far
from
having
Mahomedan government;
It is
with music, as
the
Roman
pontiffs,
more
is,
and
at the courts
to that circumstance, it
it
of
and owing
secular,
the
in every
19
INTRODUCTION.
same
period of time
much
credit
any power
bodies,
some
of
and
;''
P.
for
planets,
or
stars,
the heavenly
kindly aspect of
celestial
He
spirit."
also sneers
and
Plato, Pindar,
sian empires,
This
latter principle,
ment, which
the
is
source of
all
filled
emulation.
Did Ukbur
genius, his
court would
Why is
Home
The power
of music on the
amiable
its
general ten-
passions.
Polibius;
In Arcadia, every
the
man was
ferocity of
required
his
by law
manners
it.
creatures.
There are
professors
on record to
whom
the
ISTHODUCHON.
20
<'
to
and
till
me
secondly, a learned
them
who
peculiar delight
flute,
and
thirdly,
an intelligent Persian,
write
down from
it
me
to
lutanist,
Mirza Mohummud,
to a large
company in a grove
if
trees,
they wish-
raised,
he assured me, by
Whatever poets or
of music,
fabulists
of
genius, led
them
to pronouuce,
On
larged
have
The power
it is
of music
anciently,
it
is
wont to
by the
President, p. 415.
in-
much
21
INTRODUCTION.
would, from the agreeable surprise,
much
music, although
all
it
fully
comprehended
yet
it
seems to
me
very doubtful,
its beauties.
living performers,
is
indeed,
perfection in this
original
can be attained
an undertaking in
itself so
Indeed, without
The theory
fruitless.
sent, that
least
it
which seems
to be, that
men
most
manner
treatises on
excel.
The reason
of
Hindoostanee music
of " Tartini on
Harmony," which
was not committed " in a
Notwithstanding what
men
of great
venerable,
there are
many who
treat it with
will observe in
is
to
it is
Hin-
22
INTRODUCTION.
without satisfying us
of the
is
most refined
nature.
There
Duta on
is
this passage
" Not
which
it
when a
falling friend
Megha
and equally
object of
idle detraction
much
pane-
idle
common
Amongst the
many
who
all
natives of
To them, and
tory reply
the
European
of the
humanity.
virtues of
literal
may
of its tenor
translation of the
remain, I add
Not even a
low man, when laid hold of for support by a friend, will turn
away
his
by Hindoostanee music
is
perhaps a
fife
if
if it
it
of confu-
of different sorts,
made by such
as
and
have
be so asserted of
the charge.
drums
the assertoin be
how
1"
all
Hindoostanee music, or of
possesses or
is
susceptible
first,
arise
of,
all
deny
from one or
ignorance, in which I
performers
secondly, natural
23
INTRODUCTION.
doostanee music
the second
motive or otherwise
comprehension.
It
is
all
of
these
effect.
man
incapacity
from
beauties
fourthly,
is perfectly
to
or decry
praise
acquainted with
various
its
excellencies or imperfections.
there
Who
by
different animals
Who
should
effects of
That
fire
might
be
literally
Brugnatelli."
What
agent as steam
it
by
How
it
it
would
it
were from
its
consciousness, resembl-
INTRODUCTION.
24
opportunities of hearing
it
advantage
to the best
whether,
all
it,
hend
its beauties.
from the
(MDCCLXXVI.)
very justly observes, that "to love such music as our ears
are accustomed to
nature, that
it
estimation at
the highest
that
it
is
It
not so
much esteemed
though
to this
its
merit deserves.
is
Al-
desired to possess
seemed
curiosity,
it,
perhaps
as
progressive im-
its
perhaps owing
is
it
it
times,
all
to
me
more
it
as a relic of
its intrinsic
The author
An
of "
narrow capacities
sets
,of
of manners,
life.
our minds
or
"we
comprehend with
master two
facility different
ways
and
of the
family,
when we
stick
ourselves afterwards.
we
live,
we
are
perfectly
well
In
acquainted
INTRODUCTION.
25
not possible to
it is
of life
prevalent
at
feel
ed to be conveyed."
Various are the opinions which the
its
of
and extol
its
The Hinit
as
one
most
recited in the
suitable
its
it,
in which
life,
the needy by
natives entertain of
lawfulness or otherwise.
finds relief
The Moosulman
it
The more
severe
them
of
restrictions.
A few,
convinced of
prohibit the
;
while others
it
with certain
its excellence,
but dreading
Some
have" considered
it
more
as
and
to be an incentive
it
to the
the spirits,
exhilirating
reason, declare
Shekh Sadee
Music
is
evil.
That moral
says,
everywhere acknowledged
to
The former
be superior to the
latter.
is
It
26
INTRODUCTION.
is
man
form an
to
instrument
artificial
beautiful in tone,
and possessing
all
When
I speak of the
would have
understood, that I
it
mean
its intrinsic
branch of
towed
it.
real
sufficient
cause
and
any individual
rival
state of the
indulgent to
them
The
of the
disciples
The above
and time
will
observation
on the musical
we can
of the empire.
offer
no opinion as
to the care
bestowed on their
With
them
great credit,
some
in
and I have
who
It is allowed that
'
do not at
could
all
retician
the
fire
the
nor
of the rheto-
INTRODUCTION.
The
27
it
if
our attention but when we come to examine the sentiment which has been delivered in so delicate a strain, and
which we fancy will be in accordance with the beauty of the
melody, we find ourselves sadly disappointed, for they conall
tain
how
;,
comes to
men
and
also generally
own compositions
in fact, music
I shall explain
pass.
by means
in hand,
of their hieroglyphics,
ancient Brahmins of
this-
country threatened
elect,
words so sacred
man would
all
On
indeed,
all
the other
especially
writ-
was
own composition but in
under the Mahomedan
It
so.
whose
abilities
in music,
and fancying
28
INTRODUCTION.
of others.
have noticed
who
melody of the
The
em-
pires,
common
is stable.
How trivial
and
of nations,
who
in time
insignificant
How
different
the
and
fall
men
The
and
history of music, in
common with
origin
Its first
to others.
In progress of time,
when language
arrived to a
Supreme Being.
It
was afterwards
extended to the commemoration of great events, the celebration of the praises of chieftains
music arrived at
ing period
of the
Mahomedan
decline
trophe.
since
its greatest
then,
and
its
In Hindoos-
conquest,
lastly to the
little
before the
subsequent depravity
and
29
INTRODUCTION.
of licentious poetry.
dised,
the greatest
admired
Hence
men
when
especially
it is that after it
in
and patronised
it,
to
this country in
its professors
till
in course of
science, that
its professors.
noble
is
all
that
is
abominable,
The
musicians of Greece
later
The author
Homer,
of
An
was indeed no
and much
and courts
life
honor.
The
sequent depravity
is
says,
well
all
to
"It
ease
of great
kings
sacrifices
and
ancient trouba-
musicians.*
Their sub-
known.
musician, a
This opinion
tices
of
is
the
greatest
antiquity,
professors of
We
know
and
that
is
some
not
of
Todos o
los
mas
cavalleros andantes de
Part
la
I, lib. iii,
Don
Quixote.
INTRODUCTION.
30
The
enchanting scenes.
is evident.
derives from
them
likewise inhabits
common with
"
The grasshopper
sings all
from
summer
The paucity
estimation in
of
universally acknowledged.
Sir William
Temple
says,
"
Of
all
man that
may be a
making great
generals,
is
or ministers
of
of State, as the
most
who adopted
this
renowned in story."
The musicians
method
austere
as they
their friendship,
men
of taste
favor, for
No
them from
insured respect.
The
who considered
these
kind
religious
persons
treatment.
all sacrilegious
Their tribe
violence,
and
who had
31
INTRODUCTION.
renounced the world, and dedicated themselves to the worship of the gods, added some weight to the admiration they
commanded and
;
men would
The
several of
and
acquiring
after
for themselves
art,
to set
up
discovered.
They, however,
ground,
who
till
prostituted their
still
mere
abilities for a
trifle
and
lastly,
that
it
other
traffic
not at
all
honorable to a
man
of any profession,
said,
Amorous
And with
Edward
to restrain
II.
like
when
them by express
it
in 1315
laws.
who
is
Delhi,
tilr
the reign of
Mohummud
Shah,
leisure sufficient
in sports of a
INTRODUCTION.
32
in the
Carey,
Dr.
preface
his Sanscrit
to
Grammar,
from India.
very
The reasons
plausible,
reader.
stated
may
which
differ-
ence of castes, says, " This regulation has no where been found
in
'
any country of
note,
And
again, p. 69,
woven
In
success."
to
it
will
me
the confor-
all
laborious researches
points,
in
is
in that
and
ascertaining
in obscurity, doubt,
the
desired
of great antiquity,
so for want of
it
But
made
abilities
all
point.
disputed
for ever
remain
for
33
INTRODUCTION.
committed
to
There
time.
is,
This
is
at-
a science which
addresses itself exclusively to the ear, and before the invention of the
modern method
description of
The hatred
to great uncertainty.
it in
them
it
is
liable
acquired, and
a thorough
if
some
similarity
of
those
ancient music
celebrated
countries.
is unintelligible is
and
little
living performers,
who might
assist in deci-
it
cal
divisions, the
Many
Fetronius.
But
it
perhaps,
would
that
afford us
little
use but to
the
who would
"The more time
of modern musicians,
keeping together.
and of
and
it
by
abilities
much
beat," says M.
acquire
is
.ffiera
so
34
INTRODUCTION.
in
present acceptation
its
and
the similarity of
The Diatessaron
nations.
or 4th
of
The Greeks
mi and mi fa
sol
la,
The Sarungee
chord.
or fiddle of
Hindoostan
is
is
is
always
the practice in
simple.
it
we have
accounts
living
of
its
review of
decide in favor of
it
ages of Greece,
kept
is
latter,
aided by a
The use
Hindoostan.
state
of
musicians
seems
now
to
to
sucb autbors,
in use in
distinctly.
to observe tbat
train of
music.
despoiled
of
all
i,
p. 75.
no allowance
The music
its
beauty
The same
of Hindoostan.
beg
by sucb an accompaniment
principle, in
moat
stand
with
flute,
reasoning
consisted
will
in
account
the
practica
35
INTRODUCTION.
instrument as a solo
It
Krishna played.
trumpet,
till
Argos
of
is
was
first
The Greek
'
C, and seems
for
This
to be the
scale
to-
immutatum.'
ments of
of the
most ancient
India,
instru-
said to
is
half.
or finger-board,
method
of shortening strings
different sounds
(so their
in
playing,
so as to produce
confined to
of strings)
;'
their Cithara
had
same note
'
The dancers
their dance
'
common name
for the
in every octave.
in
Kome were
graces.
of any sound
This
is all
that
from thei*
is
known
of
The dance
Burney,
called Saltatores
vol.
i,
of the
p. 82.
M&'
E2
1NTR0DT7CT10K.
36
as the
Amongst them
This description
is
denominated Cuvetes.'
them.
The dance,
as
it is
now
a modern date.
paratively of
Hiudoostan,
practised in
is
in
com-
more
zeal
till
hymns
theme
fail,
and
this in a short
is
it
is
at
present.
its professors of
both
we
of
music abstractedly,
it
it
might have on
much
grace,
is,
by expert
HINDOOSTANEE MUSIC.
S**Oo
What
it is
The
Native divisions
what,
treatises held
this
work.
Music
Sanscrit,
it
in
Hindoostau
whence
are derived.
science,
sian.
is
" Suogeet"
termed
as well as
this
all
from
Sanscrit,
original
and short
the
di-
1,
3,
5,
first
4,
6,
Bhav-udhyay, confines
and
;
7,
my
Eag-
Nrit-udhyay,
signifi-
itself to
nected with
sorily
of performing
2,
ac-
The
on this
treatises
nuvu, Subhavinod,
method
the
design.
Something
will
likewise
con-
be cur-
HINDOOSTANEE MUSIC.
38
and
last heads.
Those referring
to
dancing and
its
appro-
in the
original
its
present themselves.
OF THE GAMUT.
Madam,
my fingering,
ai-t.
in a briefer sort.
Shakespear.
What
The derivation of
is called.
it
on
the
Gamut
Names of
enharmonic genus.
invented by Guido
The Gamut
appellation is
in
word.
Opinions of Dr.
Origin of
seven notes.
the
and Le Maire.
Dr. Pepusch.
Hindoostanee
is
A B
is
Re'
The
Srooti.
Greek
the
diesis.
first
notes of
letters
first
of
itself
The number
of tones is the
same as
Greeks.
The
difference
in the
subdivision
of
the
tones
by the
diesis or quar-
modern music
of Europe, the
ter tone.
To a person versed
subdivisions of
in the
semi-tones
into,
minuter parts
will
appear
40
OF THE GAMUT.
as
to
my own
be productive of
to
I shall forbear
ear.
Dr. Burney,
has this
How
"
of the
treating
ancients, p. 43,
be rendered pleasing,
managed, so as to
remains a mystery
still
yet the
diffi-
ing
into
it
more minute
When
been imagined.
it is
than has
wide
seems
it
or
how
"
!
Ode
of Anacreon,
flings
"Barbiton, Anc.
Mus.
If one
of their
gression
modes was
told,
melody
but
it
must be
left
not susceptible."
exist in Hindoostanee
is
cer-
it
monic
of the Greeks.
The names
Gundhur
Nikhad.
is
music
to time,
means the
is
a pro-
4,
of the
notes are
Muddhum
5,
1,
mentioned
su, ru,
or
ri,
Khuruj
Punchum
6,
2,
Bikhub
Dhyvut, and
first syllable
3,
7,
only of each
The Khuruj
OF THE GAMUT.
is
on account of
called su,
its
41
way of pre-eminence.
gum
It
that
which note
is,
of the
Sur-
me
seems to
to be a
termine this point, for the benefit of those who might wish
to take the comparison.
As the number
first
Which
is,
Khuruj to correspond
is
same
of notes is the
thing to be determined
to
to
correspond to the
Sir
;*
but in this
it
appears to
me he
by any connection
If the Khuruj
systematic,
it
is
may have
it
UT
tuned
or 0,
it
seems to me to be more
The musicians
of
to
have had
any determined pitch by which their instruments were regulated, each person tuning
ed by guess,
to
own
his
the strings, the capacity of the voice intended to be accompanied, and other adventitious
it
may
be observed that
noted by which
it is
but
letter,
circumstances.
Prom
seems to
me more
this
is desig-
systematic
its source, in
by
fable.
the want of
42
OF THE GAMUT.
of the gamut,
is
various animals.
the call of
peeha
the peacock
assert, is in imitation of
from the
call
named Coolung
of the bird
Dbyvut, horse
How
Muddhum,
Punchum, Eoel
it
calls of
determine.
I got
call of
made no
It will be
when
it is
known
despi-
Guido of Arezzo
in
monk
Tuscany, a
of the
gamut
as
it is
this
invention
ascribed to
syllables
him
The
is
syllables
of the
hymn
of St.
laxis,"
the
about the
si
latter
was not
till
last
scale
and
it
* 8a, ri,
exactly,
&c.
ce, di,
ga,
la,
places,
for the
are,
by a
singular concurrence,
ma,
ni.
Sir
William Jones,
vol.
i,
p. 426.
OF THE GAMUT.
43
con-
still
in
of the Grecian.
eighteenth century,
of
sol,
la,
la, till
the
The notes
distinct
done
with us.
name
assigned to
ing table.
Soors.
it,
as
is
specified
in
the follow-
OF THE GAMUT.
44
those between
the second and third and sixth and seventh, each into three
parts,
fourth,
and seventh
two
parts.
OF TIME.
Musick do
Ha, ha
When time
heat
How sour
keep time.
sweet musick
is,
is
Sfiakespeav.
Heroes
Have
The
who
o'ertime, or die,
their hearts
which in
strings of
battles'
heat
And
their
them most
yield
own
trumpet's measure,
excessive pleasure.
Prior,
-used
in Europe.
Their resemblance
to
to be controverted
considered.
and
the
its fifth,
opposed
to
Oordoo.
Probable
table.
Time
is
the practice
from
the
modern musical
Whether
acknowledged,
that
I shall not
it
is
octave
the rythmical
Their varieties.
is
merits.
the Arabic.
likewise
of Hindoostan.
regulated,
those of
origm of
Time
and
Similarity between
measure.
the Greeks.
Its superiority to
it.
between them
Difference
rythm of
the
melody
no music.
is
The
so generally
superfluous to expatiate
on
'
its
OF TIME.
46
all
who
ini-
European
in
as
practice,
mast be understood by
it
my
tiated in
that science,
it
not
is
explanation.
it
which
modern music
To
of Europe.
all
to time, in
those
who
it will
are acquainted
be unnecessary to
poetical
From
rhythm
of the ancients,
India, Persia,
it inclines
much
prior to
all
is
one to
the lawful
off-
sister,
the
Much
as.it confines
but I question,
measure.
When
from the
ful,
latter,
is
the other.
The gebrew
is,
the same
is
likewise applicable
sixteen vowels,
and the
OP TIME.
language
is
On
freely
ita
who
the contrary,
have defended
would
47
it,
Amongst
admit.
Isaac Vossius
others,
is
of
lost
others
leave
mention
it
this
fact
on his authority
only in a
for the de-
ascribes this
power to rhythm
unassisted by melody.
Sir
words are," It
is
effeets
it
always increased,
all its fine
histori-
with
consider the
we must
as-
His
its influence
it
no reasonable
man
satiety, or
and
a transitory pleasure,
However, to give
all
effects
called
produced by melody in
imitative,
48
OF TIME.
exciting the
ing, as the
sound reason-
is
repugnant to
How
if
written in
different
versA
vice
is
music
It is very well
known
Metre
why
not in
key,
little
it.
the
of
power on
is
is
is deficient in this
scientific
and
Many
respect."
From
and short
syllables,
fine voice
How
far
this
to
may
syllable to
hold good
means
of judging
For in
this
respect,
there
is
more
liberty
endeavour to demonstrate.
The
it,
if
only
but on
its repetition,
which
is
a natural
49
OF TIME.
to break
at the
sure,
and
sometimes
off
at
the conclusion,
and
into a rhapsodical
fall
much
united,
mea-
ad libitum
other times
at
certain part of a
grace as
if it
passages, rejoin
dis-
of the
singer,
is
and
regard to time.
to
that
No
other
if
of
them
to certain forms.
It will
The
ad
libitum
reply
strict
adher-
that
is,
when
when
it is
dropped, taking up
if
it
was drop-
complement
of the
is
made
for it
great
number
of pieces are in
derived from
*
it.
conversation,
is
dignified
first,
is
an
and impertinence of
of
which, bad at
prose,
it
become more
50
OP TIME.
and admit
of
much
variety.
syllable,
and
and indeed
These
pieces,
all
some other
as well as those of
species, are
commonly
in the
is
although
nevertheless
is
the Oordoo.
as
It
appears,
possessing
it
rise
its
am
The
it
pri-
pagans as profane.
ed
to,
all
unwilling to admit
as being too
light
and
lively,
same
length.
When music
also
was
object-
were rendered
of the
felt,
and the
some
sort of
51
OF TIME.
as
1:2;
2:3.'
'
we can hope
Indeed,
'
to find
'
from
the
this
is
as
sastisfy ourselves
the
five
beautiful melody in
is
for melody.'
must always be
we may
common
other kinds of
to introduce
effects,
authorities
measure
'
able, yet
all
which
fifth,
The
fifth
its
arises
time arises
triple
and
of the octave
is
able
to
execute
it.
is
it.
many
ence of
by them.
to be proved, before
From
rally
all
The
exist-
we
give
it
remains yet
itself of Tartini
arises,
and
will
Europe
the ancient
This appears
perhaps not be
shall
finally
have learned to
its merit,
we
if
The
rythto the
G2
52
OF TIME.
metrical
feet,
ing resemblance to
it
is
known
to bear a strik
it
may
be
al-
lowed to be equally advantageous in melodies of that language, and those derived from
it,
many
The time
is
table in
Europe was
first
century.
others suppose
him only
He
of his predecessors.
to have
invention, although
is,
this
generally described in
and semi-
modern time
several centu-
till
time of Franco.
the
for
ghoo, and the Gooroo, with marks, which serve as our point
to
its value.
They reckon
in Hindoostan
characters
of
such
different
values
short,
which serv-
The
origin of this
word
is
it
has in music,
Tal.*
is called
the
first
letters
of
Mu-
which
OF TIME.
now
practised
describe in the
are
limited
annexed
table.
there
to
53
of these, but
ninety-two.
such as are
These
shall
or
number
struck.
The
of the strokes
commencement,
sure
and
is
is
Sum
is
In this respect,
mean
its
quantity of duration.
it
by
OF
Harmonious numbers."
Milton.
'
them both
house of God,
left
for the
up
of men's hearts,
and the
men on
the subject
Claims of melody.
Europe, whence
but
else
it
is
all
it
Wherever
the
Hooker.
to
but
raising
Harmony,
for
whose native
in poetry alone,
most necessary
to be things
found,
it
its
indigenous
it is exotic.
soil
harmony,
it
is
and climate.
and indeed
a continuation of
resembles very
much
its
the
Many
seem
to be of opinion that
by the use
of
music
is
The former
harmony.
it is
produces
various
tion.
to
55
the truth
of this great
author's assertion
when we hear
melody
melody
not overpowered
is
harmony by which
short,
in
is
" There
a fashion,
we
modern ears
are
is
Doni
tells
most
in vogue.
mony
melody
it.
is
the
offspring of har-
cannot presume to
dis-
world.
will,
first
practised in the
believe,
coincide
sand year.
language
is
is
many
like
a thou-
music and
may
exert
of melody.
contrary."*
* Encyclopaedia Britannica, Art. Music, p. 531.
56
OF
my
It is not in
on which the
decide a point
to
only offer a
shall
must naturally
few obvious
remarks, which
person who
strike
every
ject.
Many
ters,
if
divested of that
This at
may
likewise
it
harmony
is
its
easily
ment
in parts,
as
when
it
is
performed as a
solo.
Dr.
"
Upon
harmony
however
like
I
their music
of pleasing,
times,
their
if
airs
it
from
or of producing great
a Farinelli,
a Gizziello,
effects
or
it
the power
and in modern
Cafarelli,
had sung
but with
still
more
pleasure.
all
the contriv-
they terminate.
An
"
fine
is
and
elegant
voice,
57
Hence
is
accumulated
of
vocal
it
composed
solo,
the accompaniment
less
tumult of instru-
the
or
parts,
mental,
of the
first
class,
which
but
is
seldom found.
amusements, and to
assist in
dramatic painting, a
full
piece
solos,
"AH
instruments
these
(pianoforte,
organ,
were
&c.)
far
call
though
harmony,
momentary
and shade
The
violin
variations
were
of sentiment,
sentiment
of
thrill
Art.
Pianoforte.
We may here
exception are
a single voice
as fleeting
clouds
fully express
music
its
all
it
those
to
ii,
may be deduced
that music
by nature.
happen,
name
it
vol.
from
the
number
of performers,
the
momentary
Britannica,
is
as the light
Supplement to Encyclopedia,
fall
of the simple
that give
which are
The pleasures of
monotonous,
found to be the
gradations
great,
inferior
and in the
but
this,
though
it
may
and the
be lost in
may be harmony,
loses
of music.
of this
may
division
by
lively
be said to speak,
and
accentuate
expresses
all
the
58
Melody seems
much
to be as
Indeed, music
the
found
is
for the
space of
more
little
is
paints
every
possible
to
man
manner.
sensible
This,
continues
we must
nature, that
which
(M.
on
most
in the
which
Rousseau,)
we
the
is
exert ourselves
stage.
resonance
of
characterised
by these
pathetic
cannot
but
and
is
not in some
imitative powers,
deserves
he,
them
formerly produced.
it
''But, with
degree
this
reflects
imitations,
theatrical
picture,
skilful
its
entertain,
intricacy of
the audience.
harmony
This
character,
effec-
may
as
con-
therefore,
and
it
must
is
listless
indifference
and
affectation,
to
pretend
feel.
musical legerdemain;
them
still
who
oscitation,
by pedan-
Still
up the
may
the
souls of
of nature."
and
indeed,
are,
* "Music
is
at present divided
more simply
into -melody
and shortness
cadences, are of
less
and harmony;
consequence amongst
us.
For
it
often happens in
ia
more
59
by
relished
is
mankind
made
Having advanced
subject of
all
rules
authority alto-
its
harmony.*
in general,
shall
now
sical air,
entirely
lose
the
small
share
the
proportion
of
muand
Ibid.
it
(music),
own way,
it is
all
ment.
Tempera-
OE ORIENTAL MELODY.
Not generally susceptible of harmony.
Its
character.
The melody
so
much accustomed
Indeed, so wide
of
it
is
many
are at present
to
admired, and I
the natures
conceive
a great
harmony
to them, by the
existing
We
total
we
rather think
melody
or
air.
We
depends
it
very defective,
more
heart and affections are not more affected (and with much
variety
of emotion)
by a
fine
mony, always
filled
and
up,
is
air
by
the
touching
We
do
suffered
less
melody has
the
distinct
powers of utterance.
all
more
some simple
were not
upon the
change
in
it
yielded,
of harmony.
every
country.
they
that
We
There
see that
is
no
OF ORIENTAL MELODY.
To expect an
61
melody
their authentic
as
is
to
What
since done
poses,
is,
Thus
them
to their
of
own
Whatever merit an
it
implicitly
as spurious.
It is
to add to the
number
of these
entire
modern com-
it
merit.
ancient practices
may
pur-
two or more
far
It
would be criminal
of them.
or
it
their
own
rules
of modulation,
commentator D'Alembert
Irishman,
for
melody in Hindoostan
and
are past.
perament.
all
They
is
Rag
or
or Russian,
composing heart-touching
in
nation
is
admire the
airs is
who does
degenerated
productions of their
to
muse
in
his respective
Tem-
OP ORIENTAL MELODY.
62
common
to all
I shall offer
a few observ-
1.
tition
and
variations.
They
2.
all
is
denominated
the
3.
strain,
first
first bar,
or at least with
or measure, or a certain
number
of measures,
There
is
as
much
ad
Kb.
;;
airs
minds to
some
have in themselves
merry tunes,
as
solemn
tunes,
doleful
with the
affinity
tunes
tunes,
affections
men's
inclining
The
general
offered,
acceptation
why
limited
Absurdity of limiting
111*
a.
more than a
and Raginees
mixed
the
Raginees.
mean
construed to
are generally
m /'r'TJT) *
l_I <
How
s. f.,
mo(* e
L\ Rag-rung, n.
-^
fT\ Rag-mala, n.
Rag-mala.
the
far this
cer-
definition
Eag-sagar, n.
Of
modes* of Hindoostan.
is correct, I shall
S.
names of
the
Reasons
incorrect.
be
time.
Divisions of Rags
tunes to seasons.
to
and
season
to
into classes.
supposed
of the terms
they are
the
name
mu sic
(six in number),
m., music;
many Rags
or
j^U^jU
musical modes
of a treatise in music
(nothing
\$ L5 Raginee,
number).
Hunter's
n.
a.
f.,
a,
mode
in
Hindoostanee
Taylor's
1808.
Shakes-
The celebrated
<I"j"?'|"
a tune (this
^TmTTT
Hindoo music.
of Serampoor,
Dr. Carey
s * (?vom
however,
in
his 'Bengalee
meaning
HJt^T A
'
G4
and
;*
different
signifi-
in which
Mode,
my
in
in two
cations,
signification of
of this country,
is,
the
As amongst us
by Dr. Carey.
appropriated.
If these signified
a different arrangement,
Any
one
may
former on the
which
more Rags
is
certainly
Sitar.
ment is properly
or Raginees are
when the
instru-
hand runniug
over them produce those tones only which are proper for the
mode
to
which the
frets
tell
and
On
may
Uluya,
let
is
Mode,
ments
is
in
music.
be
in the
same mode
him play
frets.
This
or T'hat.
It
regular
Brit.
is
all
to play
will
will be oblig-
it
Lulit, or
him
sounds upon
and accompani-
Encyc.
same
situation as
a tune
is
amongst
65
It is not strictly a
us.
with us
is
That comes
its definition
nearest to what
the several
sounds which
while the
per That.
It is likewise not
its
own
pro-
it
may
so far
a different one.
After the ancients had made pretty good observations on
the firmament of fixed stars, and had as nearly as they could
ascertained their respective situations, they thought of re-
tain
them the
better
and
memory
to re-
To connect a "variety
easier.
of
nations,
and
common amongst
the
Oriental
known
all
to every person
of Oriental
literature.
It
certain
number
of times,
66
resolved
to
duce them
in a regular series.
all
To
many
Thus having
who
arbitrarily,
and according
five,
who
and that
or as Coolnath
own
fancy, dis-
is
also
in-
number
This opinion
that forty-eight
That
allegory,
this
new
fiction,
and in
it
might cause a
established
is
strengthened by
its
being asserted
fact, as it
fiction,
us, is
vol. I, p.
more charming
allegory than
whom
is
a ge-
or sons.
The
been
finely
this.
67
sented them."
arbitrarily assigned
tions, is
No
tions.
reel
names given
little
The
This
is
is further
or no similarity between
disparity is sometimes so
'
a Rag
If
is
pre-
we look
in the
they are
altogether
Rag-mala,
As
metaphorical.
are
it will
the
be seen that
figures
of the
the tune was prescribed to the song, although the determining of the time
The
itself is
wholly arbitrary.
is,
it
sounds uncouth.
The
which the
divinities
are
at
leisure
to
68
Sir
W.
is
suug, and to
" Whether
it
velocity or
air,
in
spring or autumn,
am
number
Sir
first
according to the
arranged
of Indian seasons."
W,
and plausible
subject,
several
by the
difference
varieties
really
improved
of season,
acci-
modes ascribed
to one
system
which are
six,
and
It seems to
me
Bag
all
and the
rest neglected
and suffered
all
notice
69
It
may
and in
its
certain Rags
and Raginees
at stated hours
Per-
want of
taste,
But
it
must be quite
would be reckoned
It
extremely
This
may
but, in
my
for the
opinion,
it
who
this
or otherwise according
the chase.
Moreover,
seasons have
to
the tune
more regard
for
to
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
Rag
also
may be made
observable
or Raginee is
to suit the
same
set of words.
it
for
each
often happens,
The Hindoos
define
Rags
to
combined in a determinate
from
70
-Ot
each other.
other
in
differ in
to distinction.
classes (Jati)
their course, in
extent
than
is less
There
three classes
first,
class
and MuTiasoodh
their Si-ootis
is
.-
Sarting and
composition,
and
latter.
viz.,
all
Soodh
These
Second, Salung.
some
to
other,
compounded
compound
two species
of two
first,
Soodhs,
;
ones.
This
Sunkeernu,
e. g.,
Bhyron,
classes, except
is
two Soodhs
of course.
comprises
Ganhra of the
or such as are
also
this
There
is
keernii, or
it
is
third,
termed Muhasoodh.
which
and hence
is
first
second,
and
five notes.
to their formation or
This
is
first
seven notes; in
the
all
In general,
Sunkeernu.
to
be of this
die,
last
Canhra
they ascribe
the following
Nut
Megh ;
Goura
; tenth,
seventh, Soruth
Sree
Rag ;
fifth,
Descar;
Bilawal
eighth, Dhunasree ;
eleventh, Deepuk
twelfth,
first,
; fifth,
the second
first,
Rewa ;
To
sixth, Tooree ;
Salung,
class,
class.
Mular ;
71
ninth,
Cafee
The
is,
names
last,
Dhunasree
is
introduced in
more
others
mixed Rags
of the
name
it
as Pooria
introduced in the
first
mentioned
first,
regular succession
to be
e. g.,
suppose
is
it
in
it,
it
should be called
COMPOUND
Ram Shyam.
RAGS.
more
modern
composers.
in a general acceptation,
" a tune
;"
for
The
chiefly
word Rag
is
by the
here
used
have
72
Names of Rags.
Compounded of
Bagesree
Bhempulasee
Bhoopalee .
;
or, according to others,
Bilawul and Culian.
Hindol, Soodh, Canbra and Pooria.
Buraree, Lulit, Soodh, Sarung, Punchum, and
Bilawul; or, agreeably to others, Soodh,
Bhyron
Bhyruvee
Bibhas
Bichittra
Bihagra
Biharee
Bijuya
Bilawul
Bub.ool.ce
. .
. .
Buhoolgoojree
Bungal
Buraree
Burhuns
sree.
Busunt
Cafee
Camodee
Camod
Camod Nut
Caodee
Capurgouree
Chi tec
Colahul
Coocub
dho.
Coombh
Cudum Nut
Culaee,
or
Curaee,
01
Soogharee
Culayer
Culian Binod
or
Culian
Camod
Cuban Nut
Cumbharee
Cumbhavutee
>
or,
according
Composed
by
.. .
..
73
Names
Compounded of
of Rags.
Cuntha
Curna Nut
Curum Punchum
D.
Deepavutee
Deepuk
Desee
Descar
Deuguree
. .
Deusakh
. . .
Dhoulsree
Dhunasree .
Dhyanjee ....
Diwalee
Doorga
Dukshin Nut
.
E.
Emun
Poorbee,
Furodust
G.
Goojree
.
Goonculee
Lulita
.
.
Gound
Goundculee
Gouva.
Gouree
Goursarung
and Ramculee,
Gumbheer Nut
Gundhar
Hindol
Humeer
Sindhola, Usavuree, Gouree, Deuguree and Bhyron ; or, according to some, Khutrag, Usavuree and Desee.
Goureenath.
Humeer Nut
Hurkk
J.
Jujavuntee
..
Jutee Gouree
Jy tculian
Jytsree
....
others
say,
74
Names of Rags,
Compounded of
Kheni
Kheraculian
Khutnug
Khutrag
Ki.Ja.rn
Kidar Nut
Kyrvee
L.
Leelavutee
Lulit
Luucdhun
M.
Madho
Malavatee
Malgoojree
Maligoura
Punchum,
Manj
Malcous
Malsree
Malwa
Maroo
Marwa
Megh
Mudmadh
Mudmithoon
Madhvee
Mular
(.
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, Soodh, Humeer and Mudmadh, sung by Canh.
Sarung, Soruth and Bilawul ; or, agreeably to
others, Nut, Sarung and Meghrag.
Mular and Nut.
and Culian.
Mular-Nut
Mungulashtuk
Some add
Fhyam.
Mungal-Goojree
Munoliur
Biharee,
N.
Nagdhun
Nut-Narayun
Paravutee
Poorbee
. .
Names
of Rags.
75
76
OF
AND RAGINEES.
RA.G8
Names of Rags.
Compounded of
Suctbulibh
Suncurabburun
Surd
Suruswutee
Susirekba
T.
Thoomree
Tiluk-Camod
Toree
".
Treekshun
Trivenee
Tunc
Turwun
tbe
last,
say Lulit
otbers Bibbas.
U.
Ubbeeree
*|
or
Uheeree
and Sbyam.
Ubeer Nut
Uheer-Roop
Unsee
Urana
OF THE RAGMALA.*
The
melodies in Ragmala,
of
personification
let of melodies, is
what
I shall
next describe.
or chap-
Custom, which
branch of
made
to correspond with
it.
it
when he
shall
sees one,
and
I shall, however,
of
of the reader,
compares
How
sometimes so
the representations
IfLo
is
i_f)\
incorrect, that
strictly
See Note
in
I,
scarcely one
p. 49.
As
painting
77
not now exer-
is
that
probable
is
ject were
in the
copy.
very
little
Eagmala and that which should have been representThe generality of amateurs are more solicitous of
of the
ed.
possessing
than of ascertaining
competent or
even possess
accuracy,
its
skill, as
for
The
painter,
if
he should
drawings.
Wm,
beg leave to
differs
from the
terrestrial
things with so
implicitly rely
On
p. 343.
little similitude,
that
we must not
Vol.
I,
I. BHYRON.
This rag
is
Muha-
He
is
drawn
as a sunyasee or
Hindoo mendicant of a
is
is
He
78
in the third
serpent
neck
his
huge elephant
of the
is
equipped, he
he
is
mounted on an enormous
is
one of the
least she
Bhyruvee.
eldest,
seems to be the
beautiful
beaming eyes
her waist.
is
at
first
down
the bull
five
fully
Sometimes
him.
I.
is
Thus
dart.
bull.
tied beside
This
hideous
is
The skin
brows.
is
virgin of a
deli-
thrown
is
over her slender form, and exposes her feet which are tinged
red.*
garland of
seated on the
her
side,
summit
chumpa
of a rock
she
is
of munjeeras or
little
cymbals
hymn
of the
in his translation
Megha Duta,
in a note
on
Staining the soles of the feet with a red color derived from mehndee,
the Lac,
(fee,
is
toilet.
It is thus ele-
" The
rose hath
humbly bowed
lips
to meet,
her hallowed
all its
feet,
bloom."
Esq.,
series
of
This young
Buraree.
of whose
the beauty
girl,
79
countenance
The
Her
Cungun
is
is
engaged
is
deficient
in
her
conjugal faith
by law a
liberty
goddesses
eternity
of wives, but
plurality
to marry
been privileged
The complexion
not the
matters
of
are
not at
gods and
love from
all
Mudhmadh.
of this Raginee
women
3.
is
in
the
have
But,
twice.
same
tinge,
She
is
is
of a golden
color,
Her
and
dress
is
the preceding.
It is to be observed for
is
as
much admired by
and not to
its
rotundity
not
to its
actual hue.
gold,
and
80
Sindhvee.
4.
The sanguinary
clothed
is
in
red
displayed in
is
garments, holds a
triple
her
She
her features.
ear.
She
is
Bwngal.
5.
A joginee
or female
of ground sandal
Her
clotted hair
her bosom
her body
is
face
is
in a knot
tied
is
musk.
dart in her
foreign
Her
mendicant or devotee.
left.
II. MALCOUS.
An
athletic
young man
in his hand.
neck.
He
of rosy complexion,
with wiue.
string
blue,
of large
pearls
surrounded by women,
is
gallant familiarity.
The
and intoxicated
and he holds a
whom
staff
hung round
is
his
he addresses with
is
where to be found.
prohibited by the
it
altogether.
By the precept
it
is
while others
of the faith of
poets, particularly
81
praises.
is
to
of the
admirable Hafiz,
meaning
to that word,
it.
The
much
strained.
fictitiously, is
natives of
always taken
to-
deep intoxication.
excess, so as to cause
l.Toree.
and
Hep
fair skin is
saffron.
the veen.
is
The
skill
This
one of the
is
effects
of-
by modern asseveration
vide p.
2.
6.
Gouree.
mangoe
She
is
endeavouring
to sing her
The
grief
which
is
fast
it.
Gooncuree.
depicted in the
from her
eyes,
air
of this
female, the
is
sitting
82
tree,
Cumbhavutee.
4.
enjoyment she
:
ing
is
own
studies her
of care,
danc-
5.
The
revels
of the
preceding
night
her dress
discomposed
is
light of the
chumpa
the garlands of
lies
flowers
ecattered about,
and
yet blushed.
III. HINDOL.
He is seated in a goldon swing, while a number of nymphs,
by whom he is surrounded, amuse him with music and keep
time with the rocking of the swing on
which seems
* It is to
His countenance
am
To
dress,
and
Hindoostan.
and propriety
We
Wilson's
wan,
his
the fact
is,
roll
the eye,
according
to
the
customs
of
of taste,
so prominent a
troll
is
an immortal,
sing, to dance,
educated
sits, in-
To
which he
part
Megha Duta,
which gives
in
the
to the graceful
decoration
of
ornaments of nature
feminine
beauty. H.
p. 76.
K2
H.
83
is
Ramcuree.
1.
The complexion
she
is
of this
nymph
is pale,
her dress
infusion
of musk.
blue,
inter-
while
he,
is
striped with
is
just arrived
effect
after
daylight,
and
we
forgive those
easily
but
is
is
endea-
we
She
is
love, yet
for,
the present
It
although
affair is of
also
Desakh.
is
described as an
sentation in the
drawn
athletic
general repre-
there she is
It is quite
3
It is
creature,
not
who
Zulit.
satisfactorily explained
is
why
and
herself with
all
her finery of
flowers.
K2
84
The
Bilawulee.
Ragiuee consists in the beautiful symand her solicitude to please her beloved is
pride of this
metry
of her limbs,
whom
beating heart.
She
is
O
is
JPutmunjuree.
known only
to those
who have
felt its
ence
its fatal
The
object
anguish.
and
power
now
The
May my
never experi-
before us
will admit.
wound
sex,
is
tears,
flowers
more
their
to sapless leaves,
which exhale no
wonted perfume.
IV, DEEPUK.
The flame which- the ancient musicians
kindled by the performance of
fiery
is
this
Rag
is
depicted in his
mounted on
He
is
a furious
also
repre-
The
Desee.
Raginee
is
of her person,
of art to
the natural
2.
What
undergo
When
under
dare to accomplish
its
what
influence
will
not youth
forget
the natu-
ral delicacy of
hideousness of night.
soft
The chance
with the
risking of her
mock her
and
life
fortitude
assignation
alone,
itself.
She
an interview
finds
thousand fears
herself
now
at the place of
The
at the
starts
character.
when she
for he,
this, is
of
all
She
men's
is
attire,
steed,
Her countenance is
of such an undertaking.
4. Kidara.
The
subject of
this
Eaginee
is
a masculine character.
and in his
out.
left
A.
8C
V. SREE.
A
A
string
He
white,
iu
or
carved throne
some say
of crystal
is
in red.
his neck.
seated upon a
l.Malsree.
it
does in that of
other
countries,
and
The
of attention.
She
example.
is
under a mangoe
creature
fascinating
clad in
tree,
is
an
and
sits
us
before
yellow robe,
a flowing
2. Marwa.
Her
She
sits in
anxious
expectation of
We
ful
Dhunasree.
female.
There
is
something
so
irresistible,
that
we
cir-
The misfortunes
of the
subject
now under
87
Her
frame.
dress
friends, she
sits
is
red,
alone under a
Moulsree
society
tree,
of
her
venting her
Busunt.
4.
Busunt
and
is
The hero
festivity.
and occupation.
who
time of mirth
is
His vestment
is
tinged
red.
His head
in his right
left
ber of
women
as jolly as himself,
and
5.
all
join in the
In
num-
The hideousness
is
of
manner he stands
this
tail
dance,
tricks.
Usavuree.
picture
of this
is
her
the
wild
sits,
all
beautifully
relieved
(which
is
sometimes changed
gracefully
fine out-
thrown over
stain-
ed her forehead.
VI. MEQH.
This
He
is
is
that
is
tied
in a
88
1. Tune.
Various expedients
have
The
of our
object
present
its influence,
of the lotus,
which
2.
The frequent
Mular.
representation
it,
recalls to
Eagmala, which
As
leaves
is
one's
mind
I review the
life,
am
affected
Various sources of
and oppression
rendered sacred by
their laws,
still
exist
women
Some
murmur.
British territories,
The convenience
to them.
acquiesce
causes, however,
who
celebrated
amongst them
are
and choukees,
of high roads,
and protec-
of
Ujodhya
is
religion.
celebrated
This tUginee
is
is
89
03?
she
delineated of a complexion
wan and
sits
pale
sad and
solitary,
harmony
for
is
race's old
The
commemorative
but
strung,
strain
Recurring woe
The
skilful
still
hand
strikes
no measured tone.
of its
own.
As widowed wives in
3.
The tenor
Qoojree.
of this picture
is
not
evident.
delicate voice
It presents
dressed in yellow short stays and red saree, and adorned with
jewels.
Bhoopalee.
4.
This
lover.
is
A white
stained with
saree
the
is
fragrant saffron.
The
favoured youth
garland
sits
is
of flowers
by her
side,
There
is
no material
preceding delineation.
guish them
flowers,
are,
Descar.
difference
The
the string
between this
characters by which
and
we
the
distin-
OF MUSICAL INSTRUMENTS.
oKKoo
be seen in the hands of Apollo's
muses, which might give great light to the dispute between the
ancient
Addison.
much improvement.
Their classification.
How
provements.
are of
may
two
The
sorts
of opinion, as I
be of
have already
defects
the
am
first
my
notice
With
of
respect to the
first
of these defects
very
little
attention is paid to
it,
want
of ingenuity.
as if
appears that
the purpose.
by pecuniary
It
it
the materials
it
This
want of
considerations, as well as
empire
perhaps
all
will
allow.
its
At present,
its decline
further refinement
it will
is
what
91
OP MUSICAL INSTRUMENTS.
the same portion as the decline
consequent decrease
people of this once
celebrated
The
country.
its
and the
of its empire,
knowledge
of
root of the
and
stability proffered
Government
conduced
The
designed to decorate,
from
political
security
to render
greater degree
them
luxurious and
than the
generally attributed
effeminate in a
still
music of Hindoostan.*
In Europe professional
all
men
are
instruments and
acted upon
struments
is
here, the
making and
fitting
up
of musical
who
in-
are ignorant
and other
artificers,
who
if
abilities
rather
on
It is
mend
new
and
ones,
difference
in the tone
* See
page
Some
of an instrument.
31,
and
following.
There
is
an
92
OT MUSICA.L INSTRUMENTS.
who
anecdote of a Rajah,
in token
of his
approbation pre-
was
to
It is problematical
whether a violin
men-
but
it
of inferior quality
of a person
fresh,
the
goat's skin,
bamboo
cane,
the flutes
It
is
not,
class
requires so
musical instrument
nicety in
the maker,
its
that the
one
one
is
not procurable.
The more
There
i3
Greeks even
player,
Sforzia.
country,
for
What
for their
if
Leonardi
an excellent violin
singular statement
" Vinci
life,
had a
violin of silver
made
for
93
OP MUSICAL INSTRUMENTS.
As
is
for the
defects
them
all.
will not
mean
minor ones,
found to
They have
method of tuning
is
affect
their instruments
likewise
no
by the
ear.
why
no
person
has
sound of which
is
A drum
or tabor,
whether
and the
and
all
not.
Its
sound
by
no necessity
for
is
taken
may
be pre-
From this
drum or tabor
it.
the
it
should
is
not laid
drum more
essential, in order to
distinctly,
Tut.
denominated
Sitar,
Bitut.
To
are referred
this division
skins,
as
all
the
class.
those which
Ghun.
two at a time.
The Munjeera,
&c,
OF MUSICAL INSTRUMENTS.
94
Wind instruments
Sooghur.
4.
The
name.
ples of
are
classed
under this
it.
The grand
music
instrumental
Hindoostan
of
ia
the
accompaniment either
The Noubut
a
full
It
is
is
the
Noubut.
The
formers
is
flutes,
effect
considerably imposing,
to be properly appreciated.
some
Five of
Of
doostan.
and
efforts
flageolets.
of expert per-
It is heard to advantage
from
distance.
is
is
differ
manner
of playing.
generally preferred
The
first
the Dholkee
is
the
and the
last,
less
95
OP MUSICAL INSTRUMENTS.
to
accompauy
light
and
to
dancing
It
girl.
modern
is
composi-
trivial
Hindoo
meretricious
licentious
unknown
the
to
are
last
ages
when
The Mridung
is
ent sounds
made
of rosin,
oil,
and
inside,
and
is
The Dholkee
tightened
is
similar
is
differ-
to this,
length,
produce
to
is,
The
The
difference
The method
They
and
of playing
on these instruments
is
curious.
it is
allowed to be more
difficult
to
describe the
is
its
use
the
manner
method
It
of
of
long practice.
first
OP MUSICAL INSTRUMENTS;
9G
skin, the stress of
which
is
The skin
struck
is
made
to strike on
it
The Daera,
as its
name
implies, is a circle
of wood,
metal,
diameter
is
same manner
left
or support for
that hand a
rise in the
tone
as in using the
circle, so as to
little
Its
hand
Duph,
form a
rest
when a
right
is
side
The
is
pressed on the
in-
is desired.
may
men
is
These instruments
distinctly, which, as I
life
have already
of rythmical music.
THE SARUNGEE.
The Sarungee
is
It is strung
with four gut strings, and played with a bow, the hairs of
which are
loose,
playing.
The
at
the
time of
and the
OF MUSICAL INSTRUMENTS.
others to a perfect fourth.
The instrument
is
97
is
held in a posi-
used
that
is,
strings,
in
left
This proves
will
whose tone
is
communicate vibration
it,
or the difference of
exactly an octave.
THE TUMBOORA.
The Tumboora
neck without
frets.
The body
is
generally
made
of about
steel.
The lowest
is
tuned
to the key note, and the others to its quint and octave
above.
reclin-
calculated, as the
name
fill
up
all
Its use is
&8
OF MUSICAL INSTRUMENTS.
THE
This
is
by Umeer Khosro of
instrument, but
is
SITAR.
modem
likewise a
Delhi.
made a good
deal
mentioned
smaller,
with catgut or
The
required.
silk.
they
movable,
shifting
of
these
answer
to
every
purpose
proper places
their
monly
three,
used.
and tar
its
jlj
name from
a
si
**
string, as that
signifying in
number
is
com-
several
brass.
additions.
Of the
one
three wires,
These
last are
their
fingers of the
steel,
is
left
hand
is
are called
a perfect fourth to
manner
right, to
which
is
called a Hizrab,*
fitted
made
it.
The
slide
Khuruj from
as on the
fore-fiDger of the
The
sional
Sitar is very
men and
much
admired,
amateurs, and
is
is really
THE EUBAB.
This instrument
is
guitar.
It
is
played with
From the
Arabic verb
i_j
ye
to strike.
thumb
OF MUSICAL INSTRUMENTS.
of the
right hand,
who
99
of the
stop the
left
this
of
instrument, which
THE VEEN.
The Veen
is
ments of Hindoostan.
Mooni Narad,
to
It
whom
the credit of
its
invention
really
is
perhaps
superior
is
allowed.
and power
and
little inferior
for
all
practical modifications.
frets,
it
is
not
an organ
is
for it
slightest difference
is
in
avails
himself.
in
To convey a
the
Hence
mode
correct idea of
this beauty,
violin
source.
The Veen
four brass
the melody
is
but as
is
is
several
and
fingers of
100
OF MUSICAL INSTRUMENTS.
is
armed with
down with
fishes,
and
thread.
flute
said to
god Crishnu.
effects in the
is
hands of the
instrument now.
Twenty
The most
2nd, the Took ; 3rd, the Chhund ; 4th, the Prubund ; 5th, the
Dharoo ;
6th,
and execution.
these
is
The
first
and
This
may
well
properly
The
much
but
as trifling
be
subject
as
of
ly the recital of
ters,
both of comprehension
have heard
The Bhoorpud.
as the
difficult
four
These are
the following
1.
The
Mwn.
considered
is
frequent-
actions of their
and frivolous
subjects.
The
mat-
style is
mental
pervade
Manly negligence
flourishes.
the whole,
are always
short
and
peculiar.
This
sort
of
composi-
102
VOCAL COMPOSITIONS
who
is
Dhoorpud has
last,
Man
Bhog.
of Gualiar,
Sthaee, or
the
considered as
is called
The
Sthul,
3rd,
Ubhog ; and
Dhoorpuds,
which the names of flowers are introduced, in such manner that the meaning will admit of two different construcin
in time, syllable,
minated Joogool.
2.
Eheal.
tale,
style
is
utter
to
and embellishments.
It is
chiefly
Khyrabad,
a love
The
A species of
called Chootcula
TooJcs,
is
a female.
in the district of
is
it,
and
is
is
this, consisting of
only one
Too]c,
is
found in almost
all
species
of
is
perhaps
Dhoorpud
is
of female expression,
its
more immediate
The
sphere.
style
who
is
more conformable
inhabits the
while
to
shores of the
tale,)
than
Indian
soil
since the
Mahomedan
conquest.
sufficiently,
it
To a person
is
enough to
103
OF HINDOOSTAN.
Tuppa.
3.
Hindoostan.
perfection
It
be considered
its
present degree of
founder.
its
in
in
it
TooTcs,
it
now
it is
sung.
the lan-
in
They
dee.
nowned
their attachment
for
some circumstance
bhasha.
an impure dialect of
The measure
is
lively
re-
This
Thoomree.
4.
and so
to waste
the Vrnj-
peculiar, that it is
after
mind more
when
sensibly
attention
is
bestowed on a few
songs.
5.
It is
a species of
is
Each
suc-
repeated.
is
peculiar to
itself.
most voluminous.
The age
wondered at that
it
it
is
not to be
104
VOCAL COMPOSITIONS
song,
Numerous compositions
natives
of
tories
ously sung
rivalled
Damon,
Paris,
his
own
He
is
turn,
is
in
and beloved by
him.
all
The
more numer-
all
the ex-
Equally amorous in
it
done.
such
heroes
its
Hindoostan
irresistible attractive
woman who
His
once beheld
it.
who
ever heard
could attend to any thing else, however serious, incumIt diffused a sort of
bent, or necessary.
its tone,
due
tion
to
sound of Crishnu's
I
are
Hindoostan there
esteemed
being
is
one
other
motive
all
for
In
nationa.
their
being
The
old sing
many
moment
flute,
their theme,
them
as acts of de-
their contents
by
them
it
in their
OF HINDOOSTAN.
105
power to achieve.
folly
enough to be
their
beauties.
of this class,
how
admiring songs
might be for
The scenes
and
No milkmaid
of Vrindabun.
could
All
One song
holees.
kiss.
alone
doleful tale,
her
fate,
In this a forsaken
rivals
girl
bemoans
One
her arms.
The
village
forcible seizure
one song
with both.
Rag.
Jut.
Some
them
theme of
like
of bearing no longer
him
as an
impudent
fellow.
VOOAi COMPOSITIONS
106
No
8.
It
this
for
There
is
words, which
in
is
be
inserted here.
Surgum
9.
Is
we
call Solfa-ing
implies.
Bishnoopud.
It is literally
what
now
in-
It
not
it is
same view.
name
or Solmization, although
is
of
a moral tendency.
Chutoorung
11.
3,
Surgum
and
Is
4,
four strains:
Tirvut.
It
12.
is
of
1,
Kheal;
2,
Turana
modern invention.
indifference,
Rekhtu he
as
eulogizes the
of.
his
all
own
mostly of from
five
whilst in the
They con-
One
107*
OP HINDOOSTASf.
species of these
in
The
and Bughelkund.
subject
is
woman
for
trifling favors.
War
Ourca.
14.
rally in
profession of
species
Bugud.
of
this,
gene-
the
called Sadra.
is
It is
denominated Dharees.
of Vruj
in
This
the Rajpoots.
songsters
of
class
One
Are of
most
only four
and" contains
indicates.
13.
rally
termed Charbyt,
is
name
couplets, as its
tongue
are
is
termed
denominated
Bur.
15.
priate.
Moulood.
18.
Stooti.
19.
Qoul,
subject
is
appro-
sung on marriages.
16.
17.
Almighty, or of
The
Palna.
One
or two
Mahommud.
In praise of superiors.
in
Arabic.
These are
suDg by Quvvals.
20.
Zicree.
It
was
is
morality, and
is
sung
originally introduced in
OF THE PECULIARITIES
OF
like
softly brake,
At all was
seen to
Queen,
leaf so small
stir,
her.
fall
.Drayton's Cynthia.
And bids to
longer exist,
prevailing
Hindoostan as influence
little
of
on such
ancient
of a nation,
its
life.
perhaps, as
we can
music
soul,
is
when
and
characteristic,
is
that
and ceremonies, as
rites,
109
IN HINDOOSTAN.
it
happy union
reconcile
said to
nations,
The allowed
the idea of
on
effects
Persians,
transient
the Arabians
and
is
ed in this country.
their poetry.
be made on
woman who
man
is
is
In Persia he
is
repre-
own
This
sex.
is
evident in
all lyric
poems
of that country.
In Hindoostan
his mien.
"We must
yields
here
after
make an
the
much
courting.
the
first to
woo,
In compositions
Note
255,
Megha Duta.
being
which seems
made
for the
to
me
any allowance
calling it a prejudice.
The
me
quite
110
and
and
first
in the
desire,
of the
tender passion,
is
exclamations.
we should
If
ry of
these nations,
it will
wounded by Cupid's
darts,
The
to the
peculiar custom
of Persia
pieces
is
poor neglected
women
in vain expose
their
noticed.
The
in
vain
charms
women
whom
it
does not
and been so
much
lavish
Alas
benefit.
lovely creature, adorn not thy head with those precious gems,
his warmth
beauties in the
which,
if it
thy
is
carriest
claim any
attention,
'
it
purely that
it
ap-
In Hindoostan
men
women
tal
total
men-
and as he has
of
to
bestow a portion
may
be
fairly
pre-
From
polygamy she
IN HINDOOSTAN.
is
Ill
of fondness.
Hymen more
is
lives.
relished
How
by the
their beauties,
in the state in
which
it
is
made by them
at
present,
earlier
to those times,
when
its
parts,
but
village
different
to a
chiefs,
guarded
when
naviga-
travelling
by land
who
infested the
despicable
rapidity
and
rains presented by
when
topography was almost unknown, and the advice of a stranger adventitiously met was to be cautiously embraced, as
robbers lurked about the roads in various disguises to seize
when
adjoining village,
112
and prayers
tears,
for
safe
return.
indifference,
for
upon with
home
had accomplished
encountering
all
the
skill
in safety,
it,
after
the wonderful
or
all
these exag-
admiration to the
It is observed
Life
village,
of pride to hisv
relatives, not
by the author
and Writings
of
of "
Homer," page
An
it
seem to
and
afford
we transport
heroic ages.
manner
It is this
unpalatable,
and
flat
at
least
to imitate
and
their poetical
and
fictitious lovers
at so tender
113
an age, that
it ia
some years
after marriage
till
is
(by which I
concerned.
sons, with
daughters-in-law, and
their
live together,
maiden daughter, to
What
culties
it
diffi-
liable
to
the greatest
of any chieftain
and
caprice.
woman
in
the bloom of her age, wasting her years in sighs for her
absent and beloved husband, in
hopes of
life
let
whom
festivals,
where themes
most pathetic
let us accom-
riverside,
visits to
procure
water for the use of the household, and where she witnesses
a thousand tender interviews let us turn our eyes to her
domestic scenes, we see her happier sisters-in-law adorning
to
appear cheerful.
all
the gaiety
114
be in
If this
flower refreshed
him
thought of home
Winter
earlier.
rain.
not having
cruel for
him
on
But when
his journey.
in,
those months
by separation, then
afflicted
that
it is
balmy
aid,
of his
this
arrival
year.
its
Every
cloud,
to
wound
domestic
toils
If she endeavours
moment from
for a
by
her
Pee-cuhan
*
Pee-cuhan
"The commencement
ful in
of
it
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
line
20
Megha
The meaning
of Calidas
ir^raH w^fcf
And a hundred
it is
no season
seems to be somewhat
different.
g%^ts<2R)sjig;ffriicr:
Hindoostanee songs will prove that aftor the rains arc set
for travelling.
n,
115
These, however, are not the only birds which are addressed
by the females
of Hindoostan,
by the
title
of Byree or
add to their
affliction,
enemy
said to
lovers.
afflict
his
wife,
for
if
and
readily finds
having perhaps
affections,!
In
such a state
of
home on account
number
of the smallness of
the power
little
tives.
feel
whom
a youth on
of
rela-
to the necessity
of
and
is
fail
V
many
exceedingly abundant in
is
especially found in
marshy places
parts
of Hin-
bird are in a great measure aquatic, and the setting in of the rains
is
is
left
" Palpitation
and a throbbing
is
An
objection
when
occurring in the
by
Potter, q.
To such
is,
in
v." Ibid.
that they
are
generally
too licentious
Hin-
and
females
29, 1, 148.
It is too long
116
visiting*
him
of circumspection
generally
more
and evasive
fond,
are
immoral
It is undeniable that
but such
such practices
is
all
sex being
affords
it
The female
art.
perfectly
course.
women
Taking
matters into
all
should be an
of this country
The
when
their worth
ters of India
shall
ness,
fair
will
come
own good
smile at their
kindly on him
not amongst
is
The time
fortune,
level
follies
of their ances-
The tenor
ally, is
of Hindoostanee
1.
2.
Lamentations
3.
Imprecating of
4.
for the
rivals.
* "
" T
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."
bells
117
IN HINDOOSTAN.
anil
the tinkl
Fretting,
5.
mother and
as
sisters-in-law,
her love.
6.
Sukhees reminding
7.
and
their friends
appointment
of the
"A
The use
's
(^T*5^'t*l nl )
wearer moves."
zone."
and
wrists,
as the
85, 1, 514.
by
jealous husbands
until
women
using them being regarded more chaste, others were obliged to comply with
the fashion to avoid aspersion of character.
vour to
means
barrier.
neglecting
and secure
their
moral
their affections
instruction,
by such inadequate
which
is
BBIEF ACCOUNT
THE MOST CELEBRATED MUSICIANS OP HINDOOSTAN.
"
*'
Invention
advantages
Appollo,
The
is
common
is raised
nature." Drydm.
invention of
all arta
and
fire
of
Ibid,
sciences, as I
mentioned in
of
celestial
preceded them
in his
ing,
he
for centuries
own person
the aggregate
of course possessed a
men, who
sum
details,
enabled to
and form
rules
make
for
the
119
MUSICIANS OF HINDOOSTAN.
whole, consistent, precisely defined, and universal.
likewise be
It
should
remembered that
less,
These compilers of
before,
sciences,
Roscommon.
if
nation
by
so superstitious
as the Hindoos,
as
and
an emanation
this people
seems
idolatrous, were
never
so luxu-
medans
most
The songs
of the abori-
other country for purity and chasteness of diction, and elevation and tenderness of sentiment.
By a
rule of the
or unbelievers,
them
to
Mahomedan
which
am
two
latter
Cafirs
manner
The
vice
of excesses
and
of drunkenness
class.
no
all
and inflammatory
(the
of
was, I
womeu
law, the
class
irritative.
There
The
is
it,
MUSICIANS OF HINDOOSTAN.
120
waut
of
sound
religion
wholesome check against promiscuous and unguarded indulgence of passion, except amongst the very lowest classes of
and outcastes.
sociely
A great many of
Hindoo
religion
is
spirits
few of their monarchs and nobles have refrained from indulging themselves freely with this beverage.
dium
it
was, and
now
is,
They never
to excess.
it
it
was contrived
be made so
to
;
in which case,
The
The conquest
of
is
called
which
to liquor, in
made
still
It
all
was
sorts
previous to
now by
Ma ool
it
and
the
more
luhum.
its
music.
Mahomedans were no
great patrons
great iconoclasts,
country.
The
progress
of
was speedy
the
;
theory
of
music
once
Mohummud
121
MUSICIANS OP HINDOOSTAN.
reign
But the
scenes.
of
practice
so fleeting
and perishable a
or
it alive,
any mode
know-
to record
we
who
science,
find the
The
first
of the
who
Hoosyn Shurque
of Jbunpoor,
Rajah Man,
Man
Gualiar,
of
Jurjoo,
lived
Bhugwan,
* It is related that
that
is,
species
when Gopal
of composition
called
Geet,
the
he sung
beauty of which
style,
Khosrow
sician
to remain hid
unknown
to him.
At
this the
The
latter
honor.
it,
style,
which
of his
due
122
MUSICIANS OF HINDOOSTAN.
very numerous
Molmmmud
Tansen was
court
to
of
chiefly those
who had
Khan
(brothers),
originally
at the
special
of Futeh-
Tanturung
who sung
Bechoo,
Sen,
and his
brother Lala
Khan, Lad Khan and Pyar Khan, Janee and Gholam Rusool,
Shucker and Mukhun, Teetoo and Meethoo,
Mohummud Khan
now
to be
met
amongst others
whom
Khan, Veen
voice, rival
some
Mohummud Khan
;
of the first-rate
players, of instrumental
execution.
Good
per-
SIR
WILLIAM JONES.
ON
THE HINDOOS
By the President.
Music
belongs,
as
an
interesting
part
of
constant phenomena,
number
to
science,
of mixed, or
harmonic, sounds
fixes the
to a
certain
ratio,
but,
series,
considered
as
'
an
art,
it
our ears,
our
or effect
imaginations
speaking, as
it
were, the
raise correspondent
hearer
fine
art,
allied
ferior in its
it is
by uniting both
and
and
becomes what we
call
but subordinate in
Thus
ideas
or,
it
it
its
and
in-
of
to
air,
as
the vibrat-
;;
126
may
selves
excite a tremulous
motion
in
particular
bodies,
when
it
and retarded
celerated
in agitated
them
by which
the law,
all
with
air
to
of
that
compute the
to
continually ac-
velocities
and
those
intervals of
pulses in
elasticity
which music
produces
causes of the
and,
generally,
to investigate the
many
wonderful
artist,
appearances, which
by a happy
it
exhibits
but the
philosophy of sound,
may
and accents
and, above
all,
by modulation, or the
my
design,
notion with
and
all
shall be
my
it
is
choice
called, of which,
all
first
rank, transcendently
may be denominated
the lower art of pleasing the sense by a succession of agreeable sounds not only has merit
I persuade myself, be applied
salutary purposes.
ing be caused, as
many
suspect,
by the vibrations
of
an
and propelled
OF THE HINDOOS.
127
and degree of
decide
is
tension,
we have not
to their length
evidence to
sufficient
affected in a singular
manner by combinations
will often relieve the
who
old musician,
rather figuratively,
but
be
sprightly remai'k
of
art,
which he
if,
it is
The
business or study.
of sound,
mind, when
art,
he
and
by the
soul,
which pervades
it,
it
seems reasonable
to believe, that a
have
tages
all
;
quent exertion
cessfully
may
made by
its
disadvan-
says, for
any subse-
myself,
easily repeat.
equal evidence
Milton
few
must
Of what
am
of their
own
tes-
to support,
First, I
have
128
been assured by a credible eye-witness, that two wild antelopes used often to
come from
their
till
secondly,
seen the most venomous and malignant snakes leave their holes,
them
peculiar delight
who repeated
flute,
and
and permitted
again,
me
to
declared, he
Mjrza Moham-
write
it
down from
his lips,
in
sometimes
wished
fluttering
if
they
to
warbling on the
by a change
of the
The astonishing
raised,
he assured me,
mode.
effects ascribed to
had been
think, to the
modified:
it
may,
therefore,
nor,
if
such
fictitious,
performed by music in
and action
embellished
really produced,
is,
by the union
or
as
it is
now
of voices,
described
instruments,
OP THE HINDOOS.
Sangita, the simple meaning of which
is
129
no more than Sym-
and demising
permission,
the
music of
all sorts,
first
Now
of theatrical representation.
it
may
easily be conceived
excite .copious
or
chill
tears,
the blood,
make the
must be yet
stronger, if
man
in
a phrehsy
the subject
mean both
plays
regular
in
many
acts
the
be religious,
asso-
ciations,
heat or
effect,
and small
and shorter
effects
in the
modern
a state of excellence,
opera of Metastasio,
set
through
ah heroic
artist of
by Per&olesi, or by some
human
genius,
awakens
all
the
all
the senses.
130
When
accessible,
but
it
will
song be
fine in themselves,
and
if
and
who
plished singer,
by a
who has
hearer,
feels
what he
sings,
passions to be
and
moved
by an accom-
fully understood
especially if the
(for
such
may
those advantages
all
gratifications,
natural advantages
is
him.
The
first of
those
modes, or manners, in
the variety of
succession, as each' of
new
bears a
menon
cal
relation
lead,
and consequently
Next to the pheno-
number
must be
with the
line
than the
five
it
sensible, that
series,
or octave,
first
other intervals
the modes of the Hindoos (who seem ignorant of our complicated harmony) are principally constructed.
tervals
we
shall call
with custom
ratios
and
tones,
semitones,
it is
The longer
(in
mentioning
in-
compliance
their exact
OF THE HINDOOS.
131
result
may
they
rather be compared
Roman
may
of the
be divided,
Now,
Plain Song.
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
which
seventy-seven,
may be named
system
in
have
all,
and we
modes
secondary
exactly
of
shall
(at
least
eight-four
but, since
many
of
them are
sion,
marked by a character
and expres-
of sentiment
them a
to
character of its
trivance.
own by
effect
shall
will
of the seven
and
why
&
phenomena,
let
but,
of
without
us be satisfied
Q
132
tible properties,
and
to a dull uniformity,
art to an injudicious
The
temperament.
among whom
ancient Greeks,
much
less to
do with
all
it,
ascribe almost
but have
all
left
its
us
was
who had
magic to the
more than
little
them
to
Greeks,
practice
who
their
with,
know
oi;
and
science,
who
that,
soft Eolian,
mode, of the
For
mere phrases, I
refer those
believe,
that is
who have no
inclination
dix to
me
all
use,
the Harmonics of
Ptolemy
to the
Dictionary of
darkest subjects,
as
if
it
all
the
on the
it
light before
dignity to the
little
character of a
is
explicable,
and gives
133
OF THE HINDOOS.
The unexampled
of a mild
blessings
felicity
of
by mercenary performers
nions, not
only,
A native
We
concerts.
treatises
Siridoost&n would
in
best artists
may
be,
pare,
a.
approved
Asiatic
masters of them,
if
we
may com-
please, or at least
rather
facilitate the,
and
and a
free
more agreeably, to
On
it
art before
and above
Persian.
all
us,,
or,
to borrow a
of harmonious accord,, in
all
our
in that of knowledge.
Music, which
would he improper
inter-*
speedily, as well as
pursuits,
with.
We may here
Europe.
and the
attend our
cheerfully
of
had a complete
is
to enlarge
it
is
name
access,
forgotten
but, as the
is
almost
I believe,
134
Greeks, to be
than as an
more intent on
art,
and seem,
the
like
quarters and
it
may
the passions.
affect
to a short,
suspect that
it
famed
Abusina,
and
is
called Shamsu'ldswdt, of
recesses,
the beautiful
tale,
as
twelve rooms,
known by the
title
of
the
Four
originally written
we
locality, into
in
Dervises,
and elegance,
many
different
" in twelve
maiams
and
the
named
perdah
seven primary
direct."
are enumerated
tan,
or
r&st
appropriated shSbahs,
modes were
of
only
Isfahan
as
and,
among
which
shall soon
be
the
shdbahs,
like.
particularly
see
Hijdz,
secondary
or
In a Sanscrit book,
mentioned,
find the
OF THE HINDOOS.
scale of a
verse
135
Mans agraha
1
The name
of this
in believing
mode
is
not Indian
a corruption of Hijaz,
it
that
it
am
and, if I
right
we must
conclude'
a Persian or Arabian
mode with
this diaposon
D,E,FftGftA,B,C&D;
where the
notes,
in the
and
first
GJC, or
may
be formed in a manner
it
is
diversity)
from the
fifth note
and
tonic,
day
eighth ; as
it
at
close of
is
but
all
who
number
is
of Sanscrit books
to
minutely
by authors,
their astronomers,
of imagination.
The Pandits
of this province
136
of
it,
am
and
Narayan, which I
quently quoted.
Damodar
by the very
diligent
a minute account of
branches
fre-
Aazem Shaw,
literature in
he possesses to
is
A present from
entitled
have
most of
or
all
extracted
its
elaborate
his
also
treatises in
my
but
Sanscrit.
names among
The Sangitadar-
me
experience justifies
in
paraphrase
them
of
both
gloss
and
they are
Arabic letters
that a man,
only
and that
Hindoo
From
himself
and
speak of
tract
on
dissertation
my
hands
and I possess
soft dialect of
character
but I
am
Panjab,
am
told,
very
little
;:
137
OF THE HINDOOS.
acquainted with those
dialects,
may
not be found
it,
is,
of their
named Bag&vib6dha,
and
Modes
it
known
that
whom
was extant
it
have shown
and
it
may
appear to have
it,
be considered as a
destruction.
ities,
music
light,
curios-
and
verse,
of idioms
it
included a
Persian
in
gem
in the string
Colonel permitted
transcript
was
my Nagri
is less
It
is
by
my
Deva, which
but the
Eatnacara by Sarnga
in
it,
and a copy
for
excepting the
138
'strains noted in
of
which
letters,
fill
the
fifth
and
called
Arya; the
chapter
totally different
presently be mentioned
minute description of
tains a
playing on them.
I master of
my
and succession,
modes on a system
tion of
metre
first, third,
will
last
it,
different
am
Vind;
professor
conscious,
out, I trust,
you with an
must be very
superficial
it
and
may
I
but I have
and even
essay,
that, I
be sometimes,
have spared no
and personified
and
all
is
nature
all
declared
to
is
animated
have been
VSdas ;
copy of
it,
it,
is called
Udg&tri or
Sdmaga
in Colonel Polibr's
be impossible to decipher.
On
it
may
not
to the
chief of
among
V6das he was
the
Saman."
pro-
From
that
divine art
OF THE HINDOOS.
himself
by
or
of Speech,
and
his
active
139
goddess
their mythological
or
to
fact,
Among
have been the sage Bherat, who was the inventor, they
of Natacs or dramas
say,
we can
rely on
or systems
Osiris
Mibzakhan, there
the
of
first
the second to
which
Bherat
If
ascribed to Iswara, or
is
;
the third to
Hanumat,
or
and
practical
all
skilled in
music, theoretical
Soma
and
it is
the
who
the
but I
may
Narayan,
who mentions
few
a great
many
others, that
musical modes,
could
not
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,
sh&dja,
140
dhaivata,
nishdda
named swara,
it
but the
first
them
of
emphatically
is
initial
letters
for their
airs,
and
at
grama
or septaca,
8a,
three of which
ri,
Guido
of
and express
it
they
in this form
call
Swara-
it
syllables
are,
by a singular
same
concurrence,
of those invented
to
he
Bo,
As
for
ma,
ni.
nant include by
its
five
of the
for a
is
doubled,
farther elongation of
names ; by
full
mean
scale,
them
the connection
by small
circles
and
ellipses,
by a
various positions
lotus-flower
by the prosody
chains,
by curves, by
is
by
crescents,
distinguished
little
of the verse,
of each syllable,
by
or perpendicular, and
If I understand
the native
OF THE HINDOOS.
second or new, enharmonic, genus
reckon twenty-two
in their octave
tervals
and
ing order
to
and
ni,
Sa,
them
allot
two
between the
4s'
fifth
to coincide
and
fifth,
s'ruti
scale,
made
to
dha,
by raising Servaretna
artists,
sisters
it
and
but that
scales are
and her
minor in our
is
language of Indian,
consider as a
2s'
in our diatonic
fourth
which
sixth,
by taking a
in the
3s'
4s'
names
sa.
ni,
are placed as
or,
dha,
pa,
follow-
scale,
ma,
ga,
is'
3s'
2/
The semitones accordingly
between the
as equal
Their original
ri,
them
sa,
to each s'ruti.
scale
they unanimously
; for
in practice,
to ga,
s'rutis,
141
for
every
s'ruti
they
such at least
bards,
who has
Soma seems
is
left
a treatise on music.
to admit that
but he takes
in their
is
effect
its
arrangement of modes
and
all
is
very perceptible
he only
but,
know-
142
my
ing
German
Hindoo
loves
note
when
requested
accompany with
to
who sung by
lutanist,
of
of music
professor
some popular
he assured
me
his violin a
on the
airs
harpsicord, he
you
the very
to
now
of the
and
of
Vina.,
must
paper
valuable
first
exhibit a scale
accurate
and
of
I
its
lar
major mode
the regu-
believe,
TJt,
and,
re,
mi, fa,
ut
notes,
which
we come
It
may
be
neces-
by
three,
I translate a
or affection of the
to
Bherat's
mind
definition
mode, properly
signifies
a passion
it,
to
move one
or another of our
Crishna,
there were
OP THE HINDOOS.
C*i
143
144
thousand
sixteen
Gopis at Mathura
only
practice
iufiuite
appli-
from
contrivances, the
like
We have
number.
as
Ragas might,
them
primary modes,
twenty-three
varying in seven
of those
modes would be
but, since
insufferable in practice,
sufficiently
dif-
many
and some
nature, and
by two
Whether
it
had occurred
velocity or slowness
ratio,
upon the
to the
rarefaction
must be quicker
or autumn, and
much
sure myself
but
am
number
The year
is
in
summer than
air,
so
in spring
ing to the
of
Pavana, were
first
arranged accord-
of Indian seasons.
distributed
and the
six ritus, or
first
season,
OP THE HINDOOS.
145
month
we
see Oriskna
compared
the
in
Oita
accordingly
equinox,
mansion
hence the musical season, which takes the lead, includes the
months
and
of A'swin
C&rlic,
are
Hemanta and
frost
and dew
Sisira, derived
then come
name
of Sarad,
appropriating a different
sons, the artists
certain ideas,
merriment
mode
to each
of the
of India connected
certain
strains
memory
of
recal the
By
rain.
different sea-
with
autumnal
or of separation
and
spring.
first rains,
Yet further
of
of
Madhu
of languor during
ment by the
month
year,
by which
festi-
music, and
all
of
Hence
it
was, I imagine,
that
number
of original
modes from
seven to six
five
146
the morning,
and
number
retains that
restriction,
respect of time
divi-
S6ma reckons
eight
also in
modes.
by adding two
night,
variations in
noon,
has
country
this
in
more charming
ta-
allegory
whom
is
Nymphs, and
or Sons
father of eight
little
Genii,
finely
to this assemblage of
Albano
new
aerial beings,
A whole
fairy-
each of
Raginis, or
chiefly
five
beautiful a sub-
chapter of the
Rdgas and
NdrAyan
con-
God Nared
among
so
many
beauties
first
and elegance
OP THE HINDOOS.
147
Chinvan prasundm
sah&yah,
vadhli,
all
dis-
diversified,
are
expressed in a variety of measures, and represented by delicate penoilB in the Rdgamdlcts, which
if
all of
us have examined,
scholar,
who enjoyed
leisure
me-
with descriptions of
all
modes a
artifice
Plutarch's
treatise
on Music
of the
Hindoo musi-
distinct character
is
and a very
since
exhibit a paraphrase
cannot
on the
procure the
of his translation,
at
some
much
Greeks,
which
length.
"
We
it
are
148
" ascribe to
" melody,
Olypmus
of
and conjecture
flute,
enharmonic
of
when he was
that,
playing diat-
of that
of expression,
which
analogy
" adding any that have since been made essential to the new
" enharmonic
in this
who
was used in
and are
for
it
was
and
it
was
therefore,
he,
and
of the
unknown
most beau-
affecting music."
seems,
retained
"
it
still
division of a semi-tone
Olympus
>
it
Those,
effect
of
flourished,
Hindoos,
if
but
it
of.
Rama,
now
still
return,
century
among
the
was actually
OF THE HINDOOS.
Since
it
149
and the
of the
six
in the
Mirza.
Kha'n
which
I
first
what I now
that of Oacubhd,
on music
Sanscrit treatises
me
erroneous,
find
posed in
it,
ans'a,
Graha swarah sa
mode are
Nardyan
ityuct6
named nydsa,
serv?
is
"
By
the word
com-
is
dis-
nydsa,
in
the
nugd minah,
at the end, of a
them
he
the
yd gitadau samarpiiah,
song
"
is
called graha,
defines
for
Three
end.
had
Nydsa swarastu sa
Tasya
for
my
cannot find in
depended on him
for
to
is
the others
means the
" note, which announces and ascertains the Rdga, and which
"
may be
"
be the tonic
generally
its
and we
third
and
fifth,
must
150
nant.
which may
illustrate
Magha
there
Analpatwat pradhanatwad
is
a musical simile,
ans'asy&ve'
taraswarah,
"
From
" that Hero, eager for conquest, other kings march in subor" dination to him, as other notes are subordinate to the
" ans'a."
If the ans'a be the tonic, or
we may
Bhairava
OF THE HINDOOS.
Hindola
151
152
Bhairava
in these forms
modes
OF THE HINDOOS.
Me'gha
153
154
Sbi'ka'ga
OF THE HINDOOS.
escape notice, that the Chinese
"scale C,
155
D, E,
Maravl
of So'ma
*, ni,
G, A,
*,
*,
or the
*,
sa,
cor-
scale.
By such
number
of
into
his
indefi-
system,
for Dipaca,
which
is
the notes of
Dancer
all
The system
it),
he sub-
or Chrishna, the
Iswara, which
affinity
little
modes
varied
in
all
some
Midsummer
of
them
as fanciful as those
Night's Dream.
Forty-eight
thus
manners
Had the
last
given
permanence to systems
__
Hindoos
poetry
ment
religion
believe,
by
their
gods,
full
would,
no doubt, have
of music invented,
and adapted
to
as
the
mystical
156
scrit
sition,
the practice of
it
When
who has
mode
which
in
it
referred
me
mean those
no ancient
provinces,
that the
has
me
of JVSpdl
and Cashmir
remnants of
of the
while they
declared that
they had
to the
art,
had hopes of
Br&hmens
exist, if
from
want of due
faded for
We
ago,
culture,
it
roundelays of
Apollo.
to those
Qitag6vinda must
of
prefixed to each
Mafhura on
must
not, therefore,
Vina have
performers on the
be surprised,
if
modern
or no modulation, or
little
enchantment
musicians of
all
India,
having fixed on a leading mode to express the general character of the song,'
the musical
me
to
to
it
at
believe
though
air,
many
the
restriction
of
certain
modes
to
certain seasons
and
mode.
The
we
find,
comprised both
OP THE HINDOOS.
our European modes, and,
some
if
157
frets,
a delicate and
harmonic
intervals
the construction
seems to favor
therefore,
my
of the instrument,
conjecture
and an excellent
judge of the subject informs us, that, " the open wires are
"
and
may
which
metre,
is their
greatest composers
most
now
(if
to
fail
We
to change the
and
such a phrase
affecting
uncommonly
contribute."
may
be used)
modulations
of our
is
for
seem to be contained
it is
reis
hardly
modes
The
modula-
rules for
in the chapters
on mixed modes,
we can
than I
am
of the
we can procure
It
is
a copy
that
may
be easily
were unacquainted
158
mean only
we
see described
harmony
solely
modern sense
in the
ever so perfectly,
it
it
would give
me
chapter of So'ma
fifth
mode
selected the
Jayadeva himself
because
of Vasanti,
most beautiful
to the
was adapted by
it
of his
odes,
and
may
lead us to
guess,
that the strain itself was applied by the musician to the very
The words
are
soft gale of
clove-plant,
" dances,
company
Cdcila,
mingled
swarms,
Heri
of damsels in this
which, from
its
air in
the major
mode
of A, or sa,
iI
^s
lot
55
o
I
F3
Id
O
55
55
<>
CO
m,
55
i
at
OP THE HINDOOS.
pain, even in a season of delights,
159
is
equally
full, if it
ed
the measure
is
it.
*/
li 4-n 1 ,,
li
ta la
lo
la
:#=
im
Tan ga
*r
mi
ji ta
vi
ra
*~*
cun ja cu
hi
ja
_._
--
ra ni
ri
ga
ua
ti
na sya du
ca ra ca
re
\i
ran
te
-&sa
.......
si la
ma
pa
dha
ni
sa
ha
ma la ya
co mala
eSs
mad mica
re
...
ta pe ri
la
s r
cu
imt-
i-
ram
ra
S^
bi ta
ti
he
co
ri
oi
ri
la
ha
160
The preceding
is
a strain in the
or the secoad
for it
in
the
and sixth
fifth
sa,
of Hindola, begin-
I could easily
mode
note
far
Sir
W. OUSELEY.
W. OUSELEY.
Sir
When
fine
I first resolved to
arts,
as
cultivated
among
various correspondents settled in the East the communication of such books and original information on those sub-
country to increase
With two
my collection of
offered in this
Oriental manuscripts.
am
is
From his
But as
my
notes, written in a
work
shall
t Chardin,
Number
of
Itaj,
composed by a very
Vol.
An
III.
name
is
almost forgotten."
collection.
Asiatic Researches,
title of
the Essay on
164
among
though written
in
me from
the Persian
language,
From
remarks, that
my
how-
if
due to
these,
will
whom
be principally
a residence of
from his
letters
the Indian
airs,
and drawings
am indebted
On
the
\J\j
subject
of
ancient
those
melodies,
and
,J>^lj
and
extraordinary
Raugs,
and Rauginees,
are as numer-
as
the
call
five first
owe
their origin
to the God Mahadeo, who produced them from his five heads.
Parbuttee, his wife, constructed the sixth; and the thirty
U3tj>-& &C&*
^t
d"K
We
find
poet, Jami.
ea
ff-J-Tf
jfc
Jf~W
l Egl
Plaintive.
jr-fi^nttBSSw
si ^s
S
*S
feffij
^-rrrf
3E J^
-
'
55
ii
V4-
165
Thus,
of celestial
enharmonic;
the Eindovee
plate
air,
are of
specimen of these
and of
of the
hum
see,
is
in the
that
given in
annexed
Nock
A considerable
difficulty is
expressive
of the
almost imperceptible
is
flute,
two of the
six
Timotheus
extraordinary than
ancients.
Mia
166
it
darkness extended in a
sound of
There
the
instantly
circle
as far as the
a tradition, that
is
Maug Dheepuck
is
whoever
shall
to be destroyed
by
attempt to sing
The Emperor
fire.
Raug
that
he therefore requested
friends.
in the
after
an absence
months.
of six
waters of the
Jumna
As
till
became hot
moment
in vain.
from
of the
Suspending
fatal
song
of
Akber wished
Eaug
this
to ashes
Naih
by many
The
of the Hindus,
effect
And
diate rain.
it
is
told,
once,
by
down
of
averted
An
Arabic
title
the horrors of
An
European, in
See
now
almost lost
167
effects, is
musicians
still
But
if
if
any such
Many
"
one can
it excites
of the
Hindu melo-
musician)
" possess
which
known
manuscript
in Hindustan.
The
Orientalists
speak of
books, however,
it
as being
which treat of
(or doctrine
modes)
Raugaderpun,
Sing,
called Muncuttuhub,
To
these
learned
is also
am
Baronet
is
many
besides the
enabled
whom
into
compiled by order of
Man
(or mirror
of another Hindovee
of Bausdheo,
There
Rajah of Gualier.
of melody)
the Ragavibodha,
(or
Sir
the
to
title
Persian
language on the
first
of
168
the
month Ramjan,
in
sera 1724.
j*
i\ji
"
An
*S"
utfU jb ^iji
^j ^yc
of Music,
aJLy
book Paurjauthuck:
p\fi
is
to teach
the
From
mem-
all
ri,
dha, ni
The seven
So,, ra,
ga, ma,
And, when
f Kau,
redge
Rekhub
wjk^Sj
1
jUa^S Gundhaur
Punchum
*sr^.
ci>yki
Dhawoth
al^So
Neekhaudh
numeral
is
Res. Vol.
Essay on Egypt and the Nile-Asiatic
III.
169
word -m
(sur) is used,
being,
as
named "
it
lowest,
which
(Kauredge)
that of the
signifies
of
the foundation
were,
Instead
to
"and
the others,
the important
which
office
bears in
it
the
scale."
from
The
But
letter
Rekhub
is
thus
often
we
find
described
it
not the
is
initial
Dhawoth
i_sj
is
and
Neehhaudh ^i ;^when the gamut may be expressed according to the form given
dha
ni.
And in a
always
by
me
manuscript before
sa ri ga
the
ma pa,
note
first
is
are
most curiously
Minor tone
Semi
Major
Major
Semi
Minor
tone
,j
sa
i.
ra
ga
ma
Vol. III.
the
,_,
pa
,>
da
^ na
170
The
written at length,
either
tion
and
significa-
Ro, quick.
oAf
Ousht, quaver.
ii)ULj.
Jumbawi, shake.
&*&
ed into one.
^-S&k Teep
(JbS" Kopaulee
is
Dhowoth
affected
placed,
in the Ramgully, of
which
note
to
and
them, and
The
italics for
which
in the
the words
manuscript
are expressed in
we read Canoon
newaktun Ramgully,
SA
Istaud
an
character.
SA
GA
SA
Ro
Ro
Ro
DHA
Ro
KPY
Istaud
Or.-CoU:1797.
M~h
Jm.
dW
-e>)
(L.
Y;
My
"/
:0
\j
11
i
/?
*Z
-v^
r*
'AA
c//
>>
i>
J^
^^77
>
F^&*s^-^^sy
KPY
172
Of the Taomeree,
in the
Deokan than
(fig. 5.,)
in
an instrument more
Bengal
it
is
common
formed a Gourd or
iu
original
manuscript in Persian, on
J.
(From
D.
PATERSON,
Esq.
9.)
OS
When
that
it
music was
was confined
and studies
the
fitted
first efforts of
deities
PATERSON,
D.
J.
reduced to a science,
first
to the
them
Esq.
few
scientific
probable,
it is
and that
hymns
to the
and expression.
According to Plato,* the Egyptians were restricted by
their laws to certain fixed melodies, which they
permitted to alter
it
not
were
down
" young
as a principle, that
men
exhibit in
lities
and that
their
was one
it
temples
of their institutions
to
it
was not
He
is it
lawful at
If
there,
On
Legislation.
Dialogue 2nd.
176
years ago, as
if
same
When
cumstance, he
replies,
and
taining to law
will
the
art."
politics
is,
cir-
in a transcendent degree,
you
likewise find
this respecting
"It
music
is
true
and
deserves
attention,
because
the legislator could firmly give laws about things of this kind
be the
work of a God, or of
melo-
the Poems of
Plato
Isis.''
and necessary
as proper
restriction,
viz.,
in after
times,
when the
dis-
to be relaxed.
are fixed
respectively
This
is
is
a circumstance particularly
deserving remark, as
it
In such case
by the Hindu
ritual
177
the performance
for
of the
services to
appears probable
This
origi-
it
the prejudice.
and a performer,
who should
sing a
Raga
out of
its
it
appro-
priated season, or an hour sooner or later than the time appointed, would be considered as an ignorant .pretender to
think insupportable,
melody.
The
No Hindu,
account for
it
origin of this
with
originated,
as
first
custom seems
to the
antiquity.
it
probable, that
as the abridged
Veda ; and in
are as follow
in
Hindus ;
lost
the Ijidian
a. true relish
restraints to
when
whom
We
it.
the
character of a musician.
ni,
are
their present
names
said
order.
as, a science.
in
to
Oand'hara.
Madhyama.
Panchama.
JDhaivata.
Nishada pronounced
Itiikhad.
occur in the
viz.,
Soma
178
Hence we
find, that
of these notes,
in
what we
The complete
it
place the
Solfaing or
likewise
is
Sa,
viz.,
The Hindus
call
of their names,
called
Septao
seven notes.
of,
divinities,
as follow
RKshabha, of Beahma.
Gdndhdra, of Sarasvati.
Madkyama,
of
Panchama,
of Sri or
MahIdeva.
LacshmL
fihaivata, of Gan'e's'a.
Nishdda, of Sueta.
Of these
which
Rajah on
is
the
is
Ansa
whom
all
or key note
and
is
1st the
Badi,
described as the
The Hindus
which are
called
S'ruti,
we
by
call a
twenty-two intervals,
anil to
the
The three
last distinctions
seem
to correspond to
sonance
the
Somopkonia,-
H.
T.
dis-
is
179
half
is
medium between
the major and semi-tone, being less than the former and
greater than the
latter.
Mathematical calculation
is
out of
the question.
octave,
without a fraction
by two
as not divisible
three, to represent it
for, if
we
tones,
the number
The
of S'ruti admitted.
many nymphs
and, in the
To Shadja or
Sa
4 Tihra
.
To Panchama or
Pa
Cumiidvati
Munda
'
Chandovya
Cirti
Ractd
y Dipari
' Al&pini
)
To Rishabha or
Ri .... 31 Dayavati
-
<
Renjani
Retted
To Gdndhdra or
Ga .... 2 Rudri
Cr6d
To Dhaivata or
Bha ... 3
ha,
To Madkyama or
Ma .... 4 ( Bdjricd
)
Prasarani
[ Madanti
<R6hini
Ramya
To Nishada or
... 2
Upta
Cdbiri
\
'
S Priti
(
*
Mdrjani
in the Sangita
different
They
H. T. C.
180
Madhydmd-Gr&ma,
Grama,
Grama, which
or scales
is
viz.,
Shadja-
The
S'ruti is
Grama
and Gandhdra-Gr&ma.
The Madhyama-
tdne between
of the
Pa.
represented.
Tetrachord.
TeirachorA.
Sa
Shadja
Grdma
Ri
Ga
Ma
Pa
Dha
Ni Sa
When
181
When
a note
is
they say
that such a note takes one or more S'ruti from the note im-
mediately below
it,
flatter
If a note is to be raised,
is
made
scale.
the expression
is,
that such
quently increased
distance
is in
and
conse-
it is
to
the
it,
Is*.
comes of three
i. e.,
interval between
Ri and Ga
that between
am
Ga and Ma becomes
Panchama
2nd.
at a loss to
the
a minor tone.
know how
flat,
is
this can
Gandhara.
take place
rather
Dha the
of
Panchama make
losing one,
this
it is
The three
S'ruti
reduced to a semi-tone
is
but
it
by
cannot lose
There are
flat.
fifth
note
interval
182
remains unaltered.
Dha
by giving one
or,
Panchama's
Nishada
is
S'rutis to Dhaivata.
of a note
but
S'ruti
it
may
Madhyama Grama
refer), it will
may,
although
one from
gains
it
It
for,
we compare
admitted, and
it
with
Ga Ma
Ei
3.
4.
Madhyam a
Grama
of S'rutis.
Dhaivata ;
Nishada, yet
(to
stand thus
Sa
not the
the
is
to be a term applied
compliment
Panchama, and
me
Here
Nishada.
to
Suddhaswara
flat.
explained to
is
be done by making
in this case
in the
3rd.
name
of
must
It
flat
Dha
Pa
4.
2.
Ni Sa
4.
3.
2.
Sa
Ma
Ga
Ei
2.
Gdndhdra
Grama
EG
3.
Pa
4.
2.
Dha
Ni
4.
Sa
183
Malcolm's
series of
Major
Mode
Malcolm's
Minor Mode
or
Madhyama Grdma.
Gandhdra Grdma.
CD
i
CD
o
CD
o*
CD
?
B
the octave.
difference.
or
3
cr
at
CD
show the
184
If
we
we
shall find it
composed
of
by a major tone
name numbers
first
4. 3.
and,
if
we
number
and,
first,
similitude.
all,
for the
or the exclusion
remaining
six,
particular notes,
five,
There
is
British Encyclopaedia
it
is
Campus Martius
on
at Rome,)
by which
figure
by the means
two
strings,
if
that,
of
number
of notes
that
which consists
if
of a conjunct Tetrachord as B. C. D.
tuned in
fifths,
E. G.
disjunct Tetrachords.
This
of the
*
may
A fragment
is
Ifc
is
a similar
which had
still
ed with parchment
tuned in
it is
it
hare often
It consists of a
fifths.
which
185
is
am
right, that of
The extent
of the
Hindu
Mundra-sthdna,
is
is
Gandhara
the lowest or
to the throat
first
or produced
derived
and,
which are
is
Septaca, called
The
there
scale is
is
in
denominated Gr&ma,
it
because
(literally village,)
the assemblage of
all
places,
mankind
as
differ-
first
by
Mi does
Grama may be
8
9
to
fifths
Dha
Sa.
Gramas,
its
it
name from
that
takes
in
the three
scale, as
to
Grama
is
scale
and the
therefore represented
by
The
represented as follow
186
The modulation
its rise
Madhyama Grdma
of the
probably took
scale
&i
sa
ga
ri
ma
pa
dha.
fa
sol
la.
OR
Si
This
ut
me
re
the Greeks
and here
it
scale,
ed
The
from Pa.
S'ruti
and with
Grama, giving
name
the
it
they adopt-
it
Madhyama, probably
of
to denote
its origin.
Dha
sa
ni
to have a
similar
origin
5th.
ma
ga
ri
pa.
OR
La
Which
is
ut
si
it
was probably
or
sol.
it
as
the
Gandhdra
called
fa
Vicrits,
to give
became necessary,
mi
ri
same
modulation
Grdma
and
to denote its
origin.
S'rutis I
what
I conceive
tain seven
in
them
to be,
Murchhanas
Each Grdma
hence
they
is
reckon
or rather
said to con-
twenty-one
all.
Sir
W. Jones
ed in
its
But the
scalei,
pears to
me
Ordma, which
would arrange as
is
Grama
fit
It ap-
are
follows.
composed
of
by a major
Tetraohords, separated
187
tone,
and
the Mitrchhanas of
1 suppose to be
1st.
from Sa to Hi
2nd.
Sa
3rd.
Sa to
4th. from
5th.
6th.
7th.
Ga
"\
1st.
2nd.
>
1st. 3rd.
Ma J
Pa to Dha -v
L
Pa to Ni
Pa to Sa
J
Pa to Sa
1st. 4th.
to
2nd. 2nd.
2nd. 3rd.
2nd. 4th.
8 octave.
Sa
to
Ga
greater third.
Sa to Ma.
4th.
5th.
Sa to Pa.
6th.
Sa to Dha, greater
7th.
Sa to Ni.
8th.
Sa
to Sa.
which
is entitled
interval."
it,
(which
is
explained
Poem on
interpretation of
siitfe.
He
Mi'trchhana,
"musical
In his version
in his treatise
of the Hindus.
H.
I. C.
188
Miirchhand of Gandhdra
Sa to
Sa
to Ga,
Sa
to
Sa
to Pa.
minor
third.
sixth.
to Ni.
Sa to
Sa.
The M&rchhan&s
names,*
Ma.
Sa to Dha, minor
Sa
Grama
Bi.
viz.
Those of the
:-
189
ON
FRANCIS FOWKE,
Esq.
Vol.
I.)
mm x ^
"
AN EXTRACT OE A LETTER
ON THE
VINA.
Esq.,
The
all
the perspective
to
thought
it
was better
to be sure
of that, especially
In obliging'you,
ment
shall
I look
happy, by furnishing
you with
and
facts,
am
highly
you greater
You may
absolutely depend
of
ment
it
upon
and
my
ear,
all
whole
that
this instru-
with regard
but had the
194
certainly not
of, will
may
be a
little
opinion
But
and
my
easy to separate
it is
my
though they
may
The Been
is
little
The
inches.
is
of the
gourd
first
instrument
is fixed at
is
The gourds
are very
The wires
The
are seven
They
is
!
3
e
S3
Tf<
03 tffl
#1
O O
~E3~
ffi
rt
gal
4^f-t
on
the
finger-board;
left side.
manner
*
s
-S3
\
3,
a.
The
195
the frets
one inch
is
and that at
--,
the other extremity about ths of an inch, and the decrease is pretty gradual.
By
itself.
himself,
means the
The
finger never
on with
which he does
entirely
by
ear.
Shah,
very
this
who was
little, if
ill
at
at
all,
Cawn
is
a performer
The
Jeewan Shah.
inferior to
by the pressure
immediately to
something
like
its
The
is
at all
it
return
so agreeable an effect
sound half a
of
little
of the finger.
frets
Any
tolerably exact.
for it appears
sometimes to
alter the
tone.
in number.
own
language.
change their
scale.
<->
as in the
European
196
ftrfl
The
style of
of great
air or
execution.
of detached passages,
descent
in general that
subject.
is
197
consist
to
of a
number
in their assent
softly, are
and
most of them
to
are struck,
greatly contribute
appointed
cipal key, I
and
am
from time
to time, in
manner
I think,
if
full
and
there
is
fine
is,
think,
always
dis-
inclined to think
it is
very short.
Were
there
it
has, at
some
period, been
much
supe-
and antiquity of
SUNGEET.
FBANCIS GLADWIN,
(From
the
" Ay em Akbery,"
Esq.
Vol. III.)
SUNGEET
BY
FRANCIS GLADWIN,
'Sunoeet
is
Esq.
HattSic
The
Which
two kinds
of
is
bin.,
;
Firsi;,
Art/nahut,
When
man
all
he perceives an inward
noise, to
They say
this proceeds
man
it
is
Abut, a sound
like speech,
by
'that
cannot be
in the state of
they consider
They say
percu&aib'n.
man
twen'ty-two nerves,
and
The
through the
'fifth,
'others,
is
1-,
eighteenth and
sixth,
rriute
but the
Sitirj, is
like
2,
resembling
202
SUNGEET.
It
season.
3,
in
is
Qandhar,
compas3
teenth nerve.
Muihem,
4,
is
thir-
is like
chem,
the
is like
Pun-
5,
like
Dehwat,
6,
the voice
is like
of
Nikhad,
7,
is like
An
which contains
air
Sumpoorun.
no
If
these seven
all
Khadow.
six,
has fewer.
air
has
it
(or
Soors,
they
Owduh
If five,
call
aud
posed of two.
varia-
tions.
They
say
That the
Purbutty.
2,
Bussunl
To
; 3,
first
mode
issued a musical
had
five
Beharowg ;
4,
Puncham ;
Sree
1,
Raga ;
Megh.
5,
this
These
Purbutty.
several variations
six
;
modes they
call
common.
Vabiations of Sree Raga
Z,6owree;
4,
Vaeiations
3,
Byratty ;
4,
Kadaree ;
of
Towree
5,
3,
Poonargeya.
4,
1,
Bdssunt 1,
;
5,
Malavee
2,
Tirowenee
Deysee
Deo-gurree
2,
Lellita ; 6, Eindowlee.
Variations of Boyrowung
Bihrowee
Maddeemadwee ; 6,Beharee.
Bung alee ;
5,
1,
Boyrowo
Biratka
2,
6,
Muddehmad;
Bindavee;
7,
203
SUNGBET.
Vaeiations of
Kanra ;
Puncham 1,
Beybhass
Badhunsha ; 5, Malsree ;
Variations of Megh 1, Mullar
varee;
4,
4,
Kowsekee
Variations of
3,
Aheeree
; 4,
Some make
5,
Gandhar ;
Sowrutty ;
2,
6,
Boopalee
; 2,
3,
Pathamunjeree.
6,
3,
Assa-
Harasingaree.
Namarain 1, Eammodee;
Soodhanuat ; 5 Saluk ;
6,
Eulleyan;
2,
Nutkwmfmer.
Others in
five
variations
of
each.
Marug being
those invented
the
same every-
Penjtalisser ;
Bagkuddem
6,
3,
Sirbetoobehder ;
Shoomra
and
7,
4,
1,
Chanderperkass ;
5,
Surtunnee.
different
Soorejperkass
(or local),
each
class
collection
of people.
of songs
When Man
The Dhoorpud
cal lines
of
any length.
They
virtue.
men
Th
'
SUNGEET;
2GT4
Those
of,
posed by
of-
These
in.
Ben-
Clioolkutta.
were com-
last
mixture of the
are a- delightful
and
Those of
Jownpoor>
of
TemnehX
Ameer Khosru
Those' sung
love.
Those
Si(jd,
love.
Those.; of Qujerat
The
Juckee.
warlike and
called. Kirhtfi
different measures,
and in various
already, mentioned,
there are
dialects.
many
others,
are.
of
Besides those
amongst which
Seohav, Deyskar,
and Deysneek*
1,
Ragalap, the
is,
air.
Mdopalap,< the
2^
air.
with
the. words.,.
3,
Amen
syllables.
Taul, or measure.
is
6, JVeehrat,
three ta twenty
called
three,
six
Meydenee;
Bhawanee;
of fewer.
if
the
is
things:
Tuntivma, or
Paut
Pirbendh,
and consists of
art' of
composiug
Soot-,
4,.Tinna, or
% Beredi
Amen
5,
Time,
of the word, Tvmtiwm, from
This therefore
is
If the
Taul contains
if five,
Anundenee ;
two,
],
Terawely
an excess of time.
six Tuntinnas,
if four,
Debnee,;
it
if.
205
SUNGEET.
or- melody.
ty of the measure.
made
Tut, stringed
1,
instruments.
2,
3,
4,
Sookhir, wind
Tit,
those
instruments.
Stringed Instruments
of hollow
is
wood an
length,
in
ell
On
the
neck are placed sixteen wooden frets, over which are strung
The tone
by means
of the frets.
strings.
The Sirbheenis
any
like
it
has not
frets.
and
it
this is smaller
than that
is
six
of gut.
some
of
the
The
it.
strings
of.
gut
but some
others,, eighteen.
of'
placed in the
iron,
some
It
has twenty-one
of. brass,
and some
206
SUNGEET.
The Saringee,
called
also Soorbotan,
is
of the shape
of
It has
The A dhowtee
is
ment
but
and
is
flat at
it is
The
Dehl,
is
is
is
Tal,
or stone
drum
well known.
little
drum
well
known.
The Shehna,
The Mushk,
rule,
language
is
is
composed of two
reeds, perforated
called
The Moorlee,
The
to
bells.
is
The Kut-h
together.
The Khenjir,
drums fastened
silk.
is
The Irdahwej,
The
falconers
another kind of
The Dheddeh,
is
strings
of gut,
is
according
In the Persian
a kind of flute.
an
ell
long,
with a hole in
207
SUNGEET.
Those who sing the ancient songs, which are the same
everywhere, are called Byhar
The Kerawunt
Sehkar.
The Dharhee
-and those
are those
who
who
them
teach
Dhoorpud.
praises of heroes,
The Kewall
which
Many
are
of
to
of this
number, but sing chiefly the Dehly airs and Persian songs
in the
same
style.
their
songs.
The
class
upon
thirteen pair of
Tal,
women
Sezdehtaly, the
placing
women
but
men
now
of this
plays at once
wrists,
on the
breast.
Nuthwah
The
The Keertunnya
Tal.
They
and Tal.
praise of Kishen.
as the last
mimics.
are
are the
They
exhibit at night.
are
The Bhumveyeh
same
great
greatly
208
SUNGEET.
resemble the
last,
They
The
Hindovee language
grain,
They
also sing
They
re-
iron spit
swallow
down
hand.
flights of
They
and sing
They run an
stomach
Talee,
Tal,
them Kunchenee.
women
His Majesty
Tal,
dance upon the rope, and throw themselves into strange pos-
The
tures.
and
disguise
men seem
them-
to be youths,
The Jugglers
a
man
in pieces,
seem to cut
is
own
family.
The performers
are
generally
women
of
A set consists of
who
Tal, with
play the
two
They
are, for
P-tikaWej,
His Majesty
knowledge of
torches.
is
sell
who
them.
its principles.
means
This
of
art,
THE NAQQARAHKHANAH
AND
BY
H.
BLOCHMANN,
From
the
Esq., m.a.
" Ain-i-Akbari,"
Vol. I. )
.A.I2T 19.
NAQQARAHKHANAH.
BY
H.
Of musical
may mention,
BLOOHMANN,
1,
them more
The
made
2,
Duliul, of
four.
each kind.
a cow's horn
bal, of
The Sing
7,
;
is
less.
is
of the Persian
The
6,
and
Nafir, of
made
of brass, and
more or
The Karana*
The Surna
5,
DamamaJi
pairs,
4,
called
or less
Indian kinds
Esq., m. a.
8,
in the form of
The
Sanj, or
cym-
ment
now they
his ascent,
sun-rise,
play
at midnight,
first
commence
the musicians
One
when they
ghari before
beat the
Kuwargah a
qarah;
after
little
pause the
*
Sum as are
Or Karranu.
NAQQAEAHKHANAH.
212
One hour
"the auspicious
musicians raise
all
strain."*
name
when
1,
The
Mursali, which
is
the
of a tune
This
is
The playing
2,
nigar quatrah,f or
3,
The playing
Nukh&d
of the old
Of these his
Khwdrizmite tunes.
Majesty has composed more than two hundred, which are the
delight of
young and
Mahamir karkat
(1),
of the cymbals.
5,
bid,
especially
The playing
of
4,
The
swelling play
Ba miy&n
daur.
The
6,
passing into the tunes Azfar, also called Rdhi bdld, after which
comes a pianissimo.
7,
The Khwdrizmite
played by
tunes,
commences the
Then
an hour.
ther hour,
he then
for
when
follows
the
This also
lasts
to a
proper conclusion.
hand
remain
and he
so.
is
likewise an
on the Naqq&rah.
Several of these
bability,
in performing, especially
names
Ndgar
and
shirdzi qalandari,
qatraJi
"a hermit
tear.
of
213
JT1<T 30.
cannot
of the
creatures
beautiful
power of
this
harem
means
seat,
The
moved
Music
or to joy.
is
cling to
still
it.
who
all
Hindus,
at Court,
Kashmiris, both
and
to music,
the
is
There are
musicians
numerous
sorrow
to
Irani,
Turanis,
When
his
harmony
the wine of
let
in some,
flow,
and
sobriety in others.
We
*
ters,
goyandah,
have to distinguish
The
singers,'
principal singers
The
schools
in
of
Rijah
to those
lost
his
he
accepted
Bahadur
His
two
call
(1526 to
great
subsequently
to
1536,
singers
Gujrat,
A. D.)
were
Akbar's service.
where
Islem
Ham
Kalinjar.
he remained
Shah
Doss
Mahapater
but
when
Uakh-
his patron
Mabapater.
of Sultan
court
was a patron
also
and
of Tansen.
of
Both
music.
entered
to
214
too difficult
description of this
but
I shall
Miyan Tansen,*
1.
of people
class
would be
of Qwaliar.
singer like
him has
Baba
3.
4.
5.
6.
Biohitr
7.
Muhammad Khan
8.
Bir
9.
R<irndas,+ of Gwaliar,
Khan, brother
of
'a
singer.
singer.
a singer.
Subhan Khan, a
Maudal Khan,
11.
12.
13.
Miyan
rival.
once given
him one
Tantarang Khan
(11,42) says,
Ram
is
said to have
Ram Chand
Sarmandal.
10.
singer.
Dhari, sings. %
(11,
5 an interesting
passage)
He
appears
Bilas.
rebellion,
from him one lakh of tankahs, empty as Bairam's treasure chest was.
He was
first
only to Tansen.
||
is
Dhari means a
Jahangir says in
'
and he
is
mentioned below.
singer,' a musician.
(or
Kalanwat,
i. e.,
the singer) died in the 3rd year of his reign, " sixty or rather seventy years
old.
He had
my
father's service.
Muhammadan women."
One
of his
215
15.
sings.
16.
Usta Dost,
17.
Nanak
of
Jarjti, of
flute (nai).
Gwaliar, a singer.
18.
19.
20.
21.
22.
Shaikh
23.
Rahmatullah,
Dawan
sings.
brother
Mulla Is-bdq,
of
(No.
15),
a singer.
24.
Mir Sayyid
25.
Usta
26.
Qasim, surnamed
All, of
on the Tamb&rah.
Koh bar.*
He
has invented an
Qzibuz
and
the Rab&b.
27.
28.
29.
Bahram
30.
31.
32.
Usta
33.
34.
Qubiiz.
Muhammad Amin,
plays on the
Tamb&rak r
Qanun.
Koh-bar, as
name
we know from
the PSdishahnamah
(1
6,
p. 335) is
of a Chaghtai tribe.
we have
to read
Kohbar,
for Guh-
216
Pirzadah,*
35.
Mir Dawam,
of
Khurasan,
of
Muhammad
Usta
36.
* Pizzadah,
He was
He
of the
singer.
Chatr
Khan
During Shahjahan's
Hamzan.
Parwizdad
reign
we
who
got the
title
of
Gunasamudra (ocean
weighed in
silver,
Mauling Sharaf of
Muhammad Mumin,
579),
(p.
alias
Mak'hu
in the service
singers
Khurramdad
Jangat'h,
find
Khan and
;
of excellence).
La"l
Lai
who
Khan
Khan was
Music
is
given.
(the
to the
is
dead,
emperor, "
from
<*
people,)
lody
against the
it."
and we
to
shew themselves
daily to the
on the
bier.
had been
They
He came
said,
" Me-
may
issue
ORIENTAL MUSIC.
THE MUSIC OF HINDUSTAN OR INDIA.
WILLIAM
0.
STAFFORD.
OEIENTAL MUSIC.
THE MUSIC OP HINDUSTAN OR INDIA.
BY
WILLIAM
C.
STAFFORD.
five
great nations
whom, except
last,
all
of
music.
ledge
the
India
is
and
M.
sciences.
early proficiency
commonly
we now
the earliest
received opinion of
settlements
call
of the
the arts
cultivated
before Christ.
in
Indians
to it as a proof
sons
of Noah,
and that a
liest antiquity,
them
;"
ear-
either
may now
early
day,
appear,
they
ORIENTAL MUSIC.
220
in knowledge.*
into
their
We
shall
not,
antiquity,
The Hindus
believe, that
speech
Sareswati,
the goddess of
which was
Cach'hapi or
also called
sage Bharat,
musician
first
who was
is
Testudo.
Among
in-
There appear to
and very
different
names
for
the
is
said
still
to be preserved.
will
be
nor do
we think they would repay the time and trouble which such
a task would require. To the learned natives, hoTsever, the
theory of the art appears to be known, though the practice is
entirely lost.
origin
[or
ragas]
and raugines,
[or
to
them.
" Of the six raugs," says Sir William Ouseley,* " the
* Oriental Collec ion*.
first
ORIENTAL MUSIC.
five
owe
from
his five
sixth
heads.
Thus, of
genus
821
and
of the
considerable difficulty
is
found
our system
as
of
is
Whatever magic
produced by two
Lyre or Timotheus
his
been
more extraordi-
it
palace, as far as
circle
Emthe
became
round the
the rang
Dheepuck
manded one
instantly
of his musicians,
it.
possessed
destruction by
Akber
is
of
the
fire
to sing
Jumna
As he warbled
in
it,
and
which he
magical notes, flames burst from his body and consumed him
to ashes
to produce immediate
girl once,
rain,
and
tradition
ORIENTAL MUSIC.
222
no
traveller
wonderful properties
of India, he
the inquirer
The
the
if
he inquire
them
for
these
in the
west
in Bengal
is
flute,
violin
is told
but
Of course
possessed of
singers
was
and
kind,
it
some parts as
in use in
far
library of
one entitled,
is
'
A true and
away
in the
part' of the
farthest
many unknown
whom
amongst
many
he was thrown
and what
is
to our purpose
He
ancient violin.
arrives at
'
mere-eators'
Buckar
'
standing on an island,
The
little
if
to
ad-
met
welcome
Fowke
Francis
Esq., in a letter to
Hindu instrument
cribes an
mentioned) which
Guitar.
"
The
* Sir
similar in
is
style
W,
Sir
on
Musical Review.
i.,
this instrument
p. 74.
223
OEIENTAL MDSIC.
is
number
of detached passages,
and descent
manner that
uncommonly
appointed."
He
full
it
change in the
and
fine tones of
is
always dis-
adds,
that
both uncom-
in their ascent
softly are
much
the supposition,
practice,
There
is
ham,
in
intended as
ginally
scene
it is
now used
of sculpture fronts
man
diverting
is
One
of the group
an infant by playing on
as
we
do."
a_flute,
one of which
What we have
hitherto said,
ancient
must be considered
as refer-
music of Hindustan.
sensations
it
excites,
Of the
as Sir
It is
of the
diatonic
genera
ORIENTAL MUSIC.
224
Hindu
Scotch and
Irish,
beyond description.
it
as being
known
It is not
in
our
ingenious
Hindustan."*
of music has,
I believe,
all
Indian music.
which
that any of
discovered
Orientalists speak of
and
pleasing
at
the
simplicity of
originality,
the
skill
composers
of the native
directed to the
is
is
we do not admit
we must
many
great merit.
to an
European
ear."t
Sir William's
of the
Hindu
airs possess
them
inserted several of
in his
It
;
of the
is
have attached
Nutt or Bamallee
gipsies,
minstrels,
who
tribes,
These musi-
225
ORIENTAL MUSIC.
In an account of Penang, given by Wilkinson
" Sketches of China,"
his
in
it
culti-
known
in Italy.
come a subject
by the
sable
is
songsters,
and eulogium
severally described
in
their savage
and every
polacca, which,
al-
to
the
ear."*
'
of seven notes
The
-na,
ov sa,
ri,
Gamut
ga,
hauredge
(the first
excepted) the
initial
which
rehkub
gundhaur ;
Of
letters
these seven
are used, in
Instead of the
first,
signifies, emphatically,
named swam,
office
which
As
it
to
neehhaudh.
used,
were, the
it
or the sound,
its
initial
is
by
single consonants,
and
the two others have different short vowels, taken from their
* Letter on
'
and Maga-
t Sir
Collections, Vol.
i.,
p.
76.
C-l
ORIENTAL MUSIC.
22G
full
names
note
is
elongation of them.
scale,
The
meau
execution, or
manner of finger
by
for a further
by straight
curves,
and
circles
by
is
are determined
by
ellipses,
chains,
little
by the prosody
The
and
of a strain
close
of the verse,
If I
under-
stand the native musicians, they have not only the chromatic,
The
regular
same
Gamut
mode
to our major
of the
ut, ri,
mi, fa
sol,
la
ut.
si,
When
the
S'rati's,
thirds
or quarters and
One
sixteen thousand.
of
to
Soma,
practice,
mode, properly
each
of
signifies
mode being
to
it,
Hindu word
move
raga, which
It should be
is
rendered
mind
one or other
of
affections.
*
On
ike
Works
227
ORIENTAL MUSIC.
Mr. Paterson, in his notice of the "
Garnets, or
Musical Scales
"the
six
ragas,
and
thirty ragines,'
melodies,
which were
and
of the day
vie.,
fixed
times
in
early times,
Now
the Hindus
its
...
of a musician.
The
These strings
The sauringas,
of gut
ber
The
strings are
five in
num-
larger,
the
The Hindu
with a bow.
cithara
is
The common
small kettle-drum.
Two
is
played
the sash which goes round the waist, and are beaten with the
fingers,
is
cultivated
and Calcutta, in
by some distinguished
mental.
artists,
which
is
particular,
current in
has been
OMENTAL
228
The
MUSIC.
in 1824, consist-
two violon
cellos,
two
and kettle-drums.
mer
It
singers were
Rupees.
The charge
of the higher
J.
NATHAN.
Vocalis."
The Hindus
NATHAN,
mind by devotion
raising the
to
Ragas,
fied in six
each of which
same
strain,
to each.
But
down by
ances-
their
is
we may
call
representing so
many
is
to
of the
much more
modes
we
ex-
exclusively restricted to
some
it is
opportune or admissible.*
Hindu
belief in
God having
Sanscrit
by the word
of his
male
From
deities,
of
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.
quence
she
is also said to
by which the
dess
is
divine will
was
first
hannony and
elo-
letters called
Demnagry,
This god-
deities, called
Rags or Ragae,
232
to the inquiry.
its
semitones.
It is also
possible
Grahas or planetary
bodies, they
notes into
to
excited
He
latter
of Alexander,
it
believes,
that they
diatonic,
for, al-
it
are accompanied each with five Eaginies or Ragnis, female deities or nymphs
of
harmony
it
is
can be sung or
There once existed, say the Hindus, a musical mode belonging to Deipec
or Cupid, the infiamer; but it is
to restore it
a musician
who attempted
from heaven.
is
SCIENTIFIC INTELLIGENCE.
From
the "
XXV., 1834)
..
WILLAED'S TREATISE
MUSIC OF HINDUSTAN.
With
we have had
little
Gilchrist's
(generally
to the different
ill
of the East.
known
Solwyn's
of appreciating the
capable
magnificent
work
contains
accurate
into,
therefore,
avidity,
was known
to
be a
skilful
per-
ment
at
has his
of
little
volume
Nawab
disappointed
observation
us,
Banda
neither
being a familiar
to
236
ORIENTAL MUSIC.
An
author
own
Sanskrit,
would
and
professors
have
required
sufficient familiarity
and
heroic,
its
To have persued
compositions.
antiquary,
the subject as an
extensive knowledge of
erotic
are
for
more respectable
is
is
held to be disreputable
ranks, just as
among the
our theatres.
Still
in these
degenerate days
Vin
may
there
are
occasionally be heard
pouring forth a strain of rhapsody that carries the imagination back to the fabulous age of Rishes and Oandharbas.
Our author
compound
peculiarities of
Hindustan.
of
Gamut,
Then
follows
and
of the
in the songs
and copper-plate
of time, of
"
The musicians
had
his
own
to
re-
a certain height,
and
237
ORIENTAL MUSIC.
to
From
this it
note
is
may
be observed that
it
is
it
immaterial which
Vin, to correspond
it
it
ment.
The notes
sub-divisions
us
assigned as follow
C Kharaj
Ri
Ga
F Maddham
Ma
G Panchum
Pa
Dha
Ni
Ilhyvat
B Mkhad
The
fifth,
Srulis comprised.
and
fifth
a distinct
Sa.,
Rikhab
Gandhar
them has
Soor.
22 minor
into
name
D
E
instead
those between the second and third, and sixth and seventh,
each into
three
parts
and those
between
under
the
division
authority of Tartini
can
'
time,'
third
Captain Willard
notwithstanding
that no
beautiful melody in
the
with us are
the
musician
" There
is
this fact.
it.
We
238
ORIENTAL MUSIC.
Harmony
Indian
is
instrumental melody
for it is
consti-
amoDg the
1.
They
2.
all
denominated
is
the
first
3.
is
or at least with
first bar,
certain
number
of measures,
There
4.
pauses, which
is
much
as
may
The author
Rag by
Jones' rendering of
The
'
tune' or
'
distinct
'
personification of rags
quire any
of the
rag
word that
mode,' or key,
air.'
of pictures called
remark
lib.
Sir William
corrects
the expression,
signifies rather
ad
for
liberty
known
series
to
re-
interest
these
been
series
of drawings,
by
engravings
of
done in India.
selected
this could
not
set
have been
easily
to music
7-quaver
airs)
is
strikingly
marked
in
some of these
239
ORIENTAL MUSIC.
We
posing the
first
line
by
trans-
and adding
original
Oh thief
of
my heart,
eye
me
not so
shining so brightly
CATALOGUE OF INDIAN
MUSICAL INSTRUMENTS.
COL.
From
P.
T.
FEENCH.
Academy,
Vol. IX.,
Royal Irish
Part
I.
E-l
Colonel P. T.
FRENCH.
called
of Musical
upon
to describe
now proceed
to
effects
much more
description
so,
had
can be by mere
them by wire-drawers
this city.
do
I have to
in
India,
made
which
is
upon
especially for
not obtainable in
descriptive
detail
alone,
Nos.
1,
2, 3, in
my own
experience.
Catalogue.
all
native music
but
religious character
metal,
The
larger
when clashed
all
shapes
CATALOGUE OF INDIAN.
244
own
and
flageolets, the
of trumpets,
form
fitting
Cymbals
generally executed.
effect of large
in form
differ
gongs
In
is
done very
like,
and, sound:
is to assist in
skilfully
all,
marking
performers.
which
is
in the form of
two cups, of
bell metal,
Of these one
is
held in the
by the
other,
which
is
used,
is
and of which
is
left
struck
Players on
may
be accompanied.
may
ia
be conceived possible
music.
srr^T
(Thalia). Gong.
to
sacrifice
It is beaten in
tem-
or ceremony at different
245
MUSICAL INSTRUMENT.
hours of the day, and
religious
who
The
are
used
is
accompaniment
tricks.
vocal
to
music, nor to any but the loud, crashing and generally dissoIt is not
used by Maho-
of.
it is
common
medans.
5.
As
Bell.
same manner
ly.
*f (Gunte).
as the
No ceremony
is
bell,
To
is
ever
which
No
is
set
describe
me
hand
Hinduism
it is
and the
rituals,
vances,
define
liturgies,
the use to be
as ancient as
made
of
it.
known.
6.
$ '^5
(Goongooroo).
Hindu
or
By Mahomedans,
am aware of is un-
Ankle
bells are
Mahomedan.
used by
They
itself,
are
Bells.
all
dancers, male
tied
round the
the feet
move
246
CATALOGUE OP INDIAN.
and
they not only serve to mark the time, but to keep the dancer
or singer in perfect
These
bells
with
of their profession
all
No
lier
without touching his or her forehead and eyes with them, and
saying a short prayer or invocation to a patron saint or
Hindu
nity,
or
Mahometan. Nor
is it possible, after
them-
divi-
a female
cere-
He
on the
bells,"
is
even a proverb, to
a purpose from
self to
which
it
is
impossible to recede.
Strings of these small bells are also used for horses, and tied
some of a
large size
bullock.
The
tinsel
rib-
cloth, also
with sleigh
bells.
No
post
end
of his
and on a
pole on which
still
at a great
is
distance serves to
scare
to
Used
frs*l (Seeng).
processions,
and the
Horn.
like,
watch setting,
for the
most
part, are
Hindus of low
it is
f*~'
247
the
MUSICAL INSTRUMENTS.
when
the
watchmen go
Iu large
cities
police
and there
is
is
indispeusable
Hindu
cremations of
No
In
all
processions,
Hindus
its
seldom a guard or
and
castes, or equally
so at the
in his train
and as towns or
the head of
wail-
at the funerals of
princes.
native authority
frequently several,
it
and
is
villages are
heralded by flourishes
struts at
the cavalcade.
others from the town or village gate, whence the local authorities
come out
welcome.
to
On
meet the
visitor
offerings of
the discordance
is
and
generally indescribable.
Itinerant mendicants of
many
carrying grain
droves of
cattle
Brinjarees,
in
charge of
or merchandize, such as
it is
sounded at intervals
along the road to cheer up their bullocks and keep them from
straggling, as well as
at their
phiyer
much more
much more
is
not unlike a
common
compass.
CATALOGUE OP INDIAN.
248
many
the
of
calls,
shrill
falls,
fortress,
effect
as heard
or from village
horn-blowers,
or attempted by native
Museum
or Celtic instrument,
if
of the
and
it,
In shape,
already detailed.
battle,
Academy
in
Used
Jjtjfi:
chiefly
Tootoore
religious
in
).
Small Trumpet.
music
at temples,
and in other
and
bass.
may
No
upon
it,
but
it is
intervals,
sounded at
played.
9.
3iif
Kuma).
is
Large Trumpet.
used chiefly in religious pro-
honour of
local
divinities.
It has
a few hoarse bass notes, which contrast with the shrill tenor
of the Tootoore,
249
MUSICAL INSTRUMENTS.
the
of
who
country,
possess large
ecclesiastical
jurisdiction,
rank, which
is
Occasionally, also,
Mahomedan
five
as well as
stated periods
Hindu
of the
all
and they
establish-
sounded at the
are
but
distinctions in
The Nobut,
it.
esteemed by
The hurna,
or large
is
all
nies,
and
at
solemn parts of
sacrifice.
is
cession on the
Arch of Titus
at
to
with seven
and thus
it
may be
inferred that
it
was used
in the ancient
Jewish ceremonies.
10. "ffan:
^T
<
^Ti
Tenor or Second.
These instruments, which
of universal use
in
all
all
11, 12,
Do.
Eeed Pipes.
parts of India.
What
bagpipes are
F-l
CATALOGUE OF INDIAN
250
and eight
holes, respectively,
no great compass
of fingering
in the
manner
Although
India.
upon the
formed
From
effective.
unpleasant
the open
much
if
air,
is
their great
ad,
specially
softness.
but at a distance in
universal.
are very
and
the
much
effect
is
employed
on
all
and the
pieces
pibrochs in character
for funerals,
for
welcomings, departures
familiar
effects.
all
ballad
separate
or plaintive,
airs,
modes
effect
is
often sur-
are introduced
shrines of
of musicians attached to
saints,
Mahomedan
or
MUSICAL INSTRUMENTS.
251
and
bass,
is
large kettle-drums,
pipes,
played
is
played from
new
The music
effect.
but
skilful
airs,
several
modes of
Not
by Mahratta musicians
have the
find
in
shrillness
pipes,
which
but I do not
collection.
and the
called gursee,
office
other
The
of "gursee"
office
on
all
and
at harvest,
common with
members
village
privileges, in
and
officiating at certain
ceremonies
and
the gursee
which are
is
strictly preserved
14. 'fteTT
^1
^JT- 15-
Tenor
bass, or first
and second
specimens.
bass, of
each, which
252
is
CATALOGUE OF INDUS*
effect of the
They
16.
(Poovgi).
tff*t
upon them
airs,
same manner.
Snake-Chaemer's Pipe.
six notes,
with other
musical
acrobats,
and the
By
like.
themselves on their
themselves to and
tails,
fro,
So
is
of
balls
them up
have an
is
them
effect
is
upon
denied by many.
all
this
Ellichpoor,
instrument
As an instance
my
garden at
or
again.
I think there
'
reptiles raise
be exhibited,
and as the
of -the poongi.
It -was
in
played at
my own
first
presence
very softly
h>a
253
MUSICAL INSTRUMENTS.
hole
gently
till it
manner.
was
At
fairly outside,
and erected
itself in
that
a defiant
dexterously
by a forked
stick,
seizing
it
by
strong pincers.
it,
loose, apparently
men
all
off in
an attempt
to
for
a portion of
destroy
it.
its tail
The same
my house,
17.
19.
^mTU
(Soor Sotta).
18.
?rfaTT
(Tumboora).
to 20,
or
They
with pegs at the end, along which the wires, one brass
and three
steel,
made on
No
these instruments.
in whatever key
is
required
They
are
generally of C and
is
or the
the finger
Almost
truments
all
in preference lo
any other.
They
are, in fact,
only
CATALOGUE OP INDIAN
254
it
much ornament
So
execution.
is
employed by professional
and
it is
esteemed a mark of
in-
teriority to use
was sure
of correctness of time,
therefore,
and accord.
The tumboora,
is
company
with, pipes
the effect
instrument
simple,
is
or
flageolets,
or in-
is
Performance.
The
though
the
have heard
it
to the voice.
aud
execution
it
is
has
for bass,
and eighteen
will be seen
dowu, and a
by a glance, and
considerable,
altered to
skilful
steel
frets, or,
effect,
which
musician knows
it is
treble,
its
capability
unpleasant.
for
how
to do
frets
this
frequently played
is
The
up or
exactly.
wonder-
MUSICAL INSTRUMENTS.
ful r
255
at Will,
^t ^p^fT
22.
(Soorsringa).
Numbers 22 and 23
sr^^T (Kuchwa.)
23.
same character
its size
thirds,
In playing, the
is
is
difficult
of execufrets,
but
eight strings, six from the top and two at the sides, which
lie
No. 21
is,
effects.
This variation of
Guzerat country.
24, 24a, 25.
This
is
seventeen
?rr3l% (Taoosee).
sitar,
No. 21.
No. 24 has
are eleven strings of very fine steel wire, which are tuned
to eleven separate notes in the direct scale, and are not played
Hpon.
Their use Is
to. effect
modulations by vibration of
the hand.
No. 25
is
CATALOGUE OF INDIAN
256
The
Vina.
which
is
wanting to this
much from
differ
of this
it
steel
has
effect of
does not
notes sounded
The
finger
music
D.
To
Hinflu music,
and
is
the vina,
it
is
In form
collection.
hear, so
it
Cfl,
D, Dft C, F, F#,
South of India.
Hindu
airs
One
men,
of these
after playing
many
it
;
it,
considering
is
of
ment
of India.
257
MUSICAL INSTRUMENTS.
OTTfil (Sarungi.)
26.
28.
^ct^T (Sarrooda).
27.
f^fim
(Ghikara).
some
respects,
three,
No. 26
may
is
and are
fiddles of India,
played in the
differing
from them in
as the
the most
commonly employed.
Of the
87, Sarrooda,
and accompanies
28
is
an inferior
hands of
fiddle,
it
it is
is
and ballad
plays or poems,
strings of cat-gut
tion upon
which
players,
strolling
singers.
by accomplished performers
is
frequently strik-
ing and pleasing, while the tones are nearer perhaps in quali-
human
ty to the
with which I
am
Considering
acquainted.
is
its
powerful than
its
First,
is
of
may
be
and,
others of
with the
scale,
fine
steel
effect
of
is
The Sarungi
by Hindu
and
is
imagine
it
may
Captain Giberne,
It
forms
Bombay Army,
used
to prefer
one of these
G-i
258
CATALOGUE OF INDIAN
instruments to his
own
The
its character,
addition to our
From
its
difficult of
as
it is
own
size,
but
it
it
execution
and
might
is
alter-
combines the
it
effect of
<.4<^l
(Sar Mundal.)
styled the
Indian dulcimer.
'
<i
therefore
It
is it
met
owing
30.
spfa
a guitar,
violin.
is
by no
it is
not
very pleasing,
often
with,
to
prove a useful
may be
is,
would be quite
orchestral effects.
the Sairooda
29.
This
violin
possible to
ing
own
some
pieces in which
(Been).
is
chiefly
used by mendicants
at
occasional effects.
31.
An
ter.
ft'^'f*
the finger, or a
The
(Toontoonee).
quill,
as an
any
is
struck rapidly by
accompaniment
key- required.
bal-
to the voice.
259
MUSICAL INSTRUMENTS.
These
(Bayra).
<STHTT
five
partly by
36.
(Buff.)
class,
the
common
by
sticks,
the hand.
while with
(Hullcya).
played, partly
is
left
35.
pieces of
y^fii
is
ments
to the horn,
bastions,
fort
all
sorts
employed
drums
of a
No.
walls,
In
and in
is
drummers
expert.
7.
Every
and the
village,
like,
are very
has one
and in native
of processions,
festivals,
and the
like,
they are
more
scientific character,
which
will
be described
in turn.
37.
truments.
when
voice,
or
of universal use,
but
ireKTar (Puhhwaj).
40
Which
and in
is
all
music.
Some
260
CATALOGUE OF INDIAN
tubla,
which
jmhhwaj
is
On
sionals.
be described hereafter
will
employed more than the other by Hindu profesthis instrument-players are exceedingly expert
which both
in
sides, tenor
and
bass, are
This drum
est exactness.
is
is
and a
piece of
dough
is
usually put
it
to
all
others,
in tune.
is
Among
side,
which
instrumental
whatever they
may
it.
41.
'g^R (Eoodooh).
42.
stu (Dak).
like,
them
divinity,
to
wild
The
name
latter use
of
some
melancholy
or
cadences.
3Tf3TT (Bahya).
43.
44.
sticks.
village musicians,
45.
particular explanation
wfa
and
in concert
(Sumball).
with pipes.
Tenor
as No. 40,
much
used.
but not so
MUSICAL INSTRUMENTS.
K^TT
46.
261
{Tulla.)
These drums, tenor and bass, rank with the Pukhwaj, and
many
are preferred by
players.
They
are
in a cloth
tied
round the waist, when played, and the hands are exclusively
used, with extraordinary execution.
delicate, and,
accompaniment to the
of copper, and,
The tone
violins,
The
voice.
tubla
is of
quite an art
many
differs in
florid
are
made
wood.
is
is
among
of a very
On
drums
Indian performers.
mellow and
is
forms an excellent
this
account,
*ra
{Nul).
Kettle-Drums.
beaten by
sticks.
much
like
irre-
march,
line of progress is
Used
sg*T^*U (Doogdooga).
chiefly
%sm
is
singers.
{Nobut.)
name
It has a deep,
to the "Nobut,"
is
played
262
CATALOGUE OP INDIAN
like our
smaller
own
With
bass drum.
it
kettle-drums, 43 and 44
are usually
and a per-
all
snf (Shunk).
50.
Conch Shell.
ing religious
ship,
upon
the
it
and
its clear,
but
is
sounded dur-
Hindu wor-
processions of
in
No
idols.
lips,
early
ceremonials,
and before
accompany the
tune,
so to speak,
can he played
much modulation by
humming notes, heard at
capable of
is
mellow,
effect,
as
in
upon
it,
may
Hindu music
brief as they
some respects
to
of these instruments,
be esteemed incomplete
as a science,
must
the follow-
necessarily be,
may
for it
would be impossible
for
now
to
the Academy.
First, then, as to notation
in
essentials
their scale,
similar
to our own.
named
as follows
263
MUSICAL INSTRUMENTS.
Sharja.
Puuohama.
Rishaba.
Dhaivata.
Qandhara.
Nishada.
Madhyama.
of which the initial letters form the
gamut
Sa, Ri,
La,
Sol,
Si,
Ut,
Ut,
may
ABODBFG
written.
Ri,
Ma,
Ga,
Dha,
Pa,
sound or time
and
attached to each
may
be admitted,
fall
is
Ni,
Sa.
especial symbols,
like
air
by lengthening or shortening
expressed
as they
Mi,
be thus
Sa,
are
Ga,
Ri,
the vowels
initial
This in
;
itself,
it will
becomes
intelligible to
performers
and as taught
at present,
some of which
sist of repetitions of
and
learners,
difficult,
con-
Each note
are denned
*
is
In like manner our own music might be written and read from the
notes themselves.
CATALOGUE OF INDIAN
264
taking the
or,
by a manner
of fingering
known
to performers
violin,
classical definition or
frets,
and teachers
effect.
of
other modes.
Thus we
7X12 = 84 modes
fiud
seven
The requirements
system
of the classical
no deviation from
modes
and
The
or permitted.
or
much
instrumental
critical audience, if
as to introduce at a
he trans-
wrong period
which belonged to
performances,
another.
In illustration
"
A melody,
or phrase,
commencing with
D. E. $. Gjf. A. B. C#. D.
where the
fifth notes,
first
and the
G#
fifth
mode
of
ni,
such a
it
it at
close of day."
of division,
which
is
fifty-four
modes,
265
MUSICAL INSTRUMENTS.
by an
allegory.
nymphs, each
six
nymphs,
as
primary notes
forty-eight
children,
fifty-four in
all.
third
system
divides
of these
re,
mi,
making
into
is
six
and
six
known by
Sa, or A, is its
As an example, the
or part of a note.
husbands
modes
or
Each
it.
married to a
or divisions
of rags
or ends
it
is
Thus we have
modes
whom
six semitones, as
as minor
of
children.
eight
this
mode
represents
with a minor
my
have mentioned in
can be
upon
executed
several of
them
the
vina, the
sarungi, &c.
it
or
necessary.
two
srutis"
to which
if
to
any number
of
may be
srutis is admissible is
determined
fifth
and
and
first
scales,
sixth,
which
is
minor
CATALOGUE OP INDIAN
266
The two
scales are
Pa, or E,
raising
Every
made
and adding
it
by taking a
to coincide
to Dha, or
or, in
'
sruti'
sruti is a little
nymph
sisters.
from
Indian terms, by
srutis,
In
like
tached to
its
known
once,
at
scientific
in their proper
Hindu musicians.
still
existence.
in
Indeed, in
<the
and cultivated
in the north.
Mahomedan
that
it
had ceased
historians of
as
such
Mogul
general,
of
to
be in a
The
science
of
of learned,
sound,
variations of
it
Indian music
is
treatises
on
instruments, divisions of
tion
amoug
though pedantic,
aud, as a consequence,
267
MUSICAL INSTRUMENTS.
This, and the pedantic divisions
into
and
its science
all
modes, so jealously
In this
elsewhere.
music
respect
is,
sarungi,
ear,
fifths,
but
all
singing
the execution
same
of the
is
all
instrumental music,
It is needless to
character.
produces monotony,
if
and causes
not repellant,
to European ears.
am bound
good or
to state,
European
What
ears.
commonest
ballads
and Hindustani
classical
little of
is
ordinarily played to
is
sung by
them
is
the
ditties,
the really
ever heard by
ill-instructed
screaming
The
for instance,
sets of dancers
consisting of several
instrumental
late
women
performers.
as singers,
All
sang
and a proportion of
and played
together
all
bable.
their
It is
stopped their
minable.
Need
ears,
I say, that,
were
all
the best
singers and
CATALOGUE OF INDIAN
2G8
command
more
at the
painfully hideous
might even be
effect
nevertheless, exists
intrinsic beauty,
difficult,
scales,
of the Eajpoots
collection
would be a
It
grate-
of India to undertake
of the best
amply repay
I think,
it.
as
exposition
it exists
in the
Provinces,
The music
as national music
that
is
much
in
How many
very interesting.
songs
is
in character
a great deal of
it
modes
most
much
original
country,
like
I can state of
my own
In the Mahratta
recent English
songs,
under their
several
and are
while in
local
full
all
of local
the grades
denominations,
among
MUSICAL INSTBUMENTS,
In his Essay, and
very simple
Hindu
Sir
by Colonel Tod, in
airs contributed
his
most ancient
of the
writers,
of notation of
Soma's,
air of
the manner
to illustrate
269
form nearly
the
all
Indian music
cause
national music
is
which
it
so
much
contribution,
class, to
it
comparisons
which
I venture to offer
resembles.
Hindu
plaintive
air of the
a very simple
most
ancient
accompaniment
and importance of
which
I consider
this
to
be unique.
to the value
of musical instruments,
collection
I
impression
is
that there
European museum.
wanting to make
On these grounds,
Academy is under peculiar
valuable donation,
is
few,
it perfect,
plied.
his
my
admit of
to
nothing
my
complete in -any
alike
to Colonel
from
and as an
will
French
for
illustration
easily sup-
obligations
valuable
so
of the
and I have no
be made
to
him.
270
CATALOGUE OF INDIAN
UsTDI-AJST
.Kwna
Words by
na pdee
AIR
bat.
by A. M. T.
Andanti.
Ox
^S^g
z^j
at^^pjq
3~
^ *=*=*:
^M>p
-i-n
br
= 1
i
-=<-fc-
-=1-H-=1-
fl ==&
iEffiEE^ffit
P^P^
I
-r-i
S^
i r
those
fondest
words
h>5
fc=gzrr-f^-
f=^
i=3t
which
MUSICAL INSTRUMENTS.
271
tt^SK^
^s
-*~- j:
bad treasured up
i-*"!
3^
to
tell
My
stream
- -
ing
eyes
fippPflpi
3=*
ljcz
a^
dim, with,
weary
i"*"}
m
were
z
i*^-
33
un
headed
^H
3=^=
Hff*
a^p
i^
^^zzzz^zzi^S
3T
-1 J
-=H=-
1-
,Rs
=P=F^
I?^
fell
Eude blows
tlie
bitter
IPTI
3tr-
-=H=-
3=zb5
P
wind,
Ig
Cold
**
-=H=-
CATALOGUE OF INDIAN
272
'
L**
L*^
is
the
^=^
^
dri
nr
Ting
Nor
place
*=
^3=J-^1
i
Ah.
dwell.
to
find
^=*-
\r
p*^-
rain
=t== = 3=^
r-
=i
S^
r *-
them un
me, from
f^HFl
*^=
^-^~
::
H-i **n
-i^-
*=W= izs:
kind
no
word,
pitying
^Vt]tj
no
shelter
ing
^
-i
love
**!-
find.
ir^FWwif
^^=fe
*'
i j i
i-
=rf
n
273
MUSICAL INSTRUMENTS.
St^f-I =H=-
Ah
Dear
now
I vainly cry-
*~r
rest, oh,
Peace cometh
see
fail
me
lie
breaking heart
now to
thee, that
Ab myn.
Oodowjee
Mobe
tabreean,
le'cbulo
myn
oonben ke
bulaeen leongi bo
pas.
1-1
MUSIC.
BY
LIEUT.-COL.
JAMES TOD.
Antiquities of Edjast'han.J
MUSIC.
BY
JAMES TOD.
LIEUT.-COL.
page 538
As
to
I,
540J
music
the vina or
lyre,
first
flute
lyre of Apollo.
first
invented
and
From
cha,
t Strabo says,
Asia, of
six
'
and
tar,
'
a string or wire.'
all Asia,
names
We
perceive
them sometimes
(^)
and the T
(o)
and others
the science
all
is
The
likewise, are
difference
between the
278
music.
bols
and
it
was reserved
add a seventh.
I,
the Sun,
Moon, Mercury,
hence they
octave,
its
semitones
and
as,
into grahas,
them
may
[have added
their nine
modes
composed and
of music.*
set to
so they
still
mystic compositions
we should
say,
W. Jones
and Sir
from
is
chromatic
scale,
said
by Timotheus
it
An account
early ages,
literature.
it
and
The
that,
at a period
carried
when even
Greece was
little
were
from
deratum in Oriental
it
its
yet a desi-
is
of the science,
unknown
to Europe,
all set to
music
and the
children of the most powerful potentates sang the episodes of the great
epics of
Asiatic Society,
point.
There
is a
distinguished
one,
and
who
could
fill
up
this hialut ;
279
music.
god Heri, he
is
attitude, playing
on the
flute to
the
nymphs
encircling him,
sacred hill
ear
"Listens delighed."
Milton, Booh V., 155.
mode
passions,' excited
is
'
nine
May we
from raga, a
and no-rasa, or
is
not
In
typical of
by way
of ornament,
as
column of Cheetore.
page 543
to 544.
The
tures of the
Saxons, bring
280
mdsio.
movements
of those
companions are
full of grace,
and
deity
is
his fair
replete with
the
effect of
clear treble
and the
of the adult
is
or the
flute,
is
very pleasing.
page 648
to 649.
some years
Sindia,
plaintive
perhaps
*
simplicity
still
more
The anniversary
at Sindia's Court,
and
to the
it is
but
is
The Rajpoots
vocalists of Oodipoor.
The tuppa
carried
since,
Norman.J
of the birth of
Kaniya
is
it,
during a ten
years' residence.
t
The
festival,
castle ofj
most
who occupied
pf Kansa's castle
by some hundreds
is
peculiar measure
is
origin.
assault
(Hei-i-ci'tl-es
The mimic
clubs.
common
its
arms
till
conld
281
music.
is
They played
hautboy.
and
feeling
and these
strains,
unmixed with
the shehna, or
is
which
pain,
its
peculiarly
who
or flageolet players,
deed,
we may enumerate
of the Rajpoots
among the
and although
to be a performer,
Who
principal
In-
amusements
it
the
like
the
mountain-top, can
ever forget
or the emphatic
hem
its
hem
Chund remarks
*
art,"
of
Ms
mon may
be doubted
nious execution of episodes from the grand epic, the Ramayuna. The sacred
canticles of
ments chaunt
to the
The inhabitants
and
It
would be
injustice to touch
who
many
The
which
is
not dissonant.
these countries
But
as it
is
precedence,
stringed,
formed by
it
rule,
in
it is
J-l
music.
282
species of bagpipe, so
Europe,
is
common
is
is
described
likewise the
Europe
it
Celtic
It is
races of
called the
They have
double flageolet
fection to that of
varieties
the
man,
all
misheh, but
of
to
As
to their lutes,
of tintibulants
as Dr.
guitars,
heart-stirring
and
Johnson would
call
all
the
them),
them.
ZLsTIEIP.A.IL.ESIK!.
A.
CAMPBELL,
Esq., m.d.,
Asiatic Society of
Bengal"
NEPALESE.*
BY
CAMPBELL,
A.
It
Esq., m.d.
is
classes of
Nepal
tion,
that
men
forming
common
may
enumerated
however,
Parbuttiahs none
among
professional musicians,
among
science
many
it professionally,
in the
from
(flageolet),
religious
of the higher
The
lowest
furnish
this
rule Nepal.
by the plaintive
and
figures refer to
Their labors
tones of the
processions, a preceding
Museum. En.
castes
who now
in it as amateurs.
Mohalli
in the
the
and indulge
This difference,
it
but
are
designa-
in
exists,
of
underneath
instruments
the
to the
it
fairs,
band of music,
is
and
an
286
uncommon, on the
day
festival
(of
nor
is it
or cymbals,
as
the case
may
that of
in unison
latter,
air
on the
passengers,
all
to his thoughtless
As
professional musicians,
among
among the
the people
are as follows
The
Sarkist
flute,
and a variety
of
No.
made
1.
PMmga
(Newari),
one
slender
its
;
it
rod
is
bore
is
pieces,
The length
the
and
of this
when
fitted into
A Nepalese
diminished to the
is
formed of three
instrument, and
its
it is
the other
fitting into
a trumpet-shaped instrument
to
is
of copper,
Ph&nga
is
attached,
12 or 12J annas of
Company's currency.
287
OF THE NEPALESE.
the opposite
bringing
the perpendicular
to
it
it
when used in
tances.
called
is
within the valley, when the setting sun gives the signal for
the performance of the evening
sacrifice.
Newari
),
or Nepalese flageolet.
Is
mouth-piece
and cut
is
made
is
bound together by
longitudinally,
for the
is
fingers to play
made
slips of
apertures or stops,
on
its
of copper, gradually
inches at
of four
its
open termination.
The complete
it,
Indian
and
flute,
pleasing,
to sound
who
are not
many
magically, for
it
ear.
to
it
Its
common
even to a British
persons
professional musicians.
ins-
The
are lively
To the Newars
it
seems
at feasts
No.
made
3.
and weddings.
entirely of copper,
is,
when put
It is
288
a cow's horn,
calibre
its
The Singha
the
is
its
is
is
composed of four
feet long, is
pieces,
to the
mouth-piece,
and
Parbuttiahs,
demand
considerable
in
is
mould
its
seem unable to
professors
its
manufactured, and
costs
among
It is
rudely
three-and-a-half Nepalese
about
Rupees.
No.
4.
The Nag-phhii
exclusively.
It
is
or
Turi,
a Parbuttiah instrument
smaller size and having three vertical turns in its shaft, like
a French-horn.
anything
Its noise,
music
for
harmonious.
but
It
is
it
scarce produces,
made
of sheet
is
copper,
No.
is
is
form
identical with it in
is
Parbuttiahs.
No.
6.
of that
violin,
The Saringi.
name used
in so far as
in India,
it is
is
it is
Nepal
This
it is
In
The daucing
girls,
imported from
accompanying
fiddlers
alluded to here.
289
Or THE NEPALESB.
No.
The
is
is
7.
Sitar,
may
skill
at least
be heard at
their court.
No.
8.
Cymbals
of various
size,
to the
to
all religious
all jattr'as,
or
chief of
zinc,
which
is
copper and
They
untuned instruments.
are
made
of
in various
of these
is
composed of
proportions, according to
No.
is a
9.
Beaugh
of the Newars,
made
of a single piece
of
No.
10.
is
is
bit of
wood,
breathed.
The
It costs
it
one,
No.
11.
Dholuch,
differs
is
used by the
drum
is
Erishna-bek,
is
a nearly similar
dishi.
called
God (Keishka)
so celebrated in
290
history,
and so famous in
his loves,
is
along
common
with
reed,
its shaft.
seum
do not
feel at
of
Bengal in January
it
general
last,
may
In
all
from discordant
is
far
the instruments
al-
The
strong,
last
orchestra attendant
caste.
able to ascertain.
writ-
Among
Mr.
Hodsson
in Nepal,
he informs
acts,
me
there
is
which he
a very large
infers
must
the
fountain.
is
is
deemed
most probably
Hindu portion
In these
of sacred origin.
identical
of which is
The
MUSIC OF CEYLON.
JOHN DAVY,
(From
"An
m.d., i.b.b.
MUSIC OF CEYLON.
JOHN DAVY,
Almost every
Singalese
d., f. r. s.
more or
is,
least,
m.
Love
a young
it
be to
indulgence.
is
the bearded
he sings his
ask a favour,
sung or recited
is
blance which
it
called
" the
Horse-trot
bears to the
sound
;"
or
beg an
they have
Their most
admired tune
not their
is
Kandyan does
whom
muse, to
of his
a poet} or, at
less,
call poetry.
of the trotting
of a
horse.
Of
their music,
fond,
and prefer
which
it
Their most
No.
1.
not understand.
are given
is
number
already mentioned.
common instruments
drum,
is
made
of
jack-wood, covered with deer's skin; and beat with the hands.
No.
2.
end with a
No.
3.
stick,
The
extremities
of
Tam-a-tom,
is
beat with
state of tension.
beat at one
is
circles,
sticks,
the
and kept
in a
MUSIC OF CEYLON.
294
4.
No.
5.
No.
6.
No.
its
is
is
its
is
The fusiform
piece of
wood
attached,
to separate the
is
bits
No.
7.
The
or Venavah,
Venab,
made
of a species of flax,
of
bells attached to
of the instrument
it, is
is
used as a
half a
fiddle-stick.
oocoa-nut shell,
forated below.
noisy,
extremely
of
some
and
shrill,
its
The "Venavah
bagpipe.
strolling
is
drum has
Katfdyan pipey
ia
Each kind
The Horanawa,
sound.
different
Venavah
the
of
hand
Udakea
is
At
night
it
is
is
The
It is usually
many
of
whom
by it;
in the habit
of being
(tbey say)
Udakea."
is
lulled
to sleep'
for
it,
and aye
"nothing
and the
fe*tl
From
Vol. I.
Esq.
Indian Archipelago,'
CRAWFURD,
Esq.
MUSIC.
After
Each
but
it is
among the
to
it
but
much
beyond,
I think,
This
a state of society.
is
that of
perfection
offer
arts,
and bands.
all
art.
a state of improve-
it is
music
of Javanese
is
The two
be discovered.
all
I shall
these in succession,
their musical
system.
In doing
this, I
are supplied
known auther
Music."
airs,
am happy to
by the
skill
of the
" Specimens
I supplied this
taken down by
wj
say, that
my own
deficiencies
l l
298
the advantage
of inspecting
On
Somerset's.
quote without
I shall
This instrument
end
like
as to
number
earliest
the
is
is
bamboo
of tubes of
form a gamut or
placed in frames, so as to
the whole of
its
The tubes
series of notes.
ia
are
so
loosely
shaken
and
vibration produced
by
mountaineers will be
this motion.
troop of forty or
fifty
feathers.
Among
the musi-
them
it is
a German
a large
flute,
The
and
five
or six of
tribes,
played
present.
but in
like
Trumpets they
its
acquired
The
Sanskrit
from
name
the
known
or flute they
fife
bangsi points
Persians
and
The
hautboys or trumpet,
299
The fruwangsa
is
occasionally found
This
and
is
among
is
is
of E&chapi.
'The rabab,
among the
an instru-
This
6h&tempmg,
three, the
two
perfect intonation.
is
have had
little
It is a
handsome
instrument,
little
made
of ivory, with a
front of parchment.
The instruments
is a
The drum
by many
different
Besides the
The
native
drum
is
feeble
is
Raffles,
that,
and unmusical."
to>
the
age* of
Java
the Chinese.
tin,
if,,
indeed,
The gong
it
was not
them are
af
enormous
originally borrowed
size,
from
and
They have
is
SOO
They
gum.
can be imagined.
"A pair
is
of gongs
cloth or elaatie
are usually
The
gilt.
of percussion to be mentioned
in
These, accord-
it.
names
may be
is laid
Ketuk aud
of
Kampul.
A series of
arranged in a double
Bonang.
The tone
of
and
The
Kromo aud
intonation
its
perfect."
last
Staccados,
class
in
of
instruments
Javanese
the
of
percussion
language
called
of
mention
is
rest.
are
the
Gambang.
The
first
Gambang Kayu.
wood
common throughout
ly
hammer.
wooden trought or
This instrument
tribes,
and
is
is
made
it
Ths
only
different
names
wooden
the
of
is
thin
plates,
supported
metal,
of.
of the lat-
This consists of
of Gander.
bars
of
tone
not powerful
A modification
but
sweet,
is
The
construction.
their
of
Staccado
301
by
On
bamboo tube
is
the fabrication of
all
to
those instru-
intonation."
of others,
are
according
described,
omission
the
of
some
to
their ar-
instruments,
or the
bands or Orchestras,
divided into
pitched on the same scale in perfect unison, and each appropriated to some particular description of music, or some
particular occasion.
so often
Some
There are no
Manggang,
and
less
is
processions.
The name
it
frogs,"
played at public
it
from
its
is
number
it
want of
perfect ones.
or the
a name which
it is
harmony,
first is
tion I have
of
The
The
it
all,
consists,
P'elag is like
302
the Salendro
and
The MiHng,
and louder.
are larger
all
plies,
more
name im-
aa its
of the Salendro
particularly
and Pdag.
employed
as
different
tions.
Bali, or
to the fashion
in
band according
it,
In other respects
I have described.
as large
it
Pelang.
The Sakaten
is
still
This
is
sions,
The Srunen
band, as
its
is
name
implies,
festivals.
will cost
this
In.
them a complete
five
band
of
hundred pounds
Sterling.
On
Crotch's
very
interesting
in
in the
same kind
the Chinese,
American
result of
my
all
all
fol-
observations
Indian
Irish, all
and North
were composed.
The
some
difficulties
posed in a
it is
unnecessary to particularize,*
common enharmonic
have selected
the cadences
are
all
in
common
simple
antiquity.
of
same
the
passages
the
of
larity
Some
time.
the
seventh
flat
one
It
are
of the indica-
In
many
of
is
artful
and ingenious.
in
instead
The
irregu-
reiteration
melodies
of
tions
com-
is
scale.
303
of
The
interesting."
is
great
variety,
are
the tunes, of
memory.
In the plates accompanying this work
scales or
with
will
five
be found the
of
air,
percussion,
selected
es
by
and
chords.
DANCING.
The
It is
life.
exists
it
among
is
304
Like the
latter,
more
serious
As
Which dancing
in
is
exhibited,
all
Asiatic dancing,
the
especially
arms,
it is
down
to
ployed.
To
of
warm
indecorous,
climate, any
display
to
dancing
and
lively tempers.
The dancing
of three kinds,
their
serious
may be
considered as
the private dances of individuals at festivities, and the exhibitions of professed dancers.
Of the
lebes.
first
If a
If a native of the
it
ia
kris,
same
When
panied by a dance.
There
is
solemnity
is
accom-
is
to be conveyed
to
a dance.
When
305
native
prince in Java
whom
retiring
When
are deputed.
it is
they
to let
the tiger loose from his cage into the hollow square of spear-
nod
strut,
would think,
for the
men
all
Mahomedan
Upon such
At present the
mock
fight.
whom
Western India,
of
be a necessary accomplishment.*
*
the evolutions of a
practice is
all
when heated
religion,
Respectable
is
held to
women never
practice.
women to
"
It
company with
I had forgot to tell you, that they have none but vocal music
here by what I could learn, except only a row of a kind of bells without
clappers, sixteen in number, and their weight increasing gradually from
general's house, where, for seven or eight days together, before the circumcision day,
of the. day
dancing
women sung
So these
M-I
After
306
join in
it,
whose profession
strangers,
it
sex,
dancing
In
is.
circle
of
a common
confined to those
is
prostitute.
girl, or,
with
in other wordsj
The
is
The
skill,
common
from the
dancing
is
it is
them
is,
indeed,
Western
generally
incomparably
effort is
made
still
to which the
Now
at raising
and then a
may
tion
Those
The music
in the former.
performed
whenever an
Hindustan.
girls of
of
but in inferiority of
little
dancing
it for
single
be found, but
the accommoda-
The
unpremeditated
I
am now more
al ballads,
effusions,
whom
some nation-
Two
and his
-nieces,
danced.
two were
silk,
much
women
fairer
and their
than any
noses,
sultan's sons,
their heads.
They were
I, p. 342.
women, and
307
The singular
structed to dance,
women among
tion of
Commodore
of Achin
fifteen or
of
is
door,
in
King
" Then
came
peculiar,
drums in
little
their hands,
two
little
girls,
made
and each
side,
little
concubines in-
somewhat
them having
making
and
public,
nese,
of spangles of gold,
which
a sort
with a
plume about
a foot and a half high, made of the same spangles. This hat
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,
shift,
made
Their girdle was tied above the haunches, from which there
gold,
with red
of gold spangles.
hung a
cloth of
of gold,
hung upon
them.
" Their arms and legs were naked, but, from the wrist to the elbow, were
adorned with bracelets of gold and jewels, as well as from the ancle to the
calf of their leg.
At
it.
by joining
their hands,
and
and
in their
hilts
and
hands a large
lifting
them up
to their
head ; then they began to dance, with one knee upon the ground, making
several motions with their
agility
as if they
an hour,
making
as if they shot a
after
danced upright,
their hands.
my
opinion,
308
were pretty well
gold upon her.
tired,
for each of
forty
pounds weight
if
of
our
French dancing-masters had seen them, they would have owned their
performance not to have been what
tion of Voyages, Vol. I, p. 732.
Collec-
hccher or Cyni-brd,
Gambang Kayu
Scale of the
&a
309
Gambaug gangsa
or
wooden
Staccado.
=g
i
B
or metal Staccado.
i
'
W^-
--j-^-r-^
The Bonang
or Krorao
Moderate
=4=^
.#
1^
s==*
9"
Vy
gd^^Sgg^
y=
J.
J
J^-H-^
/r
'+*
^F
=^F
Jr-r-
^n^n-i"!-!
II
^|-'R
I
j
=^3^*=^
T"
1^-
J5-H
X-W-M
J3-t=*=fa
(no
l^SiiP
EfflE^Efe
l^^~m
D. C.
Lompong
Keli
j^tef
*f=i=is
^^^^fe^TO^B
S
1
VJ
S_J_
i_C
l_
--y-g
i+
Rather Slow
i==P=*
P ^=Fi ^r-R-rf
* ^a:
P*=^*
3^41 f*.
;^^^^&^S^^^
t=^=
ssJS^*S33ESSS^
5
33ES
,
:3=
s^m^iteig
<3S*
**
(en
;)
Sumadaug;
Js
p^gggg^ip^P^^a
gpg^g^gg
z*_i_-_jr
^=F=S
^^^i^^^TOi^
a^p=*=tH-^=p=i=E
/7S
Galati
__
^^dzjz^i^Efc^
Hungup
sp^^^sNiPiMl
*==**
y^
'SW
3=p
5t
sz^z^zlz^zai^D^M^
S5
^a )
Z>.
Raja Santul
l^ete^is^aga
bis
S^^
^^adj gppg
M
K ^m^m^^m^- ^^^
^
\whr-r
^j=rf
#=f*
^
u
"
rt
a=3=ai
r~ri*H
*=*=?
/T\
il^^
^ISH
/Ci
4^P=
*CT
HHi^s*CT
*y*^
i
312
Longki.
U
j-^rrrrn^rj^
gj
J'^Ti
^^ ^^^
!'
Slow.
3!=3t
^^^^fe^^^4
E@
PJ--
?r-*
^^
=3=
Jl
"?
-%7Tt~!T"
m^^&mmm
i^s
w-
^^^^^^^
'
^fe^-rH-^
^^g^^^^^^^^P
dbzCt
fr^ci
r r
iii
End
L I
^-i
of Vol.
I.
1
1
jss
'
PART
II.
CONTENTS.
Page.
George
On
CM. Birdwood,
c.s
i.,
of India."
By
..
..
315
On the
..
..
E. H.
By
Sourindro
and
of
to
By
..
Carl Engel
of Music
Professor,
New York
..
By
..
is
..
Music."
..
..
of India."
c.i.e., ll.d.,
401-401
407-412
By Isaac L.
...
339-397
A. C. Bur-
..
BytheHon'ble W. W. Hunter,
Statistics for the
..
..
..
..
Mohun
..
M. Bosanquet 317-335
..
..
By
415-417
Director-General of
Committee of India
..
..
..
..
421-423
Geokge
C.
M. BIRDWOOD,
c.s.i.,
m.d.,
EDIN,
1880.
N-l
MUSICAL INSTRUMENTS.
Indian Musical Instruments are remarkable for the beauty
and variety
of their forms,
paintings at
last
two thousand
years.
identical in
is
sculptures,
is
At Kalka,
["mouth-harp"],
made
is
by hundreds.
at certain
in the
Mur chang
Ambala
sold
The Hindus
of equal antiquity.
and
and those
cities,
of Srinagar
[Cash-
and
of
made
Tamkur
in
marked excellence
of
at
Delhi,
Channapatna
in
Bombay
Mysore
Presidency.
are noted for
The Conch
shell
mounted
naturalists,
drill
and
all
that
a hole through
is
often beautifully
required to
its base.
is
When
make
sonorous
it
blown
into,
is
to
the wind
and piercing sound, which is heard far aud wide, and hence
great esteen as a war trumpet. It is used in religious
its
pers
Conch
and
shell
one, the
Mazza rapa
third, the
of the
Voluta
of naturalists.
Both these
bracelets of Dacca.
is
The
a smaller
species,
and a
manufacture of the
ON
R. H.
{Proceedings of
From March
1,
M. BOSANQUET.
the
Royal
1877
to
Society
December
of London.
20, 1877.)
On
tions
B. H.
Hindu
the
to
M.
Octave,
division of the
Henry
Prof.
J. S.
Smith,
Savilian
p. K. s.,
drawn
to
some publications
S'rutis.
In parti-
is
division of the
as
Re-
Oxford.
which
cular
By
Communicated by
My
319
and
the theory of such systems has not been sufficiently developed, I take the opportunity of adding
the classification,
what
is
necessary for
discussion and
Some
by the
light
may be thrown on
following
referred to.
he sums up
in the following
" Dailleurs,
pour
v6ritable de la
words
6tablir
artistic point
of view,
jours,
il
faudrait
* Sometime after the paper was read, the author's attention was called
to
M.
Fetis's
"Hindu
XXV,
is
p. 540.
T, S.
Fetis, Histoire.Generale
de
M. Tagore, President,
la
Musiqueval.
320
sidant
technique, mais
prficoncu.
uu
Dans
non
faite,
seulementle
seulement, on parviendraifc
ces conditions
W.
Inde
1'
modern e,
Ouseley, ni Willard, ni
ciation
savoir
la science,
Cette 6tude
ce
que n'ont
mSme W.
la
des
tonalite"
fait ni
Fowke, ni
The point
Hindu music,
is,
that uutil
so
far
as
it
relates
to
of
fixed
tones
(e. g.,
the har-
actual
we can have no
of the
comparison of inter-
of speculating
Hindu system
And
yet
it
has
escaped
him.
II, p.
is
tuned by concords,
This
enough of
itself to
321
The Hindu
by most of the
is
writers,
forms
commonly as follows,
make
an Octave :
them
represented
22 of
S'rutis.
that which
is
described
Hindu names.
S'rutis being
such that
322
la
fact, if
we suppose
for
moment
that
we
is
Shadjd Qr&ma,
tile
and
fifths
is
we
(e. g., in
the key of
the good
fifth,
ordinary
C we
d-a.)
Are the
nothing about
this,
The native
a tone according to
tone or a third of
S'ruti is a quarter
its position in
This appears
the scale."
is
most part
writers say
for the
modern
is necessarily
idea that
the same.
of the scale
falls
may
infer
when
it
consequently we
thirds,
produced by
very widely from the exact intervals, which are the foundation of the diatonic scale.
For
this purpose
the perfect
fifth
we
shall only
need to
system.
recall
the values of
perfect fifth
The
perfect third is
is
323
7-01955 semitones,
or
7-Ji
nearly.
4-13686 semitones,
or 4
nearly.
t'o
To
made by x
or TT
units
of the
324
instruments admit
of.
it
is
far
error of fifth
is
are accustomed.
System op
Interval.
and third
22.
325
&C.,
other
intervals,
made by
if
The habit
by ear
is
is
in consequence
or nothing.
little
mode
trument that
will
harmony
to
which
its
of
(The
recall
what
is
temperament.")
The
..
the Octave
is
12 semitones.
The
is
And
in other
between 12
systems there
fifths
is
and 7 Octaves.
is
to
When
Now
make
the simplest
this
this is
way
in
small difference
is
But sometimes
if it
is
if
and so on.
is
of
326
The forma
the harmony of
fifths
orders of systems.
my
12,
and that
Order
1.
17
29
2.
22
34
3.
15
27
The accompanying
what
is
illustration
fifths,
39
(Diagram
The numbers
cast out.
they
they proceed by
The departure
118
of the
53
.41
are
I.) will
of 22 is
are
make
clear
a system
the characteristic
arranged
in
order
of
is
Then the
circle of
12 fifths has
its
apart.
has
its
In the
illustration
we
see
how
the notes
may be
introduced
and
2.
327
I.
e'
c|
f|
g|
ell
l>b.
11
20
16
12
21
17
13
Formation of Thirds.
Thirds
fifths
may
with which we
start, or
by the notes
of another circle
at'
the circle of
We may
;
i.
e.,
fifths of
the third
is
the
to
first.
third' is 7 units.
the third' by 4
ascending through 4
one unit
fifths,
that'
fifths-
up
is"
formed in the
circle of fifths,
one
is
important in
We proceed
to
modulation
fifths.
to a further
classification
328
By
definition, the
circle of fifths is
Let r
r units.
two ends
circles of fifths
of the
be placed in
are
all
one unit apart, and consider the third formed with the starting point of the uppermost series.
Then we
the third
In the system of
shall define a
lies
c is, so that
we may
it
lies
one series
of order 2 and
is
class 1.
same
class o,
series
and order r
sidered in
my
either
by 4
may
those
fifths
up
or 8 fifths
down
be spoken of as of order r
class r respectively.
to.
means
The departure
of the third
formed by 4
is
=-4
&?_^x
And
by
this has to
'
is
3x ~ r
n
= -^7
for
up
_ _ .\z%q
perfect third,
So that
is
fifths
nearly.
~r=
condition.
w% nearly
DIAGRAM
II.
are
(it)
they present no
difficulty,
any required
for
sufficient
and
I confine
myself
The departure
1 is
and
(*)
329
class
represented by
n
The system
1,
interest for
This system
may
be of
modern purposes.
perament thirds
for
vanishes
(i)
have equal-tem-
first class
when
x=-
more gene-
or,
ts
rally, a
system has E.
class is
System
thirds
T.,
of order r class
x which make 3x
r,
of the
negative need
2,
there
2,
is
there
is
Practical Applications.
In the
generalized key-board,
application
it is
as
4-fifths or 8-fifths
of limited
down.
the
we
hitherto constructed,
order, positive
r.
are
all
those of
all
systems of any
These embrace
all
reference
to
European harmonious
E-l
330
The
of the position
principles
founded
however, applicable to
are,
all
in
will afford
a means
systems of the
first
Hindu system
The key-
transformations.
its
is
to
classes other
than
and
of our
which
notation,
o.
Genebalized Notation.
12-fifths is identical
Thus C
1C
represented both
of 12
in
systems of the
first
is
The departure
these
fifths
two
conceptions
order,
but in
diverge.
The
choice
we
make
will
is,
Thus
tem.
/c
will
CI
the
jo will
second order
and so
on.
/ jc
in systems
331
be
fifth, wiil
Thus the
).
above
to that next
it
and so
We
unmarked
series
2nd
3rd
jf%
8-///ft
&-////#
on.
now
Introducing the
Pass up four
steps
we
the series of
in
fifths,
and
Example. Order
Third to
4 Steps up give
Unit down
Third to
e,
1.
e,
which
is
4 Steps up give
Whence,
Class
2,
Unit down
/djf,
/djf,
in order 2, class
which
1, b, e, a,
thirds
is
the third.
(letters of the
memo-
all re-
thirds with
rx
system of order
all
clsss
x, b, e, a,
d form
x marks down.
Transformations of the generalized Key-board.
It
is
it
all
possible to produce
fit all
any required
332
position
keys.
results
the nature
no
is
it
difficulty in
The
securing
But
it
it
in
when
of the finishing
question
there
processes
however,
is,
desired.
it is
specially
is
(projection
drawn from
line of reference
fundamental
positions
that
so
we
may
tion of a
series
12 the same
of
After
1 to 12.
new standard
such that the old 12 has the same position as the new
line,
series of 12
may
fifths
o.
be
number
of
which
its
pattern
is
a function.
Direct Key-boabd.
1234567
Increase of the
as
i%
10
a%
so
//
1112
this,
as
\e
1
well
that according to
ponds to
Inversion.
Before the key-board was originally constructed,
make
it
it
became
would be advantageous
correspond to
fall
on the
is
some
question of manipulation
The
example
problem
It
and
the
advantages are in
it is
very desirable to
practically.
transformation
of
333
ilC.
bear
will
upon
this
possible to
is
Inverted Key-boakd.
c
12
II
10
To complete
j% l<%
6
ja%
lg% jd%
4
If
jc
12
this
shall
ordinary piano,
as colour is concerned,
d and
it is
we
see
which
that,
as
6.
or
when
left,
c to
e,
for this
purpose con-
included.
When
is
inverted,
placed in
i.
e.,
left
and so
on, such
The
becomes a
an inverted
series.
is
that of
334
Systems of the
rth order
the euds of the circle of 12 fifths include r units of the sysSimilarly the key-board of the rth order
tem.
as that
line
which has
) unit intervals
It is easy
series
fifths,
The
of
to
each step
in
primary
course
r primary
steps,
made up
of 12 primary steps.*
and each
step
Consequently the
of the
of the
12 steps by course of
must be made up of 12
ends
of the
level
amount
must
defined
circle of 12-fifths.
difference
of 12-fifths,
patterns
may be
to
general case.
()
steps, or steps
of fifths
fifths
made by the
must be made up
in course of units
of
must be
suffi-
cient supply
will
it
constructed
be,
in the general
By any system
Key -board
The key-board
interest.
It can be
going rules.
The
easily
peculiarity
by means of
system of the
first
it,
is
order by
some
nearly as
means
result
is,
that perfor-
first
easy as performance on
of the
key-board formerly
335
constructed.
is
of representation
and performance
22,
Diagram
II. (p.
Cje
is
major
triad,
first
order key-board
somewhat
less
advantageous
\e*g
is
is
not generally
it
would
be
are
*
every pattern
more
for
limited.
Any common
factor of r
and
may
12
Vol.
XXVI.
is
it
r.
only
HINDU MUSIC.
BY
Reprinted from
the
"Hindoo Patriot,"
HINDU MUSIC.
The Hindoo
embodied in a
letter,
to the Director
of
May
After an interval
Public Instruction.
of
fit
to answer
that criticism in an
it
an accomplished
The controversy
has
have
closed
also
critic,
only
on the subject.
on
lately.
Other papers
We
Mr.
watched
Clarke's
all
still
by
We
war of words.
this
Hindu Music
committing
fresh
are sorry to
misconception of
errors
We
Music.
will, in
believe
he
a kindly spirit,
We
will
accept the
is
may
now proceed
light
which we, in
all
340
hiSdu music.
At
sight
first
object in
by enveloping
one
is
would seem as
it
writing
the
more indispensable
indispensable for
than himself
one to
for
him
Mr.
if
to
theories,
The
combinations.
necessarily
is
of
an art
different
and
comprehension
scienti-
does not
it
"We
fear
of Acoustics
enter
fully
into
" The
imperfect.
its
embodied into
of contradiction
justly
an
some thing
science
is
In
thiDgs,
all
susceptibility
Principles of music,
may be
it
statuary.
or
fic
no
is
or acquisition.
But no
be a musician than
be a painter
to
chief
that mathematics
of all tonal
Clarke's
cloud of mathematicism.
in a
it
better aware
was
essay
of our
state
Hindu Music.
But
incomplete and
still
knowledge of Acoustics,"
difficult of
of the formation of a
perfect
theory of
music.''
permit
There
is
the European
we proceed
system.
We
the Hindus,
is
shall
of Acoustics, as
all
form from
exists
among
professors
of
HINDU
much
does
"I
must
to
the
341
MUSIC.
to
foregoing
says,
division,
mentioned as a
musical
of
Weber
Dr.
it.
much
part,
of
intervals,
in
not
is
composition.
For,
must necessarily
on
and,
this
founded on
be
commence
account
harmonic
their
acoustics,
books of instruc-
But
this
seems
to
me, calling
it
by
its
else
erudition, pedantry.
of
tailing
For,
one
may
re-
be the
.
may
one
is,
in
my
honest
is
to its fifth as
conviction,
2 to 3
and
a mistake of teachers of
musical composition, betraying a decided want of understanding of the subject, to mix, as they do, with the
musical
doctrine of
demonstrations by fractions,
such
composition,
from
las,
which
musical composition.
for
to
To me
it
in
to
would be
it
instruction in
colors, of straight
painting,
and curved
instruction in language,
or,
appears just as
with the
order to
teach
him
to
say
and
philosophy of speech
papa
and mamma."
child,
Dr.
more pointed.
He
says,
is
not to
HINDU MUSIC.
342
calculate,
and
this requires no
mathe-
tions
The
the
same view,
forcibly enforces
mathe-
He
He
therefore determined
the 4th, 5th, and 8th by the ear, and the difference of the
4th and the 5th found out the interval of the tone.
Professor Graham, in his essay on the theory and practice
of
hear persons
combine
together
in
way
this
Do
harmony.
Italy
we may
"In
They
the
ratio
such persons
no
have
of
1:2,
more
than they
moon.
the
artificially
But
it
is
The truth
is
greatest
all
of
universal application,
of
oriental
Mibja Bull-bull
Nicomachus
of
of
Arabia,
music
is
Persia,
Who
did
amongst
ignorant of the
names
Akhwal-u-Sobbha and
Hekmes Tbismegistus
of Egypt,
HIHDU MUSId.
the great Confucius and
of Turkey,
Asaph
of
Chaong
the
343
of China,
Osman Efiendi
Than
Hebrews,
Sen,
Ameer
HADEVA
of India
any one
And
them was
of
We
will
yet
will
The
extracts
we
infallible test of
admire
who
a mathematician
mathematics.
Mr. Clarke's
boldness in
of
venturing upon
Hindu Music
with, as
it
He
who seems to be
is
He had recourse
to a native guide,
And
the critic
is
made to betray
the result
He
popular
of
of the construction
it
is
Hindu musical
the simplest
instruments.
system of the
Hindus.
cism will
by
theories one
one.
Raga
in
Hindu Music.
In
is called
major,
when
its third
344
HINDU MUSIC.
diatonic note
the
is
fifth
E sharp
&c.
as,
Cnatural,
mode
composed
is
"Mode
two
my
our
is
is
which
it is
country
of this
continues, "
may
be taken
the
the following
music"
in
critic in
" It
different significations
Neither
composed
opinion, termed
Eaginee."
in
in
is,
is
but
(India)
when
of
E flat D Fnatural
as
or is
E natural, C sharp,
called also
scale,
will introduce
cannot."
(or
Eaga)
is
is true,"
is
amongst
us.
" It
It is not strictly
word."
Eaga
may
is
one
when
Eaga
its
may
be
multiplied
into
Moreover,
innumerable
tunes
HINDU MUSIC.
345
Again, Raga
succession.
is
The truth
is.
is
To express it by the
as
How
when
for quinine
Bengali
in
Rga
The
could
mode
no term
is
no equi-
in Bengali.
its
counter-
part in Eaglisk.
To
recommend
it
the.
term
is also
$he
critic
ignorant of the
3.6 fnadjBS
.nipple
he
number
If he
he refers
researches
ficial
,o,n
The
enquirer
literature of
the .subject
Musjc,
attempts to give a
jto
?
.and Raga.
he
had extended
will perceive
He would
hearsay.
of its varie-
"Hindu
says,
have,
fallen^ if Lis
little
beyond
Hindu Music
is! sjTwifsr
Kmm wzmfa
*r
n)7sn
HINDU
346
MUSIC.
flute,
legan
singing,
followed
him one by
one,
thousand Ragas."
N&rada Sambdda
Again, our
critic
I,
Chapter.
more
The
is
whom is
he indebted
for
in
To
that
We would take
the liberty to
which occur in
lines
all
is
commend him
to the
classes
of Ragas
(in
following
Hindu Music)
grama
five
tones
is called
tones
is called
gr&ma
of six
Sangita Darpana.
It
may
The
diatonic scale
quite.
ment
in use
347
HINDU MUSIO.
" But the frets (of the Sitara) are then inconvenieutly close
together."
It
would be
difficult to
a practised
feats to
happy
What may
may be one of
We,
player.
to
appear inconveni-
practice.
shall
be very
if
practical demonstration.
We do not know on what authority
he ventures to make the statement that " the Sitara can-
not play
flat."
playing
in
Any body
knowledge.
practical
"
harmony."
This
The
Mr.
all
of
who
Clarke,
but
it
meaning
in
possess-
another
tHr^rp
WOT
them
is
It is true
not void of
iron*
work
*m'
but
There would
if
in melody,
vJ
3fflTf
it
illus-
?^r"
another
is
harmony.
difficulty
place, says,
that
is
some
no
find
Here, again,
frets.
made on
ed
We
it.
tration of tlie
have
can do
it
fastf^'
These are
^r' *w
its
?L^f (Rak-
definition
is
as
348
follows
HINDU
*^f (Raktahg)
.-
bination of the
is
MUSIC.
that which
sounds of
This
is
harmony.
produced by a com-
kintfe.
The disadvantage
of his subject
is
stringed-instruments, wincf-
all
^JH
^TfTTJlt!
We
following extract
be-
made
to-
Music.
in use
renders
certain
it
modes
are derived
from the Sitara or that the Sitara has been invented to play
those particular modes.
me
highly
improbable."
It is impossible to
yesterday's
invention.
Willard, invented
12th century.
The
It
Sitara is an instrument
according to
was,
by Amber Khusroo
Hindu instruments
is
quill.
Captain
modern Sitara
after the
throat.
will
Music,
did
not
That this
almost coeval
precede
but
is
known
349
filNDTT MUSIC.
Ergo they
instrument.
SITWft JIPrffolT
T? here
are
(Ddravi) or
<J
cT^JT:
W* ^^ST
that
Now Jn^tmr
is
is
in
made
to be
music, namely,
of
wood and
hymns from
is
^f?;^
jrr^fiftJnt
|)
an imitation of the
*raj*^n:^fi^
this
It is capable
Vln& in
the
sing-
of producing
Ddravivind, which is
made
G6fcravna.
wf ^ His* ^
hand.'*
sit)
ifttf
H^H<^r^n^T^fH^tJi9
*r^ta
mw
350
HINDU MUSIC.
"Dancing
follows
here be
first
prime importance,
should
it
explained."
flat.
my
" Probably
that
ments
sharp
is
like violin
sharp
the same as
is
D flat that
in the instru-
We
If
we
What
subject.
Professor of
we suppose, be accepted
"The
attentive
as
student,"
a'
will,
he
"
states,
will,
however, soon
observe that two keys have each two different names and that
cflat
is
the same as
which only
differ in
and
f flat,
b,
Thus
enharmonic sounds.
b sharp and
e,
c sharp and
It
may
and
flat,
c flat,
flat
and g
at first appear
names
call
to
ask
why
not
the
&c, &c.
times
Why is
sharp.
e to
For
be called sometimes
more
and precision
fully
flat,
and
some-
names there
of musical composition."
351
HINDU MUSIC.
Again, the critic asks, "
sharp and
A flat,
there
if
no difference between
is
in
The words of
Mr. Hullah are that they " are used for transposition, modu-
lation,
minor
are used to
scale
and chromatic
that
we made the
on the authority
disputed, not
one,
When must
sufficient to
which
As
Weber
Dr.
is
from
states :-
of a
of a scale.
assertion,
In Sanskrit they
scales."
This
is
different relations
Again
first
it
occurs as
C sharp
appears as
D flat, F
sharp
D, when
it
flat
as F,
not so low as
is
flat is
is
called
sharp and
or
Srooties).
flat,
C
flat,
and
&c
is
(which
differences,
not
This difference
flat,
is
double sharp
sharp and
difference
These
double
D sharp, E sharp
an enharmonic
ference of
it is
quite so high as
between
is
e. g.,
we
call
like,
the dif?
and we may
with entire propriety and convenience have but one and the
same key
for all
they
352
HINDU MUSIC.
may
flat,
for
sharp and
Thus only
D flat, for A
and E double
sharp and
&e.
flat,
for
instead
if,
C sharp and
sively for
another for
flat,
D flat,
another for
aud
still
&c, one
for
and
double
multitude of keys."
do not appear
to us to be quite satisfactory.
must
G sharp
We
and
hold that
A flat accord-
but
should he deny the Srooties (quarter tones) he will only contradict himself.
Any how
his statements
and
his apparently
we say
With regard
All that
Srooties.
following extracts,
his
the
want of
"
My
can I
if
How
Again
" But
my
&<;.,
also
HINDU MUSIC.
We
Mm
And any
effort.
The
make
the idea
definition that
But we
sif?Wiit
A Srooti
to
is
is
make
will
and
we
fall
another
to
may
We tried
of Srooti clear to
353
be perceivable by the
ear.
of twenty-two
It is
kinds.
is
a Srooti."
Again:
"f^RW-SlTfe^rasiT SH^t
" It
is
Srooti because
it is
by
Srooties,
number,
are produced
"
To
^Tf^fa: 3WT:
Srooties are
Tones
heart, throat,
and head."
strings attached,
ar.e
twenty-two
HINDU MUSIC.
54
i. e.,
and so
on."
The
truth
A
is,
responds to our
from
to
G to A
to
is
-q
B which
we have
corresponds to
G to A which
cor-
Nar&yana which
is
borne
v% *iiJr
^ci*ft *rar.
11
four. Srooties in
^5HH
and F, three in
We
Engel
some
also
:
Asiatic nations,
Further,
"The seven
intervals of the
Hindu
scale
scale,
which nearly
cor-
Mr.
We
We used
is
not a Srooti.
The term
ia
used
HINDU MUSIC.
works where
in all English
it is
355
a Srooti,
difficulty
in
understanding
if
it
by
similarly used
In
us.
them
in
an Eng-
approximate meaning
is
Then Mr.
ask what
is
usually denominate
it
is
it
or
my
We
"
opponents
sometimes a quarter-tone
it
is
" I therefore
a quarter-tone as
is
each
Ef*g"gj
and
Srooti between
^(JBJJT
and
there-
a quarter-tone.
is
it
is
To prevent
the
and third
of a tone in
"
if
SB and
II it is
is
to our critic's
As
place.
is
it
may
be demonstrated
We have just
impossible."
is
perfectly musi-
cal
IT
an unmusical one.
is-
To come now
between C and G
in
He
asks,
"
^ and
How many
octave,
HINDU MUSIC.
356
And
in answering this
There
octave."
in
question
C and D
or
from
must be
A to B is
recollected that
the
same in every
lies
mistake, but for which there would have been no occasion for
Between C and
them.
Srooties,
in the
A and B
and between
shall only
difference in
We have again
highest
up
different
in tone
be-
increase
recourse to Sangita,
kinds of tones.
called
We
number
no
is
the
and
Then these
rise
are
higher and
the
different
quarters)."
from
to
is
)
uncalled-for.
is
to
or
is
critic
does not,
equal to three.
we hope,
We repeat that
from
they
Again, he asks
" If between
and
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
Between
and
A there
The ques-
HINDU MUSIC.
357
all
This
is
reason approves.
surprising.
is
frets
altogether
i. e.,
uncertainly."
This
going a
is
little
too
far,
Eaga
Will
and whenever
may come
out
it
not be necessary
His
What
it.
replies to these
Our
critic
singer
between
am
G and A
be produced
and
who can
sing the
me
as
thing,
Frye."
Security,
it is said, is
The
difficult.
feat
is
he alludes to
to sing can
It is
diffi-
note-
is nei-
made
to
Very
distinct
like,
from
358
HINDU MUSIC.
and highest up
rise higher
We
happy
shall be very
number
The
and sung.
only before
we may be permitted
to
say,
evidently
His
a blind
disbelief of
man
dis-
any
in the existence of
only
in
this
Nathan
observes that
truly
the
Greeks by
whom
but
now
it
is
it
lost.
It is evidently of
easier
much
of execution,
of ancient date
quarter-tones,
tration
as the
Graham
is
very
all
of
Srooties.
much
Dr. Burney
The
to the point.
He
says, " as
to
Dr.
the
Hindu, Persian and Chinese scales and the use of the quarter-
359
HINDU MUSIC.
tones and other minute intervals,
we
we
burgh Review
what
new Edin-
We have examined
home
Professional
who
musicians
followed Napolean
all
of them.
Egypt
to
by some
Can we help
singers."
Again
ler assures
inter-
ment with a
rapidity
and
would be
difficult,
singers."
That they
imitation of which
volubility, the
if
are
among many
in use
uncivilized
to surpass our
own Councillor
be- gifted
made with
Viottis' performance,
by E.
and
of.
it
very
Jones.
HINDU MUSIC.
360
minute intervals
The Swiss
As
still
in
keys.
all
on the
upon
as in
any European
treatise,
hold that
it is
only
it is
As we have
obscuring mathematicism.
all
music
Sanskrit works
is
as fully dwelt
not mystified by
we
elsewhere
said
We
e(
*"
^ftSMKIW
" Sound, which
the
(
human
n&da
"
it
is first
air within
is called
m\
),
is
first
thirdly
by means of instruments.
of
music
C. S. P. 54.
From
is
this
evolved."
m^
nada
or
361
HINDU MUSIC.
'
And
singing is to be explained
(nada) singing
of
tone
therefore jT3[
is
) is
tlle a11
the root
is
impossible, and
this jfj^
^a
) ia
m^W# ^ra^T^swm
IT^WT SfT^TSTC *aHr J
is
and nature of
origin
impossible,
is
The
is
all.
first,
aa follows
||
or (0 vital air or
P ower and
or sound.
Again
^t
"
From
*ti ^fPciiit
aftcf
from
<tqitw sircar
srooti
comes
11
swam
is
sound.
or tone,
Gfta,
and
follows Gfta."
Hence it
is,
scale is natural
and
tha't
is
well
a true
calculations.
Our
critic
boatmen whom
T-l
HINDD MUSIC.
362
Apart from
flats that
boatmen's songs we
ved
will
in the criticism,
we
will
about the
Let our
critic
is
which cannot be
flats
as the best
critic
makes the
following remarks:-
Sara
my
17th
will
May
critics)
readily
that
viz.,
credit
'
while
all
my
statement in
&c,
much
letter of
my
angered
Bengali
that
boatmen's
the
called music'."
There
is
comment.
We
grieve to find
But
it
requires no
May we
crasies.
language of
cadence
ask
or its so-called
the
musical
same
strain
manners
are distinct and their songs are different in strain and language.
The boatmen
the
boatmen
363
HINDU MUSIC.
and the boatmen of Chittagong
of Dacca,
selves.
his nativity
if
we may
so express our-
large classes of
its
language
the boatmen
of Sylhet,
example.
They
number
larger
sing
much
They usually
who navigate
tributaries are
its
educated and
of
They
society.
and more
districts
merit.
it
may
move
in better
civilized
is
any thing
for
which
surprises us
He
"
says
most
is
had
travelling in
When
my
boat
me
in
Koylash Chunder
told
to fall
What however
boatmen.
in Dacca) I got
Koylash Chunder
me some
HINDU MUSIC.
364
It ia very
to
difficult
Cannot our
critic
will
He
suffice.
the
Can he
refer to a period
when
Sanscrit
We
know
when he
tune
in
says that
Where did
who can
though their
very nicely
may be rough
voices
and
if
of him, and
made a Bangal
him
we
it
may
cannot
own com-
We
their
posing.
recite
Deputy treated
with, a canard.
We
now come
"
our musical notation, which he condemns by saying that the
nationalist Bengali musical notation is valueless
and ought to
may, however,
goes
is
all
tell
that
sufficient for
all
we
It
is
practical purposes.
as far as
simple, convenient,
What
the Europeans
same
hands.
we do the
We
he condemns
it
and
is arbi-
HINDU
which he
will
365
MUSIC.
many
of the signs
anil
in
symbols of
improvements
to introduce such
sary to adapt
line
Sanscrit notation
one
in the
modern requirements.
to
it
seven notes
reason of this
innovation
is,
of
initials of the
The
lines,
same
way
as the Tonic-sol-fa
method
still
be used in the
of the Europeans.
It will be
Now
it will
ing the three octaves the Europeans not only require the stave
of five lines but also use
many
is
simpler
Now we
lines.
There
is
Music says
put
it
to
or the
Nathan
in his History of
may
stafi of
four
lines
was in
The
old
way
" notation," uses a ladder of five lines and four spaces, which
1
is called
On
this certain
366
HINDU MDSIC.
The
pitch.
from
its
difficulty of
Me, which
is
the key-
the fourth,
is
When
heard the key-tone and knows that a certain note before him
is
Ray
key-relationship of a tone he
it.
at a loss.
is
No
information as
to its absolute pitch, or its distance in pitch from the last tone
him that
sing,
clear
To remove
this
difficulty
is
deemed unnecessary.
rich in
is
And
superseded by the
English stave.
for writing
its
Whether
it.
in
many
system of notation,
insufficient
scientific
respects,
system of notation
and
improved and
become
own
be studied separately.
not understand
also its
that system be
it
own has
for
for
it
we
it.
confess
of a foreign notation
Anglicized as
we
we have
The English
needs be
is
the purposes of
observed,
imperfect
Hindu Music
ia
for
the
distinct
HINDU MUSIC.
We
367
cannot, therefore, sub-
it
if
was essential to
common European
dies
and ought
to be generally adopted."
is
When
it is
admitted
alone and some more for the Murchhauas and the varieties
of Tala
we
tion, in preference
we
Indeed,
fail
who knew
the
difficult
when
it is
know-
ing the language, and learn the modifying signs not only for
the quarter-tones but also for other innumerable varieties of
Tdlas,
&c,
referred to above. It
may from
in
this be
order to under-
imagined
this
in
heavy
spite of
the signs for Srooties, &c, which, however, are very distinctly
swaras in their
thing
lines
is
at the perfect
mark
and
clear
its
To
command
he
initial
of the learner
Only three
we
give below a
purposes.
same time
sufficient
for
all
is
so
practical
368
HINDU MUSIC.
&
il
11
Now mark
a ft
q t
^r t <r f=?
q fa
diagram of eleven
Here
is
lines.
::
-C!
facilities
afford.
We
eigners as
we
understanding
octave
it is
for
will
are,
it
comprehension which
they
respectively
first,
and, for-
complicated.
to our
In order to express an
cd
efga
next note
this case,
d upon
;
it is
is
upon the
which however
line
e,
above
it,
and so
on.
many
the
In
lines
HINDU MU3I0.
369
glance the position of the notes upon them, and such will
exactly be the case if our Saptakas
venience, the
number
of lines
is
limited to
Firstly,
be required to be ex-
To remove
lines, as
Dr.
has the
and why
Marx
line,
this incon-
five,
says,
which
facilitates
number than
five,
say
number than
five,
lines
which
is
now
These
in use
five
These
five
number
370
HINDU MUSIC.
^^1^
11.
is
13.
14.
15.
Recourse
12.
Thus
look
_c
it
an almost
infinite
number
of
would
and the
which
ent
is
clefs.
or space.
as
it is
have
impossible for
a fixed position.
first
line
of
the
if it
of
d,
e,
sounds themselves.
But
the staff to
first
o,
example
then we
space must be
first line
be small
obvious that
if
If,
the
for instance, e
HINDU MUSIC.
This
The
confounding method.
the
places of
purpose
371
it,
situation of
must be
a note
rest.
its
is
this
for
have been
which
clefs,
in-
Of such
certain note.
or treble
shewn below
we
If
clef,
use three,
clef.
The form
of
the
clef,
first
clef,
or treble clef is as
have to place
it
upon a third
we should
the
above the
line
use
as the
Swaragr&ma.
staff,
For
and so on.
note,
first
Further,
first.
here
note,
and
is
in our
cannot
^cr>
in? af
always to be taken as
on the
ledger-line.
Again, the
line.
Altogether this
Moreover, in the
first
is
it
first
note,
first line,
first
but
must stand on
may appear
to Europeans.
it is
shewn that
372
HINDU MUSIC.
takes
But
the
first
in reality
used
it
line,
and therefore
does not do
c.
it
It occurs in this
occupies
form
alto,
the
is
forms the
elef.
but we do not
The C
clef
shows,
and tenor
first line.
first line
its position.
^ih
And this
e naturally
so.
clefs.
Here
is
The canto
a table of
upon
its notation.
.11'
'*
T=n
HINDU MUSIC.
373
#HH ^g^^B
cdefgab
t=
The
ployed.
ancients used
_?
clef
it
now em-
is
and we cannot
first
clefs is
canto clef
may
one-lined o
now
stand for
lined c corresponds to
used.
inapplicable to
is
E^Sf ;
^5T
^fttf
It
the answer
not in the
may
be asked
Hindu Music,
g^TCT
is
or the lowest
or JT^t^T Saptaka.
In Hindu
may
is
grdma
But the
discant or
Here we
^ITl^f.
And
system
of
why
since the
Hindu
will the
as in the
of ledger-lines
must be
Supposing
it
were,
it
We now
come
to the third
clef,
or Bass clef,
which
is
which
it
$~#
In modern music
it
named thus :
HINDU MUSIC.
374
Contra Great.
^ L.^'
When
-#-
it is
Thus contra
drawn.
insuffi-
contra
F;
above the
staff,
we
music, however,
for
and so
b,
upon the
many
clefs ?
Will
clefs
single
as
of one
line.''
clef
Weber
To
this
take
use of
says,
perhaps
it
lines both
upon the
clef
fifth.
In old English
on.
occasionally
for
found
it is
cient,
so
*--*
ABCDEFGABcdefgabcde_
line,
-#
-#*-
staff, as
Bass clef
in the
two-lined
use of the
why have
the second
line,
according to
c, all
which
is
less
than
avoided by the
clefs.
only the
c,
clef
upon the
and
many
first line,
C clef upon
is just.
is
375
HINDU MUSIC.
puzzle to us
difficulties
the
this
is
system
which
solve
to
is
and
our
notwithstanding
many
these
inno-
Weber remarks,
originally noted down in
represent
octaves,
lines.
Again, the
English musicians divide this stave into two equal parts, the
reason of which is inexplicable to us.
Perhaps
hands, or
it
may
But
harmony.
both the
all
may be
explanation
done in
it is
we say
is
mere guess
best furnished
by
is
correct
But
admissible in
Hindu
the
Europeans.
series of tones
it will
From
the above
of notation.
"We
-will
now
enter
system of notation.
have furnished but a rough sketch, the lines used are in proportion to the
number
lines
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.
HINDU MUSIC.
376
common
us
^TT
^R H
*T
There
may
fa corresponding
'y
use amongst
C DEF GA
to
B,
The three
lines
on which
viz.,
quire different
Q<*\*j[ , fX^X^X
clefs,
has
first
^e
cTW.
^o not re-
the
an^
or
or c in European music
q^5f
and permanently
settled.
clefs,
We
common
use, for
lines
are required.
jfi
*rl
Tl
n ^
ft
? t
n it?
h fa
fa
*i
fa
first line
If
dot under
5T
on
if
it will
show that
under ^[ on *^ e
l wes k
me
>
it
we
Thus,
^ e uppermost line,
and
if
Similarly
it
has
we put a dot
w iU shew that
place one
it
has a place
two or more
HINDU MUSIC.
many
377
first
line.
This
is all
that
we
and from
all
of
forming the
To guard
our object
against
is
not to
it
is,
is
add that
by means
will
we have recourse
We
From what
it
if
quite
If
their
music,
must use
it is
with harmony, while we, for the sake of melody, must use a
variety of signs to represent ^rooties, Murchehhands, Talas
&o.
requirements, and
is
while
Mr. Clarke's
" by adopting,
if possible,
of
Bengali
it
adapted to our
We cannot, however,
the view of
sentation
is
so-called progressive
party, that
play
For
HINDC MUSIC.
378
we have the
dissent
this
best of reasons.
all
Some
and cumbrous.
of the signs
making
we
of
Krintanas,
such
indistinct
it
refer to are
In the Euro-
Bikshepa
in vocal music
^^T^r^T^ which
greatly
in several
contribute
music
used
strings
varieties
A'tfa,
not
in
others
are
represented
called progressiva
not
party,
make the
for nothing
else,
at
and
grace
the
to
Gamaka-A's'a, Murchchhand
does
name
of
Sarode, &c,
our
the
Spars, a-krintana,
varieties of Chheras or
*KTO
Murchchhana-krintana,
as
#<?.
in
various
ways,
ornamentation of
of
A's'a,
These
such as
and several
the notation of
the
so-
for
if
They may
his disbelief,
even in
its
The adopted
improved
state, is still
as incomplete
as
it
can
379
HINDU MUSIC.
signs introduced in
The numerical
possibly be.
and so
will
the several
of other nations,
Will
new
which
it
to play a
been differently
how
is
for the
The
Soma
signs,
more-
purpose of represent-
will the
For instance,
difficult
We
used
Soma
is distinct
knows no Bengali,
over,
require
it
of different nations,
as
is
Rdga.
we have
Above
treble
all,
clef,
clef
but
all
the clefs
divided as they are, are quite insufficient for the representation of the A'lapa of a Rdga.
divisions,
ggr^Tft,
5RTO
The A'l&pa
these
Tana
(cfT*})
consists of four,
is
what
is
&c,"
is
We
if
It is
it
was
staff
called
incomplete *
nationalist's notation
think
we have adduced
part
An
HINDU MUSIC.
380
theory about the adaptation of the English system of notation to the music of
Every
all
has a music of
its
attempt to replace
it
If
we
will be
by means of new
signs.
tration.
distinguishing peculiarities.
illus-
own with
of their
different
characters,
as ho,
y,
se,
chang,
tche,
them down
to set
tion.
correctly in the
As
musical
far
it is
impossible
Japanese were
the
of
lines
There
Captain
pricked, f
had
their
Nor
music written
their
of
own. J
Java and
other
of
requirements
the musical
The
some kinds
possess
sea
in
islands
most
part,
lively,
style
They have
Howard Malcolm's
as great
They
of their music
and may
is,
also
made
and the
extremely
sufficient for
of
it,
Indian
the
of
notation quite
E.
W.
Style,
Opus
cit.
381
HINDU MUSIC.
They
very numerous.
exhibit as
many
be
to
In Ceylon
The Turks
or rule.
it
very
is
rich in materials,
The Turkish
system of notation.
too,
difficult of
fifty
music
There are
pieces of music to be
Pali language.
hundred and
as
and
is
very imposing, t
is
the
telif
in the
The Arabs
music only.
harmony
regarding instrumental
principal
are
derived eight others, and they have also six composite modes
by forming an oblong
rectangle, divided
by seven
is
lines perpen-
Each of these
lines is
of a different
color,
val.
They use
tones.
in their
The notes
to seven
yek, du,
si,
tschar,
first
Howard Malcolm.
t See
by the
pent, sehesch,
inter-
ha, wain,
tones,
The Harmonicon,
Vol. II.
and in
HINDU MUSIC.
382
will
Thus,
But
he semi-
will
fiat
new
it is
of
new
signs for
quarter-tones*
The
own
its
notation,
scale is as difficult
we
leave
it
to
much
resembles ours.
It has
also
and impracticable
that of ours.
as
Now
i. e.,
we must
music
till
We
attempt be made to
it
will be
Clarke's plan, to
wants and
will not
necessary,
make
we
believe,
according to Sir.
peculiarities
But
the difficulty
we have
all.
As
the new
signs
we have
stages
A Treatise on
at
all
progressive)
alteration
We
of progress
will ask
and
Mr. Clarke
EU
Smith.
383
HINDU MUSIC.
undergone in the course of the
more
it is
last
destined to undergo.
Had
much
European system
the
we
adduced
fact
may now
it
systems
the
the music
the
of
already
who
invented
of notation
nations cannot
oriental
European notation.
by the
represented
we
except by
that,
by them,
here
In
be
opinion
this
been published,
them the
original charac-
it
ter of the
in all of
by the arrangement
if
not obliterated,
'of
of
or.
by the
some
kind.
former characteristics.
paniment
originally
exists,
entirely disregarded
almost another
lity
of
in the
the music
of
Hindu Music.
its
other
The
And
has been
nations
oriental
is
difficulty of adopting
much from
quarter-tones,
as
enumeration.
We
for
it
often
so
becomes
to the inapplicabi-
as
notation, what
tion arises as
said
of
equally true
the foreign
of
nota-
will cite a
peculiarities are
arrangement that
composition."
the European
by
us.
"
great difference,"
says
in
which
it
re-
HINDU MUSIC.
384
modern
Europe.''
Hindu
aira
of setting
fact
still
more
own system."*
Mr.
which renders.it
Normal
question.
airs are
known
sible to
set
to
Europeans, and
them
of notation, as
to
it
"
Few
of the
Hindu
Another
is
say,
the Ragas and Raginis, as our system does not supply notes
or signs sufficiently expressive of the almost imperceptible
elevations
is
system of notation.
* Oriental Collections
t Orchestra,
its
by the European
by the
and
will
by W. Ouseley Esq.
March 14th
1868.
385
HINDU MUSIC.
we hope have the goodness
We
may
will
errors into
in
respect
In discussing
certain
the
has,
he
notation
question of
is
incidentally
We
making
this
statement our
critic
entirely mistaken, or
had referred
to the published
recommend
judgment.
If
he
critical
The notation
Sir
W.
Jones'
ment
In proof of
its
antiquity
we
w-i
$&
-9tffll
iOjo
dfil
31
a
eg)
S
M
-(VJ1
a
/=3
SI
as
oo
<>
^1
<X
387
HINDU MUSIC.
We
as
is
may
which
nearly as numerous
all
comprehend musicians of
proficiency
but we
Clarke's information
the eminent
all
who
day,
We
of the
little
we know does
that
yond a knowledge
we venture
the pains
we have presumed
to write.
by any unfriendly
be-
much
notes on a
of the
the
feeling,
all
that
we have
will
said in
or hostile
spirit.
What
grieves
us most
is
scientific
that a gentleman of
Mr. Clarke's
erudition,
who
are
spirit
of
what they write about, and who have made him an exponent
of their crude views and egregious misconceptions.
paper
satisfies
If this
we
amply
repaid.
389
HINDU MUSIC.
^ft*p5NCT3r
to:
f%reft
sr^fT
fw
#i
'5WRT
*fi^?T
'ti
?r*ft
ra,
f^rcr
?r^^T fro ^
^?r, *re, twf*w *n: to f5R fpr ^T5rni T&fsft ^w?m
n&rft
T*
to^ totto^
^rar
rr^
it ^t ^tt, *h\<<
^*re
^^5^
HINDU MUSIC.
390
TRT
Tf%^,
^hft
?n^fter
'=r<.*H*rref
*r#t
^RT
*T?
w\wa,
3F^
<T
^^
*rsi^fcrer,
^ifa*irtar,
^r^?ft tif
^ ^f
# ^RT ^^ ^R Tpfqj
g^eref ^ft
^rt
f ^HR
^fit t^jt
*ra*
HINDU MUSIC.
*re3%
^Stare *nrc
'S^Nrr
^rH
*rrew
^TR^iT ^TCI
^RS.1
^TT
**rre
^ti
^rt *m
srTsNrir
to
fft
'SW
^f^
^RT
^NFt^ ^w*s
^^ft
V TO?T # ^t
f^l if?5W^T
T#t TTTTf
wnsft
<?farrf
^rrsra
s^Nt
f^t
WW? T^ T^*t
SPI^ft^
391
?RT*r n*?rraik
't,
*t ^I?T TTf
-d!4l *fi*% #,
WSWVfT
'Tt^T-
HINDU MUSIC.
392
^k t^trw "*\*ft
Professor
MOWLA
II
ii
BUX,
Of Bombay.
tor
fira, sreferc
^EPnraftfMk,
sjxrfksT
^lr
ji$
|.U.J
&
HINDU MUSIC.
393
t^i j'j'
J^
^ f^
**J* >Uij
MM
^ bo u4^V
vtt*ju*l jjl
pX^JL)
J0
vs/*t
jjl jl*ij
(*
vAPjij* fk
t^r* <-V
tit )^ ^'jj
>
j>
p* ^-jj)
j 2.
O*' 4-
<**"
^b
ft
W ji
]
^*
^r
*
-^
<J>l->l
*>J*Vi
^HH
*-%*
.
^^
j)jl
,^1
uft
^G^
X-l
^
j>'
HINDU MUSIC.
394
^ ^ L ^Ail^JJ
V^
O/*
fe"
jjy* j\l*
^gX.-jl ? jjl
j.i>
t_jbj
^j
^*x.
v
^t J*
^g^f.)
^llswo
IS"
jjl Jjl
KO^J J*
&gJt,Jjl
"
*"
V.
jj'
^^ M
vU v'-*-2*
1
erV ^ir^
^^y^ j < ^
&->f jj'
^"
^5^.
uLo>
w^
v^ ^**
4^-5
fe"
cH.
HINDU music.
B^Xto,*
V*.
jV
*)j*$ \j^t
jj| rJ '
,
-6
u/t?
US'
j^ U ^li.jjJL,
<J!j
jf
^j!
^ *fe<^ ^
ft**"
v* ^^ **
i^<
395
^ r^
ks*.
J-5 '
&h Lf
^jji
-^.'
^ c^*ji> y^
^i $\y
<j>^*
jl
<
J^t
liljiXrU
HINDU MUSIC.
396
J* U^i
LaS^
lsi <J>*
^LuaJ
o*
V_^.'
*- ****
*J%
*-^ ^
Lf^
jJ^Vijmoj
j.
j*J]
J,
utll
0.
>jJ|
d..SW0
;H
^^ ^
slJI
^U.
*
* Sf^J"
*5
J.
t>
* 4
JJtf)
hindu music.
397
* 4
ij'j-^ jjj-"
n>^ (Ji
JJtJI
U^j-J-c
o.
cJ|
J.
JJlJI
ON THE
TO THE STCTDY OF
NATIONAL MUSIC;"
BY
CARL ENGEL.
The
major
which
nearly correspond
with
ga, ma,
ri,
our
diatonic
scale, are
Whole
Whole
Semi-
Whole
tone.
tone.
tone.
tone.
Srooti.
l!
3 Srooti.
Whole
Whole
Semi-
tone.
tone.
tone.
4 Srooti.
Srooti.
3 Srooti.
Srooti.
Srooti
ma
ga
pa
(/)
(<*)
dha
(r
(?)
(*)
(<0
ri,
a, b, c
iff,
d, e, f
to be
% g %.
correspond to
a,
W.
Jones, in
" appears
to
tuned ut or
* Khviruj ia
e, it
the
me
to be
c,
as has
Captain
musical arrangement.
seems to
scale.
more
be guided
Other writers
synonymous with
by
by any connexion
If the
Khwruj
more systematic,
it
is
being
of the scale.
Y-l
HINDU MUSIC.
402
the key-note
The musicians
of Hin-
own
his
to a
strings, the
capacity
of the
tious
of the instrument
circumstances."*
much importance
in our inquiry.
Hindu
not
is
More remarkable
of
the fact
is
from
the second to the third, riga, and from the sixth to the
seventh, dha
ni,
inequality,
tone with a Srooti borrowed from the next tone of the scale.
for the
Hindu
scale is That.
formed
either
R&gas and
scales, or rather
by substituting
the
for
tonic,
sidering
as in
certain
our ancient
Church modes
intervals
of
intervals entirely.
In
or
by con-
given in
Hindus.'t
it will
or
illustration I
number
Sir
'
Phrygian mode.
A treatise on the
403
fitNDTT MUSIC.
inessential,
entirely omitted
(as
in
Intervals
are indicated
thus
Saindhavi.
*ToAi.
r^rf jJ-^E8
II
j^f
-P
Pf'HrN-M5
Eindola.
Maravi.
j"
$1
Tacca.
Bhairava.
jtth
ii
,)
^^~a
semi-tones.
The notes
of
the Arabic
yek, du,
si,
music, by the
first
1 to 7,
as in our
own
zain.,)
are subdivided
Yeh
peni
tschar
i
I
ichesch
111.
In rendering this
scale
in our notation,
Yeh
Iieft
flat
shall
employ
third-tone,
and
Thus,
# two
Jiff
one-third-tones
Jt)
it
a one-
before
404
HINDU
SHJ8IC.
flat,
and
|[
The minims
be seen,
that
it is
differ
from ours
intervals, which,
in so far as the
Sat.
seventh is minor,
it will
flat,
/,
and
which in
The
one-third-tones.
written as crotchets
intervals
denote the intermediate one-third tones between the respective diatonic intervals.
ARABIC INTERVALS.
if
h$
^&
7ttftl&W*&*
The Persians appear
by the Arabs,
about
the
middle of the
seventh
some
still
of the
is
exhibited.
After-
BY
A. C.
BUKNELL,
ph.d.
of the
now sung by
the
there
respects,
Sdman
tioned by
therefore, follow
formation.
The
priests.
are
numerous CahhA
the
practice of the
of which
only one
Veda
Sdnia
it,
as
differences
Kaulhumi
and I
it,
shall,
CdJchd,
the
sufficient in-
art is
it is
Here, as in other
is
European
old,
of notes, but
one.
many
points
the
and
are, to
The
India,
and
it is
not too
impossible to find
the
of
ganas
1 ofr. P. 370
(3rd ed
2
a3 to the
are
only
of Helmholtz,
copied
by
professional
Sama-
408
HINDU
Veda priests
their
for
to the
terest
own
his
own
the S. Indian
him
The
principle
more
simple.
1, 2, 3, 4, 5,
these the
have
already
to several hundreds.
of the
are
is
and the
far
first
give
to
of in-
follows
therefore,
to assist
It would be useless
used in
use,
and signs of
MUSIC.
Of
rest E, I), C, B, A, G. 1
fusion on this point) that the ganas are not accented in the
but
The
difficulty
in
understanding
true nature
their
connect
difficult
to
understand this
by
comparison
1 I
has
arisen
It
similar
Thus Hugbaud
not
is
with
It is also
ii.)
W. Jones
which
scale corresponds
can find no
sufficient reason
and, in fact, he
is,
in the
is
key
but
of A, for
iii.)
it
admittedly, wrong.
this
misled
me
(Cat.
P.
45),
and
HINDU MUSIC.
(840-930 A.D,)
the following
So, La, Si, Ut
grades
classified
way
409
finales
La,
is
Mi,FaJSol,La 1
excellences
a somewhat similar
Anudatta
Uddtta
Rishdbha,
Nishdda, gdndhdra.
Svarita
Dhai-
Madhyama,
Pancama.
Shadja,
vatu.
Sdyanas
{e.g.,
numbers prathama,
pond
are used 3
etc.,
In
or antya.
the
of the
first
Sdma
and the
In
last.
given as prathama,
etc.,
S.
scale
is
the fourth
mandra
and
atisvarya (7th).
2 See i,
1,
8 of
my edition (P.
3 So in the Svaraparibhdshd.
the
fifth svara.
4 That the
S).
Mandra
krwMa
is
knuhta repeatedly
(.
g.,
i,
The antya
is
3" ueoo
gan")
not mentioned
gi,
name for
ji,
(8. T. I.,
di,
i,
di
1.)
the
is,
first note,
marked.
Z-I
HINDU MUSIC.
410
arisen
There are
'
notation by numbers.
of
syllable
S. Indian
MSS.
'
pre'
sometime
occurs.
includes
up the
marked by
'
vi'
or S and
4565,
vikritis are
Samprasdrana=234:b.
only
Namana? which
these marked.
and 2
consists of 1
i, or in
'
con-
iarsTiana'
scale
all
marked
it is
'
'
is
'
Vinata'
where
'
is
Vinata'
embellishments
Atyutkrama
abhigdta '
requires
to be noticed.
it
As is everywhere
7.
Sdma Veda priests have a
shall not
intelligible
it
in a short
space.
With
men
these explanations
of the
Sdma Veda
it is
now
and
purpose.
is
there
the
It
must be
a total want of
<5
HINDU MUSIC.
Sdman
411
the notes
is
made
of the words
Dirgha or Vriddha,
up by the modifications
Indian
MSS. by O.
in S. Indian
r,
MSS.
Vriddha
Where
markedin N.
alone
there
is
division {Parvan)
(Mdtra).
The bar or
The
thus in
tion
this,
is
the
citra'
syllable according
note
first
is short,
the last
always Vriddha.
the oldest
is
'
and
far as I
there are
S.
many
is
obvious
that such chants can never have been thus preserved exactly
without
letters
in the
Sdman was
syllable
'
hum' which
so often occurs
Brahmanas prove)
the original
sound.
certain
Sdman to more notes than others. Again, it is diffimuch in common between what are nominally
cult to trace
members
cases notes
seem
any
will enable
printed in the B.
chants (as
to be
I.
made sharp
edition) in the
or
flat,
of different C&khds.
explanation of the
but
European way.
In some
HINDU MUSIC.
412
(in
assertion
less ('a
Sdma Veda;
it
was
in-
differences
am
some
priests,
at
all
Soma Veda
Thus the
contains the
them 1
and
it
is,
'
incantamenta'
of great interest
therefore,
of
of
belief
as the best
which we
to music
our word
Latins
'
the
incantation' is
is
a witness to
still
find
The
remarkable, and
it
among the
belief."
of
is,
I think
music was.
India has not as yet attracted any interest, 3 and the best
historians of this art have
questionable information.
When more
I have in hand
ever
is
done,
if
it
elucidate
it
so far as
my imperfect
(l
J.
Grimm,
"Deutsche
P. 9.
Mytliologie"
pp.
987
ffg.
e.
y.
little studied.
little
r<sm^.
is
ISAAC
Pianist
and
L.
gmic ,;
RICE,
Professor,
New
York.
is
no. less
is
it
attempted to account for the power of music over the emotions by a mystic symbolical system. But it was not the
characteristic of the
They,
mysteries.
too,
Why spend
your existence
cut
Music
is
who caused
The sixth owed
na,
Ragas
five
its
to
existence to Parbuti.
Afterwards Brahma
ones.
teach
'the
its use.
Vina.
per-
each Ragini
it,
truments
and
God Mahada-krish-
in a nymph.
it,
in-
phenomenon they
The Sagas,
in turn,
the
ins-
elected to
Ragas with
rain.
A songstress
HINDU MUSIC.
416
One charmed
sun to vanish.
All heaven
tigers.
Indra
is
is
filled
surrounded by Gandharvas
his praise
with music.
;
in peace.
The
3.
original
system was
it is
much
Music
god-compelling.
The nymphs
are
had
Sagas,
wedded
it
each family
for a spouse,
all
chief modes.
Later,
the seasons.
the
of the Sagas,
into
of one
Raga were
The
six seasons
joyful strains
of the fading
and
falling
leaves.
In time
it
came
Riga
to be
of
the
417
HINDU MUSIC.
season,
if
How
for
differently the
bright,
the
Hindu
philosophers,
On
And
on the
fantastic,
the
of music
of the
gloomy mysteries
other,
power
the emotive
yet,
who
that
age to
call
As
The
It
was the
is
to say, to
theoreticians,
first
as a sober name,
signifying
or
rather irreducible
to
any
number
that
of modulation, changes of
system
God
the spiritual.
word Rdga
mode.
a force a
of
modes
fit
calculation,
The
must have
this
number be-
by some
Then came mytholo-
to sixteen thousand
of
gical philosphy.
the soul,
and
originated in heaven.
on
originated,
by
whom
What
question
"
"What
Nature?"
is
is
music
The
Hindu showed
of the ancient
"
as
part
of
peculiar poetiitself
the
in the
question
c. i. e., l. l. d.
of India,
President, Education Committee of India.
to exercise
1)
initial letters.
d'
Some, indeed,
suppose that our modern word gamut comes not from the
Greek
letter,
Muhammadan
Of the 36
of
(in Prakrit
elaboration,
excessive
in
Hindu music,
a musical scale.'
'
sank
under
the
of Akbar,
were Hindus.
only five
semi-tones, the
number
gether with a
of sonal modifications,
enjoys.
which the
Thus they
divide
European
to us
This
scale.
ences, but
it
giving
is
differ-
Gruber'B
alte Indien,
Encyclopadie,
xvii,
ii,
195
1840)
(1830)
quoted by Weber,
Hist.
Jnd.
&
Lit.,
HINDU MUSIC.
422
and which
by the European
as discord
trained to recognise
critic.
The Hindu
sound
which the
modifications
of
to be judged
and the
It
effects
its
The complicated
requirements of Hindu
modes
{rags)
of its musical
a
the
and the
student
Revival
MuS10-
to
other
state
living
which
of
Hindu
of
consists
seven
of
Greek
the
earlier
side
It
upon the
structure
separate
other
of
preserves
in
forms which
by
side
puzzle
with
developments.
late
old
the
Pat-
endeavoured
Sanskrit basis.
European notation.
three
five,
Hindus have of
years,
the
of
most complicated
riotic
Indian Music in
upon
notes.
music,
possible
rests
some of the
of
music.
six,
during
slowly elaborated
one
airs
is,
range of
Indian instruments
systems,
combina-
the
full
different
declines altogether
art
Hindu instruments
He
has organized an
orcol-
Paris,
423
hindtj Muaio.
One
of the earliest
as its theme,
was
No Englishman
Hindu music.
The
it
Hindu music
End of Part
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by some
Co.,
is built
up.
II.
Street, Calcutta.